MediaArtHistories

The Information Machine (1958)

2012-01-03T12:49:00.002+01:00

Charles and Ray Eames' 10' short “The Information Machine” was commissioned by IBM to introduce the computer at the 1958 Brussels’ World’s Fair.

More at the architizer blog

Historiographies of New Media: CFP

2011-11-28T18:27:00.001+01:00

Call for Papers (Deadline November 28)
Historiographies of New Media

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?

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. 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.

Topics might include but are not limited to:

-performance and circulation of art history through facsimiles, photographs,

slide projections, radio, and television

-responses and counter-responses to new media technologies within art criticism, critical theory, and film theory

-legacies of Friedrich Kittler and Miriam Hansen for theorizing new media

-analog and digital in art and art history

-historical modes of mechanical reproduction, imprinted coins, technologies of the book, seals, etc.

-transfers and transformations among media, media as reference for other media

- in what way are new media performative and public?

-materiality of new media, processes of materials

-new media and abstraction

-wider implications of artists’ practices in Xerox, zines, artists’ books, flip books, holograms, etc.

-relationship between art transmitted through media and art as media

-aesthetics of television

-new media’s relevance for reframing art historical cycles and geographies of innovation

-art and technology movements, including the role of dance and ‘new music’

-computerized models of art, computational ways of thinking

-collectivity and coalitions, notions of ‘social media’

-photography as new media

-historiographies of ‘video art,’ including the role of projection

-queer aesthetics and new media

-painting after the advent of network theory

Submissions:

* Full papers must follow The Chicago Manual of Style, and should not exceed 4000 words. Each submission should include an abstract of approximately

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.

* All contributors should include their name, address, telephone number, and email address. Authors are responsible for securing image reproduction rights and any associated fees.

Please send submissions to the graduate student editors Solveig Nelson and Stephanie Su atUChicagoArtJournal@gmail.com by November 28, 2011.

Zebrastraat : Call for Entries - New Technological Art Award Foundation Liedts-Meesen 2012

2011-11-14T23:26:00.000+01:00

Zebrastraat : Call for Entries - New Technological Art Award Foundation Liedts-Meesen 2012:

After update_1 in 2006, with as curator Jean-Marie Dallet, professor and researcher linked to ÉESI, responsible of the laboratory of the école d'art Figures de l'interactivité, Angoulême-Poitiers, France, followed by update_2 in collaboration with the ZKM, Zentrum für Kunst und Medientechnologie in Karlsruhe and with as curator Peter Weibel, Director of the ZKM, and finally update_3, in collaboration with the Centre Pompidou, Service Nouveaux Médias and as curator Christine Van Assche, guardian of the Centre Pompidou, we are determined to continue this series with update_4, to be held from 15th September till 18th of November 2012.

Read Full Article

review: »Klangmaschinen zwischen Experiment und Medientechnik«

2011-11-14T16:41:00.000+01:00

Daniel Gethmann (Hrsg.): Klangmaschinen zwischen Experiment und Medientechnik. Bielefeld [Transcript Verlag] 2010

Backward Glances: A Media and Historiography Conference

2011-11-09T15:52:00.001+01:00

Backward Glances

A Media and Historiography Conference
November 11 and 12, 2011
Northwestern University, Louis 119

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?

Presented by The Center for Screen Cultures, Department of Radio/Television/Film, and The Alice Kaplan Institute for the Humanities, Northwestern University, Evanston, IL.

Organizers: Leigh Goldstein, Meenasarani Linde Murugan, and Maureen Ryan.

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.

Friedrich Kittler (1943-2011)

2011-10-18T16:37:00.001+02:00

Friedrich Kittler (1943-2011)

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:

Friedrich Kittler (1943-2011) - Jussi Parikka (October 18, 2011)
http://jussiparikka.net/2011/10/18/friedrich-kittler-1943-2011/

Digital Art Works. The Challenges of Conservation

2011-10-06T13:29:00.000+02:00

On 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.

case studies:
http://www.digitalartconservation.org/index.php/en/case-studies.html

symposia including Alain Depocas, Antoni Muntadas, Herbert Franke, Siegfried Zielinski et al
http://www.digitalartconservation.org/index.php/en/symposium-i.html

stay hungry. stay foolish.

2011-10-06T11:09:00.007+02:00

Steve Jobs died yesterday, aged 56. Jobs often referred to a counter-culture publication of 1968, the "Whole Earth Catalogue", as a basic source of inspiration. its quite nice indeed.

cloud over liverpool

2011-10-04T17:21:00.004+02:00

it was great seeing you all! take care

Satellites use GPS system from above - 02 October 2001 - New Scientist

2011-10-01T17:21:00.000+02:00

Satellites use GPS system from above - 02 October 2001 - New Scientist

BYOB Linz I + II

2011-08-24T12:54:00.007+02:00

pack your beamer, grab your laptop, pick your video. BYOB Linz is taking off on Thursday, September 1st and Friday, September 2nd.
(for remote-participation goto our vimeo group)

BYOB is an exhibition concept by Dutch artist Rafaël Rozendaal. “Bring Your Own Beamer” is a series of one-evening-shows where artists team up with a beamer of their choice to project their videos in a gallery setting. (see byobworldwide.com). BYOB Linz is hosted by grrrilla galleries, a time-spaced gallery temporarily occupying public spaces, currently consisting of Nina Wenhart, Ina Fischer, Sandra Krampelhuber and Felix Vierlinger.

From aug 31st to sep 6th, the Ars Electronica festival is taking place in Linz. BYOB Linz is not an official part of the festival. but as ars electronica was always meant to be a festival for the artists, we started looking for & found many empty time-spaces within this festival's schedule that could be claimed and taken over by artists. to change from a visitor into an active participant, "bring your own beamer" - set up as a series of grrrilla galleries - seemed to us like a perfect format for this purpose. anyone who wants to participate is welcome to simply come along, bring their videos and beamers and start projecting.

we've planned on doing two evenings of BYOB during the festival week.
the dates & locations we have chosen for these events are:

Thursday, September 1st, starting at 22:00, @ the underpath next to the ars electronica quarter

&

Friday, September 2nd, starting around 21:30 (after the prix ars gala), danube park in front of brucknerhaus
(in case of rain, we can provide umbrellas)

in addition to these two planned events, we want to encourage anyone to find their own time-space slot for more BYOB grrrilla galleries. to help you find such a slot, we've adapted the official ars electronica festival's schedule and highlighted possible slots in time and space that seem interesting for a BYOB..
the are no "rules" other than to (1) find an empty slot in the festival's schedule as not to interfere with the official program and to (2) stage it in a place where there already is an audience.

borrow-a-beamer: for those of you who travel to Linz without a beamer: we've organized a couple of beamers that people could borrow & share.

remote-participation: and as many of you cannot be in Linz physically, but might still want to participate: we are putting together a playlist that will be about an hour long. upload your video to the "BYOB Linz - grrrilla galleries" group on vimeo to be included in the program.

***********
the grrrilla galleries only exist in time-space.
they are born out of a lack of a physical space we can permanently occupy, coupled with the desire to make, create, exchange and become active.
grrrillagalleries.blogspot.com

***********
BYOB is an exhibition format conceived by Rafaël Rozendaal. Find out more about past BYOBs on byobworldwide.com

RIP Zdeněk Sýkora

2011-07-14T09:20:00.003+02:00

see & read more on monoskop
&& http://www.zdeneksykora.cz/

mac 1984 commercial

2011-05-09T22:46:00.001+02:00

http://www.youtube.com/watch?v=2B-XwPjn9YY&feature=related
http://www.youtube.com/watch?v=HhsWzJo2sN4&feature=related

Nate Harrison: Aura Dies Hard (Or: How I Learned to Stop Worrying and Love the Copy), 2010

2011-04-16T17:39:00.004+02:00

Anyone who appreciated Nate Harrison's works

Bassline Baseline, 2005
single channel digital video with sound, dimensions variable, total run time 19 minutes, 50 seconds
(http://nkhstudio.com/pages/popup_bassline.html)

and

Can I Get An Amen?, 2004
recording on acetate, turntable, PA system, paper documents, dimensions variable, total run time 17 minutes, 46 seconds
(http://nkhstudio.com/pages/popup_amen.html)

which I find both truely brilliant

will also be baffled by his recent work:

Aura Dies Hard (Or: How I Learned to Stop Worrying and Love the Copy), 2010
single channel digital video with sound, dimensions variable, total run time 14 minutes, 10 seconds
(http://nkhstudio.com/pages/popup_aura.html)

Prize for academic writing on (Media) Art Histories

2011-03-25T21:16:00.000+01:00

via Art&Education:

Art&Education announces inaugural Papers Prize:
No Rules–Negotiating Art and Deregulation

Deadline: May 30th, 2011

In support of young scholars conducting innovative research in contemporary art, Art&Education is pleased to announce a Call for Papers for its inaugural Papers Prize, which includes a research sum of 2000 USD and the opportunity to present a paper at a conference, organized by Artforum & e-flux co-sponsored by Society of Contemporary Art Historians, on the subject of the deregulation in art practice and history.
What is the relationship between art and deregulation? Over the past four decades, the deregulation of global markets has been accompanied by the rise of flexible labor, the proliferation of highly sophisticated financial instruments, and increasing social complexity. Art&Education wishes to examine the possible links between such economic shifts, the putative rise of post-industrial society, and contemporary artistic practices, taking into account the renewed global interest in performativity, social and technological networks, and collaboration. By considering such topics in dialogue or counterpoint with historical precedents, we hope to arrive at a more sophisticated understanding of artistic production and reception today–a field in which rules aren't bent but are simply fluid.

Proposals may include subjects such as:

Pre-histories and legacies of institutional critique
Models of artistic autonomy within historical conditions of economic deregulation
The legislation of public-private partnership between the state, funders, and art institutions
The recent "pedagogical turn" in which art and education entwined, and the concurrent decline of higher education and student activism
The changing forms of artistic resistance and critique, to include strategies of appropriation, mimicry and performativity
The rise of alternative spaces, and their changing relation to traditional spaces of the museum, gallery and studio
Post-studio art practices and the dematerialized artwork as it relates to social and economic mechanisms of Post-Fordism.
Reconfiguration of Think Tanks as a discursive and social model in contemporary art

Final Entries will be reviewed by the Selection Jury:
Daniel Birnbaum, Director, Moderna Museet
Claire Bishop, Associate Professor of Art History, The Graduate Center, CUNY
Tim Griffin, Artforum International
Suzanne Hudson, Co-founder and President of the Society of Contemporary Art Historians
Molly Nesbit, Professor Art History, Vassar College
Brian Kuan Wood, Editor, e-flux journal

One submission will be chosen as a recipient of the Art&Education Papers Prize. The winner and two-runners up will be given the opportunity to present a 20-minute portion of their research at a conference, featuring both invited and submitted papers and presentations. Details will be announced at a later date.
Texts should be research-based articles pertaining to art history or contemporary art, and may be drawn from conference papers, seminar papers, dissertation chapters, etc. All submitted texts will be considered for publication on Art&Education

We ask that you submit pieces anywhere from 2,000 to 6,000 words with a 100 word abstract and full contact information by midnight of May 30th 2011.
No late submissions will be considered.

Please submit articles, abstract and bios by email to papers@artandeducation.net.
A free contributor-driven platform, A&E Papers seeks to expand publication opportunities for art historians, theorists, curators, and artists, and to make papers more easily available to the public.

Jeff Koons Must Die! (by Hunter Jonakin)

2011-03-24T21:04:00.000+01:00

This is one of the funniest pieces I've seen in a long while!

"Jeff Koons Must Die!!! is made up of a fabricated 80’s style stand-up arcade cabinet, and a simulated digital environment presented in a first-person perspective. Viewers must pay twenty-five cents to play the game and the virtual environment is traversed with a joystick and two arcade buttons. The premise of the video game is to allow the viewer to virtually destroy work by the artist, Jeff Koons."

http://hunterjonakin.com/koons.php

google's institute for internet & society, berlin

2011-03-19T09:24:00.000+01:00

via Geert Lovink on nettime, march 19th 2011

http://www.internetundgesellschaft.de/

The following mission statement has been developed by the
multistakeholder team that boostraps the research institute. The
mission statement is meant to serve as a totem for the community
behind the institute; it is therefore a living document that will
develop over time.

Mission Statement (Version 1.0)

The Internet and society research institute (*the name is not decided
yet*) centers on research and deliberation on the culture and practice
of (1) Internet based innovation, (2) Internet policy, and (3) related
legal aspects. We strive to provide insights enabling all stakeholders
to better shape the transformations the Internet stimulates within our
networked societies in Germany, Europe and internationally.

Specifically, the institute:
• focuses on transdisciplinary research and collaboration between
academics, policy makers, civil society and private sector.

• promotes a humanistic conception of the Internet and a user
centered approach to Internet policy making and innovation, multi-
stakeholder governance in digital ecosystems, their relationship with
society, and their constitutional implications.

• supports the continued development of a free¹ and open² Internet
and its potential to increase welfare, democratic capacity, sciences
and the arts. Hence we aim to better understand the qualities,
dynamics, and implications of the Internet with regard to society and
governance at large.

¹free space = in that there are little restrictions on content and
behavior and contribution is broadly permitted

²open space = based on a philosophy of openess, i.e. open standards
that ensure interoperability and open innovation

--
‎
FAQs

Q: Which institutions and who are you working with to set up the
institute?
A: We are currently in the process of identifying the best academic
partners. We hope to announce the concrete plans including the
academic institutions and the team of leading academics within the
next months after we have reached a final agreement.

Q: When will the Institute start its operations?
A: The plan is to inaugurate the institute later in the year.

Q: Why are you funding such a research institute?
A: Web-based innovations cause a variety of social, economic and
political transformations. These demand interdisciplinary research
carried out in a specialized center of excellence. While Germany is
already the home to many world class researchers the Internet and
society institute will give the community a space to exchange and
learn from each other and to tap into the insights of other
stakeholders from civil society, business and politics.
Additionally, we want to further our investments in Germany and we
believe that such an independent research institute will improve
understanding and discussion about Internet governance and Internet
based innovation.

Q: What are the research subjects of the institute?
The Internet & Society Institute centers on research and deliberation
on the culture and practice of (1) Internet based innovation, (2)
Internet policy and (3) legal aspects.

Q: Will the Institute focus on research about/for Germany?
A: The institute will strive to provide insights enabling all
stakeholders to better steer the transformations the Internet
stimulates within our networked societies in Germany, Europe and
internationally.

Q: Where will the institute be based, will it be with the Humboldt?
A: We are currently finding the best organisational set-up for the
institute. Humboldt University is one of the potential partners and
possible hosts for the institute.

Q: Who will be heading the institute?
A: We believe the institute should be led by a board made up of
thought leaders from academia, the Internet community, politics and
web entrepreneurs.

Q: Will the name be the Google Institute?
We believe that the institute should be independent and pursue an
academic mission that is in the public interest.

Q: Is this the first time you are installing such an institute or is
there a role model from Google in other countries?
A: Yes, this is the first time we are founding a research institute
for Internet and society.

Q: How many professors/staff will be working there?
A: It is too early to talk about details. The idea is to work with a
core faculty that organizes and supervises research through Calls for
Proposals, with PhD-students as well as national and international
partner institutions.

Q: Will the institute be open for other companies/institutions as
well? Can others support with additional funding?
A: We are actively looking to work with partners from academia, civil
society and the private sector. We are certain this will be an
important step to broaden the scope, relevance and impact of the
institute.

The Video Vortex Reader II: Moving Images Beyond YouTube (2011)

2011-03-12T17:14:00.000+01:00

Geert Lovink, Rachel Somers Miles (eds.)

(reblogged from monoskop)

Video Vortex Reader II is the Institute of Network Cultures’ second collection of texts that critically explore the rapidly changing landscape of online video and its use. With the success of YouTube (’2 billion views per day’) and the rise of other online video sharing platforms, the moving image has become expansively more popular on the Web, significantly contributing to the culture and ecology of the internet and our everyday lives. In response, the Video Vortex project continues to examine critical issues that are emerging around the production and distribution of online video content.
Following the success of the mailing list, the website and first Video Vortex Reader in 2008, recent Video Vortex conferences in Ankara (October 2008), Split (May 2009) and Brussels (November 2009) have sparked a number of new insights, debates and conversations regarding the politics, aesthetics, and artistic possibilities of online video. Through contributions from scholars, artists, activists and many more, Video Vortex Reader II asks what is occurring within and beyond the bounds of Google’s YouTube? How are the possibilities of online video, from the accessibility of reusable content to the internet as a distribution channel, being distinctly shaped by the increasing diversity of users taking part in creating and sharing moving images over the web?
Contributors: Perry Bard, Natalie Bookchin, Vito Campanelli, Andrew Clay, Alexandra Crosby, Alejandro Duque, Sandra Fauconnier, Albert Figurt, Sam Gregory, Cecilia Guida, Stefan Heidenreich, Larissa Hjorth, Mél Hogan, Nuraini Juliastuti, Sarah Késenne, Elizabeth Losh, Geert Lovink, Andrew Lowenthal, Rosa Menkman, Gabriel Menotti, Rachel Somers Miles, Andrew Gryf Paterson, Teague Schneiter, Jan Simons, Evelin Stermitz, Blake Stimson, David Teh, Ferdiansyah Thajib, Andreas Treske, Robrecht Vanderbeeken, Linda Wallace, Brian Willems, Matthew Williamson, Tara Zepel.
Copy Editor: Nicole Heber
Publisher: Institute of Network Cultures, Amsterdam.
Supported by: the School for Communication and Design at the Amsterdam University of Applied Sciences (Hogeschool van Amsterdam DMCI).
ISBN: 978-90-78146-12-4
378 pages
Licensed under the Creative Commons Attribution Noncommercial No Derivative Works 3.0 Netherlands License.

publisher
Direct download

celebrating the 100th international women's day - 100 female artists and digital media

2011-03-09T00:05:00.001+01:00

(i posted this on my p/art//icles blog before:

This project was done on March 8th, 2011, the 100th anniversary of the International Women's Day. Throughout the day I had been posting female artists working in the field of New Media Art to twitter and facebook. The goal was to post 100 artists for the 100th anniversary.

a short notice:
A few of the artists included might or might not be women. After 100 years of the celebration of International Women's Day what it means to be female has to be expanded and embrace gender rather than sex.

This list of 100+ female media artists is necessarily incomplete, please add more artists in the comments field! (the focus here is on artists + digital media; curators, theoreticians,... will be the focus of a separate project)
There is absolutely no intended order in this list. The entries on top were the last ones, the entries on the bottom of the list the starting points.

enjoy!

START: 11.12 am
END: 11:08 pm
March 8th, 2011

nina wenhart • 11:08 PM • Twitter
ninjafx: #IWD11 female artists & digital media: via @notendo: #IWD11 - Tina Frank + Billy Roisz + Tali Hinkis + Kaffe Matthews + Chicks On Speed

nina wenhart • 10:59 PM • Twitter
ninjafx: #IWD11 - female artists & digital media: compilation of 100 artists for #IWD's 100th birthday - completed (though there are many more...

ninjafx: #IWD11 - female artists & digital media: Brenda Laurel #virtualreality #interactiveart http://www.tauzero.com/Brenda_Laurel/

ninjafx: #IWD11 these were 99 now, if i counted right

ninjafx: #IWD11 - female artists & digital media: Sabrina Raaf #interactiveart http://www.raaf.org/about.php

ninjafx: #IWD11 - female artists & digital media: Cynthia Breazeal #robotics #roboticsqueen http://web.media.mit.edu/~cynthiab/

ninjafx: #IWD11 - female artists & digital media: Pattie Maes #netart #interactiveart http://web.media.mit.edu/~pattie/

ninjafx: #IWD11 - female artists & digital media: Francoise Gamma #digitalgraphics #animatedgifs #netart http://francoisegamma.computersclub.org/

ninjafx: #IWD11 - female artists & digital media: Krystal South #videoart #webart http://www.krystalsouth.com/

ninjafx: #IDW11 - female artists & digital media: RT @nullsleep: (part 2) @PrintedCircuit Raquel Meyers, Lesley Flanigan, Marina Zurkow

ninjafx: #IDW11 - female artists & digital media: RT @nullsleep: (part 1) @artfagcity @kiostark @SimonaLodi

ninjafx: #IWD11 - female artists & digital media: Sabrina Ratte #videoart vimeo.com/sabrinaratte

ninjafx: #IWD11 - female artists & digital media: Laura Parnes #videoart www.lauraparnes.com/

ninjafx: #IWD11 - female artists & digital media: Camilla Padgitt-Coles #VJ #electronicmusic vimeo.com/ivymeadows

ninjafx: #IWD11 - female artists & digital media: Alexandria McCrosky #digitalgraphics http://alexandriamccrosky.computersclub.org/

ninjafx: #IWD11 - female artists & digital media: Aurora Halal #videoartist #electronicmusic http://www.aurorahalal.com/

ninjafx: #IWD11 - female artists & digital media: Alexandra Gorczynski #videoart http://hologramcity.blogspot.com/

ninjafx: #IWD11 - female artists & media art collectives: Bea Fremderman & Jeanette Hayes #netart http://justshutty.tumblr.com/

ninjafx: #IWD11 - female artists & digital media: Alice Cohen #videoart http://vimeo.com/user1658854/videos

ninjafx: #IWD11 - @look_im_lucid (lindsay howard) just sent a great list with female media artists, so the following posts are all lindsay's input

ninjafx: RT @nullsleep: @ninjafx here are some more • @petcortright @BiellaColeman @LaurelHalo @juliaxgulia Alexandra Gorczynski, Laura Brothers,...

ninjafx: #IWD11 - female artists & digital media: via @chrissugrue (part 2) Simone Jones, Clara Boj, Geraldine Juarez, Becky Stern, Jackee Steck

ninjafx: #IWD11 - female artists & digital media: via @chrissugrue (part 1) Karolina Sobecka, Addie Wagenknech, Kaho Abe, Grisha Coleman

ninjafx: #IWD11 - female artists & digital media: Laurel Halo #digitalgraphics #netart http://www.laurelhalo.com/

ninjafx: #IWD11 - female artists & digital media: Petra Cortright #netart #digitalgraphics http://petracortright.com/ @petcortright

ninjafx: #IWD11 - female artists & digital media: Rachelle Viader-Knowles #interactiveart http://uregina.ca/rvk/

ninjafx: #IWD11 - female artists & digital media: Sabine Seymour #wearabletechnology http://www.fashionabletechnology.org/

ninjafx: #IWD11 - female artists & digital media: Margarita Benitez #wearabletechnology http://margaritabenitez.com/

ninjafx: #IWD11 - female artists & digital media: Sage Keeler #netart #digitalgraphics http://fourmegabytememorylane.blogspot.com/

ninjafx: #IWD11 - female artists & digital media: Jennifer Chan #videoart #digitalgraphics http://www.jennifer-chan.com/

ninjafx: #IWD11 these were about 60+ female media artists now, for the 100th birthday 100 artists would be great. any more suggestions from anyone?

ninjafx: RT @robmyers: @ninjafx: Tessa Elliot http://surgerydar.co.uk/ & Tracey Matthieson http://ur1.ca/3fcc5 got me into digital art && are...

ninjafx: #IWD11 - female artists & digital media: Ellen Sandor #mixedmedia http://www.artn.com/Ellen_Sandor

ninjafx: #IWD11 - female artists & digital media: Claudia Hart #3dcomputergraphics #artgames http://www.claudiahart.com

ninjafx: #IWD11 - female artists & digital media: Nina Valkanova #programmer #interactiveart http://ninavalkanova.com/

ninjafx: #IWD11 - female artists & media art collectives: Gabi Kepplinger of Stadtwerkstatt #netart #networkedart #artinpublicspace...http://www.stwst.at/index.php?m=6&sm=1&sid=51

ninjafx: #IWD11 - female artists & digital media: Eva Grubinger #netart #networkedart http://www.evagrubinger.com/

ninjafx: #IWD11 - female artists & digital media: Thecla Schiphorst #interactiveart #performance http://www.sfu.ca/~tschipho/

ninjafx: RT @tw1tt3rart: #INTERNATIONALWOMENSDAY ♀╭━╮╱╭━╮╱╭━╮╱╭━╮♀ ♀┃╱┃╱┃╱┃╱┃╱┃╱┃╱┃♀ ♀╰┳╯╱╰┳╯╱╰┳╯╱╰┳╯♀ ♀━╋━╱━╋━╱━╋━╱━╋━♀ ♀╱┃╱╱╱┃╱╱╱┃╱╱╱┃╱♀...

ninjafx: #IWD11 - female artists & digital media: Lindsay Howard #netart #curating #digitalgraphics http://ow.ly/4ajmI http://ow.ly/4ajn0...

ninjafx: #IWD11 - female artists & digital media: Sara Ludy #netart #digitalgraphics #videoart http://www.saraludy.com/

ninjafx: #IWD11 - female artists & digital media: Eva Wohlgemuth, Kathy Rae Huffman #netart http://ow.ly/4aj4S + http://ow.ly/4aj6s

ninjafx: #IWD11 - female artists & digital media: Helen Thorington, Jo-Anne Green #netart #radioart #pioneers http://turbulence.org/

ninjafx: #IWD11 - female artists & media art collectives: Tina Auer of Time's Up #interactiveart www.timesup.org

ninjafx: #IWD11 - female artists & digital media: Jessica Westbrook #interactiveart #videoart http://www.jessicawestbrook.com/

ninjafx: #IWD11 - female artists & digital media: Faith Wilding #cyberfeminism #performanceart http://faithwilding.refugia.net/

ninjafx: #IWD11 - female artists & digital media: Tiffany Holmes #interactiveart http://tiffanyholmes.com/

ninjafx: #IWD11 - female artists & digital media: Marta de Menezes #bioart http://www.martademenezes.com/

ninjafx: #IWD11 - female artists & digital media: Manu Luksch #cctv #hacktivism #videoart http://www.manuluksch.com/

ninjafx: #IWD11 - female artists & digital media: Isabella Bordoni #electronicmusic http://www.ib-arts.org/

ninjafx: #IWD11 - female artists & digital media: Heidi Grundmann #artradio #radioart http://subsol.c3.hu/subsol_2/contributors0/grundmannbio.html

ninjafx: #IWD11 - female artists & media art collectives: Elisa Rose of Station Rose #netart #electronicmusic http://www.stationrose.com/

ninjafx: #IWD11 - female artists & digital media: Agnese Trocchi #netart #videoart http://www.newmacchina.info/

ninjafx: #IWD11 - female m artists & digital media: Jill Scott #interactiveart #videoart #body http://www.medienkunstnetz.de/artist/scott/biography/

ninjafx: #IWD11 - female artists & digital media: Melinda Rackham #netart http://www.subtle.net/

ninjafx: #IWD11 - female artists & digital media: Ruth Catlow #netart #artinpublicspace @furtherfield http://ow.ly/4agBQ

ninjafx: #IWD11 - female artists & media art collectives: Margarethe Jahrmann "nybble engine toolZ" #gameart http://www.climax.at/nybble-engine/

ninjafx: #IWD11 - female artists & digital media: Monica Panzarino #interactiveart #videoart http://www.monicapanzarino.com/

ninjafx: #IWD11 - female artists & digital media: Melissa Barron #hacking #obsoletemedia www.melissabarron.net @m3li554

ninjafx: #IWD11 - female artists & digital media: Dain Oh #animatedgif #netart @lunarbaedeker http://ittakestwotostereo.blogspot.com

ninjafx: ... heroines!

ninjafx: #IWD11 exceptionally wonderful media artists, pre-digital: Steina Vasulka, Charlotte Moorman, Valie Export, Dara Birnbaum - you're...

ninjafx: RT @yokoono: Total communication equals peace. And it will eliminate ignorance, apathy and hatred. #IWD11

ninjafx: #IWD11 - female artists & digital media: Tamiko Thiel #augmentedreality #virtualreality #AR #VR http://ow.ly/4a84U

ninjafx: #IWD11 - female artists & digital media: Naoko Tosa, f.e. "Talking to Neurobaby" #interactiveart #robotics http://ow.ly/4a7Xr

ninjafx: #IWD11 - female artists & digital media: Ulrike Gabriel, f.e. "terrain 01" #robotics #artificialintelligence #interactiveart...http://vimeo.com/7723230

ninjafx: #IWD11 - female artists & digital media: Natasha Vita-More #transhumanism http://www.natasha.cc/

ninjafx: #IWD11 - female artists & digital media: Agnes Hegedüs, f.e. "handsight" #interactiveart http://csw.art.pl/new/99/7e_agndl.html

ninjafx: #IWD11 - female artists & digital media: Christina Kubisch #electronicmusic http://www.christinakubisch.de/index_en.htm

ninjafx: #IWD11 - female artists & digital media: Daniela Alina Plewe, f.e. "Ultima Ratio" #interactive art http://ow.ly/4a74X

ninjafx: #IWD11 - female artists & media art collectives: Sandra Rosas Ridolfi, Nina Wenhart of h3x3n #netart #interactiveart www.h3x3n.net http://sandraridolfi.com/ ninawenhart-cv.blogspot.com

ninawenhart-cv.blogspot.com
ninjafx: #IWD11 - female artists & digital media: Ushi Reiter #electronicmusic #interactiveart http://www.servus.at/blower

ninjafx: #IWD11 - female artists & digital media: Hannah Perner-Wilson #interactiveart http://plusea.at

ninjafx: #IWD11 - female artists & digital media: Mika Satomi #interactiveart http://nerding.at

ninjafx: #IWD11 - female artists & digital media: Marie Sester #interactiveart http://www.sester.net/

ninjafx: #IWD11 - female artists & media art collectives: Mendi Obadike #netart #conceptualmusic http://www.blacknetart.com/

ninjafx: #IWD11 - female artists & media art collectives: Jennifer McCoy #interactiveart http://www.mccoyspace.com/

ninjafx: hoppsa, my #IDW11 posts should of course also be #IWD11

ninjafx: #IWD11 - female artists & digital media: Lynn Hershman Leeson f.e. "America's Finest", "Conceiving Ada" #interactiveart #netart #videoart...http://www.lynnhershman.com/

ninjafx: #IWD11 - female artists & digital media: Vera Molnar "machine imaginaire", part 2: #generativeart #pioneer #granddame #alltimefavorite...http://www.veramolnar.com/

ninjafx: #IWD11 - female artists & digital media: Vera Molnar "machine imaginaire", her imaginative comp to produce permutations #generativeart...

ninjafx: #IWD11 - female artists & digital media: Victoria Vesna #interactiveart http://victoriavesna.com

ninjafx: #IWD11 - female artists & digital media: Annie Abrahams #netart #networkedart http://www.bram.org/info/aa.htm

ninjafx: #IWD11 - female artists & digital media: Laura Beloff #wearbletechnology #networkedart http://ow.ly/4a4Ow

ninjafx: #IWD11 - female artists & media art collectives: Christa Sommerer, f.e. "interactive plant growing" #interactiveart http://ow.ly/4a4jj

ninjafx: #IWD11 - female artists & digital media: Lisa Jevbratt #netart #dataviz #biofeedback http://jevbratt.com/

ninjafx: #IWD11 - female artists & digital media: Sherrie Rabinowitz, Kit Galloway "Hole in Space", "Electronic Café" #telematicart #netart...http://www.ecafe.com/

ninjafx: #IWD11 - female artists & digital media: Beatriz da Costa #tacticalmedia #hacktivism #bioart http://ow.ly/4a3wl

ninjafx: #IWD11 - female artists & digital media: Natalie Bookchin #netart http://bookchin.net/

ninjafx: #IWD11 - female artists & media art collectives: Honor Harger of radioqualia #netradio #opensource http://www.radioqualia.net/ @honorharger

ninjafx: #IWD11 - female artists & digital media: Chris Sugrue, part of the eyewriter team #interactiveart #programmer http://csugrue.com/...

ninjafx: #IWD11 - female artists & digital media: Camille Utterback "textrain" #interactiveart http://camilleutterback.com/

ninjafx: #IDW11 - female artists & media art collectives: Monika Fleischmann #interactiveart #mediaartdatabase http://ow.ly/4a2ua www.netzspannung.org

ninjafx: #IWD11 - female artist collectives & digital media: Old Boys Network #netart #cyberfeminism http://www.obn.org

ninjafx: #IWD11 - female artists collectives & digital media: VNS Matrix "A Cyberfeminist Manifesto for the 21st Century" #netart #cyberfeminism...http://lx.sysx.org/vnsmatrix.html

ninjafx: #IWD11 - female artists & digital media: Rachel Baker #netart #hacktivism http://ow.ly/4a2d0

ninjafx: #IWD11 - female artists & digital media: Natalie Jeremijenko #netart #hacktivism http://www.nyu.edu/projects/xdesign/

ninjafx: #IWD11 - female artists & digital media: Amy Alexander #netart #softwareart http://amy-alexander.com/ @uebergeek

ninjafx: #IWD11 - female artists & media art collectives: Young-Hae Chang of YOUNG-HAE CHANG HEAVY INDUSTRIES #netart http://www.yhchang.com

ninjafx: #IDW11 - female artists & media art collectives: Olga Goriunova #softwareart #netart http://readme.runme.org/ http://runme.org

ninjafx: #IWD11 - female artists & media art collectives: Eva Mattes of 0100101110101101 #netart #gameart http://www.0100101110101101.org/blog/

ninjafx: #IWD11 - female artists & media art collectives: Joan Heemskerk of #JODI #netart #gameart #glitchart http://jodi.org

ninjafx: lol RT @markrhancock: Happy Int Women's Day. You are all bloody amazing. I love women!

ninjafx: #IWD11 - female artists & media art: Clara Rockmore #electronicmusic #theremin #pioneer http://en.wikipedia.org/wiki/Clara_Rockmore

ninjafx: RT @juspar: Inspirational women #iwd: Elizabeth Grosz, nature, sex, aesthetics #academicIWD #IWD11

ninjafx: #IDW11 - female artists & digital media: Mary Flanagan #gameart http://ow.ly/49X9a

ninjafx: #IDW11 - female artists & digital media: Mez Breeze #netart #mezangelle http://ow.ly/49WXU http://ow.ly/49WZB @netwurker !u r pure...

ninjafx: #IWD11 - female artists & digital media: Anne-Marie Schleiner #gameart #hacking #opensource http://www.opensorcery.net

ninjafx: #IWD11 - female artists & digital media: Char Davies "Osmose" #virtualreality http://ow.ly/49WEp

ninjafx: RT @franckancel RT @bookmarks_books: Women supporters of the Paris Commune jailed in 1871 http://bit.ly/e1D8HN #IWD11

ninjafx: #IWD11 - female artists & media art: Maryanne Amacher #electronicmusic http://ow.ly/49WmF

ninjafx: #IWD11 - female artists & media art: Eliane Radigue, 1st woman to receive golden nica @ prix ars in dig.musics, 2006 #electronicmusic...http://en.wikipedia.org/wiki/Eliane_Radigue

ninjafx: #IWD11 - female artists & media art: Daphne Oram #electronicmusic http://ow.ly/49Wgb

ninjafx: #IWD11 - female artists & media art: Ursula Bogner #electronicmusic http://ow.ly/49Wdt

ninjafx: #IWD11 - female artists + media art: Delia Derbyshire #electronicmusic #pioneer http://ow.ly/49Wc7

ninjafx: RT @katecrawford: Hedy Lamarr was my kinda gal: Hollywood star, jewel thief, scientist, and co-inventor of a precursor to wifi....http://en.wikipedia.org/wiki/Hedy_Lamarr

ninjafx: thx igor! RT @intima: #IWD11 follow/check @ninjafx: tweets with links to radical female digital media artists→ http://twitter.com/#!/ninjafx

ninjafx: #IWD11 - female artists & digital media 05: Rosa Menkman #softwareart #glitchart #videoart #obsoletemedia @r0o0s http://ow.ly/49VRC

ninjafx: #IWD11 - female artists & digital media 04: Olia Lialina "my boyfriend came back from the war" #netart @GIFmodel http://ow.ly/49VLz...

ninjafx: #IWD11 - female artists & digital media 03: netochka nezvanova #NN #netart #softwareart #nato.0+55+3d #nebula.m81 http://ow.ly/49VDq

ninjafx: #IWD11 - female artists & digital media 02: Cornelia Sollfrank "female extension" #netart #hacking http://www.artwarez.org/femext/

11:12am via HootSuite
ninjafx: #IWD11 - female artists & digital media 01: LIA #generativeart #netart @liasomething http://www.liaworks.com/

happy 100th birthday, international women's day!

2011-03-08T12:19:00.000+01:00

happy 100th birthday, international women's day! celebrating it by tweeting +fb-ing about female media artists. please join!

#IWD11

(on twitter -> ninjafx, on fb: nina wenhart)

A Little-Known Story about a Movement, a Magazine, and the Computer’s Arrival in Art New Tendencies and Bit International, 1961–1973

2011-03-08T09:26:00.004+01:00

This recent MIT press publication documents a short-lived but intense artistic experiment that took place in Yugoslavia fifty years ago but has been influential far beyond that time and place: the New Tendencies movement, which begun in Zagreb in 1961. Pursuing the idea of “art as visual research"” the New Tendencies movement proceeded along a path that led from Concrete and Constructivist art, Op art, and Kinetic art to computer-generated graphics, film, and sculpture.

With their exhibitions and conferences and the 1968 launch of the multilingual, groundbreaking magazine Bit International, the New Tendencies transformed Zagreb into an international meeting place where artists, engineers, and scientists from both sides of the Iron Curtain gathered around the then-new technology. For a brief moment in time, Zagreb was the epicenter of explorations of the aesthetic, scientific, and political potential of the computer.

further links:
http://www02.zkm.de/bit/index.php?lang=en
http://aminima.net/wp/?p=859&language=en
http://dada.compart-bremen.de/public/docUploads/41.2.fritz.pdf
http://darkofritz.net/text/bitomatik_Fritz_eng.pdf
http://darkofritz.net/text/Fritz.NT_oris%2054.pdf
http://darkofritz.net/text/CIP_no.07-08-2006_Fritz_Bonacic.pdf
http://www.thenextlayer.org/node/731

The Philosophy of Software and the Ontology of Code

2011-03-08T02:12:00.000+01:00

Simon Yull & David Berry present @ Goldsmiths

Date: 17 March 2011 - 5:30pm - 7:30pm

Venue/Location: Room RHB 309 (Main Building) Goldsmiths, New Cross, London

Simon Yuill: The Ontology of Code and the Coding of Ontology

David Berry: The Philosophy of Software: Code and Mediation in the Digital Age

more: http://www.furtherfield.org/events/philosophy-software-and-ontology-code-0

The Philosophy of Software: Code and Mediation in the Digital Age

2011-03-08T02:09:00.001+01:00

David Berry
Palgrave Macmillan, May 2011

http://www.amazon.com/Philosophy-Software-Code-Mediation-Digital/dp/0230244181

review on furtherfield:

"As software increasingly structures the contemporary world, curiously, it also withdraws, and becomes harder and harder for us to focus on as it is embedded, hidden, off-shored or merely forgotten about. The challenge is to bring software back into visibility so that we can pay attention to both what it is (ontology), where it has come from (through media archaeology and genealogy) but also what it is doing (through a form of mechanology), so we can understand this ‘dynamic of organized inorganic matter’. In this talk I want to present some of the arguments of my new book, The Philosophy of Software, but also to think through some of the implications of code/software for the changing nature of the university itself."

Copy, Rip, Burn: The Politics of Copyleft and Open Source

2011-03-08T01:58:00.000+01:00

David Berrry,
Pluto Press, 2008

http://www.amazon.com/Copy-Rip-Burn-Politics-Copyleft/dp/0745324142/ref=ntt_at_ep_dpi_1

from: http://stunlaw.blogspot.com/2009_02_01_archive.html

"The production of non-proprietary software, more commonly known as free/libre and open-source software (FLOSS), has taken parts of the academic, activist and governmental world by storm. It has not only forced an intellectual reassessment of theories of human nature and creativity that help justify the expansion of intellectual property regimes, but it has also inspired academics, journalists and activists to craft similar endeavours.

David Berry, mindful of these developments, has written a persuasive account on the politics of copyleft and open source. Copy, Rip, Burn stands apart from its cohort because of its overtly critical bent. Berry offers a rich discursive analysis of FLOSS, but also situates it within the backdrop of capitalist forces that ultimately blunt, he argues, its radical potential. Within this general frame, he also builds - and this is the intellectual heart of his book - a typology drawn from the Roman legal system, which he uses to explode the binaries between private/public and property/commons commonly used to describe FLOSS. Given Berry's fresh intellectual contribution, this book is a must-read for any scholar or activist interested either in FLOSS or the general politics of IP regulation.

read more here...

Media Archaeology. Approaches, Applications, and Implications

2011-03-01T12:35:00.006+01:00

Edited by Erkki Huhtamo and Jussi Parikka
University of California Press, May 2011

The book introduces an archaeological approach to the study of media - one that sifts through the evidence to learn how media were written about, used, designed, preserved, and sometimes discarded. With contributions from internationally prominent scholars, the essays help us understand how the media that predate today’s interactive, digital forms were in their time contested, adopted and embedded in the everyday. Providing a broad overview of the many historical and theoretical facets of Media Archaeology as an emerging field, the book encourages discussion by presenting a full range of different voices. By revisiting ‘old’ or even ‘dead’ media, it provides a richer horizon for understanding ‘new’ media in their
complex and often contradictory roles in contemporary society and culture.

The introduction is available here.

INSECT MEDIA: An Archaeology of Animals and Technology

2011-03-01T12:08:00.002+01:00

By Jussi Parikka, University of Minnesota Press | 320 pages | 2010
Posthumanities Series, volume 11
Book launch /March 4th, 19.00, General Public, Schönhauser Allee 167c, Berlin

Insect Media analyzes how insect forms of social organization - swarms, hives, webs, and distributed intelligence - have been used to structure modern media technologies and the network society. Through close engagement with the pioneering work of insect ethologists, posthumanist philosophers, media theorists, and contemporary filmmakers and artists, Jussi Parikka provides a radical new perspective on the interconnection of biology and technology.

More info at http://www.jussiparikka.com and his blog Cartographies of Media Archaeology.

Nick Lambert's thesis: "The Status of Computer Art"

2011-02-23T19:38:00.005+01:00

check out the online version of Nick Lambert's thesis "the status of computer art", submitted in 2003. amazing work, both in content and presentation.
see also his proposed timeline / diagram of digital art (its only missing my dearest Xenakis;)

book on visitor research

2011-02-20T12:37:00.002+01:00

> This major new 500-page handbook distils the exceptional insights and
> advice
> of one of the world's leading thinkers in the field of visitor studies,
> Stephen Bitgood, a pioneer in the field of social design.
>
> Spanning both theory and practice, it is guaranteed to have cultural
> professionals thinking afresh about the fundamentals of their
> organisation's
> interface with the public. Its insights are crucial to understanding the
> learning process in museums and cultural organisations - and an essential
> step towards enhancing their effectiveness.
>
> For all the information about the book, the author, the full contents list,
> and to order, please visit: museumsetc.com/products/social-design
>
> Among the many key topics covered in the book's highly practical,
> advice-packed 46 chapters are:
> * An Overview of the Methodology of Visitor Studies
> * Designing Effective Exhibits: Criteria for Success
> * Assessing the Readability of Text
> * Sampling for a Visitor Survey
> * Practical Guidelines for Developing Interpretive labels
> * Principles of Orientation and Circulation
> * The Role of Simulated Immersion in Exhibitions
> * Social Influences on the Visitor Museum Experience
> * Suggested Guidelines for Interactive Exhibits
> * The Effects of Instructional Signs on Museum Visitors
> * Multicultural Pluralism and Visitor Evaluation
> * Ten factors that influence your visitors
>
> Throughout, the emphasis is on achieving better real-world results and on
> effective implementation

JAR - a new magazine on artistic research

2011-02-20T12:35:00.000+01:00

this sounds interesting for publishing your artistic research!

The Journal for Artistic Research (JAR) is a new international,
online, Open Access and peer-reviewed journal for the identification,
publication and dissemination of artistic research and its
methodologies.

With the aim of displaying and documenting practice in a manner that
respects the artist's modes of presentation, JAR abandons the
traditional journal article format and offers its contributors a
dynamic online canvas where text can be woven together with image,
audio and video material. The result is a journal which provides a
unique ‘reading’ experience while fulfilling the expectations of
scholarly dissemination.

The inaugural issue of JAR is released on 17 February 2011.

Visit: www.jar-online.net

This issue presents work by:
Bertha Bermudez, Scott deLahunta, Marijke Hoogenboom, Chris Ziegler,
Frederic Bevilacqua, Sarah Fdili Alaoui, Barbara Meneses Gutierrez,
Amsterdam
Richard Blythe, Melbourne
Sher Doruff, Amsterdam
Cathy van Eck, Zürich
Mark Fleischman, Cape Town
Abhishek Hazra, Bangalore
Anders Hultqvist, Gothenburg
Daniel Kötter, Constanze Fischbeck, Berlin
Tuija Kokkonen, Helsinki
Elina Saloranta, Helsinki
Sissel Tolaas, Berlin
Otto von Busch, Gothenburg

Editor-in-Chief: Michael Schwab, London

Artistic research is a newly emergent and rapidly evolving field,
whose status is still hotly debated. Until now there have only been
limited publication channels making it difficult to stay informed
about the development of the many topics pertinent to artistic
research. JAR aims to provide a focal point that brings together
different voices, facilitates discourse and adds to the artistic
research community.

Part of JAR's mission is to re-negotiate art's relationship to
academia and the role and function of research in artistic practice.
JAR embraces research practices across disciplines, thereby
emphasising the transdisciplinary character of much artistic research.

JAR is guided by an Editorial Board that works with a large panel of
international peer reviewers from the field of artistic research. JAR
is published by the Society for Artistic Research.

We welcome submissions for future issues through our Research
Catalogue, which will be launched in March 2011.

next step publishing

2011-02-15T22:18:00.002+01:00

(For those not yet inscribed) there is a very interesting discussion taking place at
the yasmin list on "Next Step Publishing".
Here's the introductory statement by moderator Salvatore Iaconesi:

"In 2003 Antoni Abad and Eugenio Tisselli, artists and educators, created
"Zexe" (later called "Megafone"). In the project members of fringe
communities in Algeria, Spain, Mexico, Colombia and Brazil were invited to
"express their experiences and opinions through face-to-face meetings and
mobile phones". http://megafone.net/

 Mobile phones, GPS technologies and convergent media were used to go beyond
classical anthropological writing, to create a disarticulated, ever-evolving
book that was disseminated in space, time and media, and that was designed
ethnographically, with the whole technological ecosystem that was gently
layered onto the social anthropological systems formed by the invited
communities. What came out was a beautiful, disseminated, emergent,
multi-author, ubiquitous, open-ended narrative that represents a new form of
publication that has incredible value.
 This example (among the other possible ones) shows a scenario which is
progressively rising in significance and effectiveness.

Naturally interconnecting arts, sciences, design, architecture, engineering,
and living across local and global scales, this scenario shows how we can
proficiently envision publications under the forms of social networks,
architectures, geographical spaces, economic systems, environments,
processes and design objects by creating "books" that are natively
cross-medial and that use technologies such as augmented reality, wide
tagging, spime, sensors, networks, mobile devices, wearable technologies.

Future scenarios, both near and far, raise interesting questions.

Can bodies, architectures, geographies, relationships, emotions, cities,
information, research processes represent proper spaces for new kinds of
publications?

Questions like these highlight fascinating, uncertain areas and a discussion
stemming from the list can contribute to shape the future research agenda.

 In this discussion, titled "Next Step Publishing", we wish to investigate
these new forms of publication, and the transformations which they imply,
including:
* the mutation of the roles of publishers, editors, researchers, authors,
readers and the general society;
* the mutation of cities, of social ecosystems and of the networks of
knowledge and relation;
* the creation of suitable research, production and distribution models;
* and the use of means of presenting information that are accessible at
cognitive, anthropological and technical levels, using infoaesthetic
representations, knowledge and content sharing infrastructures, natural
interfaces and innovative forms of interaction."

I ve been following the discussion and wanted to point out a link
that was posted today. It is an article by John Wilbanks of the creative
commons, discussing how the internet is transforming scientific publishing and
science itself.

CFP - radical aesthetics / radical art (book)

2011-02-10T16:14:00.003+01:00

Book series – call for proposals - as part of a commissioned series of books RadicalAesthetics-RadicalArt. Contact series editors for more details - Dr Jane Tormey J.Tormey@lboro.ac.uk and Dr Gillian Whiteley G.Whiteley@lboro.ac.uk

Deadline: March 31st 2011

Description: This new series of books, to be published by I.B.Tauris, explores what aesthetics might mean in the twenty first century. We use the term 'radical' to promote debate, confront convention and formulate alternative ways of thinking about art practice. The fundamental premise of the series is to reconsider the relationship between practising art and thinking about art.

The series aims to liberate the notion of aesthetics from visual traditions and to expand its parameters in a creative and meaningful way. It aims to examine those multisensory, collaborative, participatory and transitory practices that have developed in the last twenty years. For further information about the RaRa project see website: www.lboro.ac.uk/departments/sota/research/groups/politicised/rara.html

The first title commissioned for the series is Eco-Aesthetics by Malcolm Miles. Further titles may include for example Socio-political aesthetics, Global aesthetics, Inter-relational aesthetics. The commissioning editors invite submissions from authors/co-authors who can make a provocative contribution to these debates.
www.ibtauris.com/Highlights/Radical%20Aesthetics%20Radical%20Art.aspx

The series aims to:
• critique conventional approaches to thinking about art practice and aesthetics
• reconsider the interrelationships between theories and art practice on equal terms
• provide a useful resource to assist research and provoke discussion
• address current issues in response to contemporary contexts
• encourage an interdisciplinary approach to discussion
• survey recent and current material and debate

Content:
Each book (60-70,000 words) aims to provide a challenging critique as a useful resource to assist research and to generate discussion. In the case of each theme authors will:
• address its contemporary relevance
• outline relevant and key concepts
• provide historical and cultural background
• interrogate different theoretical positions
• address theory and practice
• provide comprehensive bibliography and glossary of terms

Market
The series aims to provide a comprehensive discussion of developments in contemporary art practice, its interface with other disciplines in the humanities and the consequent re-evaluation of the term 'aesthetics'. The core readership would be an academic audience in the broad field of the fine arts, history of art, media and aesthetics. The secondary readership would be visual culture, philosophy and politics and extending across the humanities more generally. The book series will address international examples of practice and will therefore be global in scope.

Submission
Proposals should be 3 to 5 sides A4 and include:
• A statement outlining your theoretical position and interpretation of the theme
• Detailed synopsis
• Outline of each chapter content with reference to specific theories and examples of practice
• Indicative bibliography

Author details should include:
• CV –1 page A4 maximum
• Brief description of academic interests and professional affiliations
• A list of publications
• A sample of recent publication (e.g. article or chapter in book)

Proposals should be e-mailed to both series editors by the end of March and for further information regarding submission please contact:
J.Tormey@lboro.ac.uk and G.Whiteley@lboro.ac.uk

URL: www.lboro.ac.uk/departments/sota/research/groups/politicised/rara.html

Conference "The Philosophy of Computer Games", Athens, April 2011

2011-01-26T14:10:00.006+01:00

Call for Papers to the international conference “The Philosophy of Computer Games 2011″,
to be held in Athens, Greece, on April 6th-9th 2011. Accepted papers will have a clear focus
on philosophy and philosophical issues in relation to computer games. They will also attempt
to use specific examples rather than merely invoke “computer games” in general terms. The
over-arching theme of the conference is Player Identity.

Deadline for submissions is 17.00 GMT, February 1st, 2011.
Send your abstract to submissions@gamephilosophy.org.
For more info http://2011.gamephilosophy.org/

CFP - Arts, Humanities, and Complex Networks — 2nd Leonardo satellite symposium at NetSci2011

2011-01-22T22:27:00.000+01:00

forwarded from: http://artshumanities.netsci2011.net/

We are pleased to invite you to Arts, Humanities, and Complex Networks — 2nd Leonardo satellite symposium at NetSci 2011 taking place at the Ludwig Museum – Museum of Contemporary Art, Budapest, on Tuesday, June 7, 2011.

Abstract: ^
We are pleased to announce the second Leonardo satellite symposium at NetSci2011 on Arts, Humanities, and Complex Networks. The aim of the symposium is to foster cross-disciplinary research on complex systems within or with the help of arts and humanities.
The symposium will highlight arts and humanities as an interesting source of data, where the combined experience of arts, humanities research, and natural science makes a huge difference in overcoming the limitations of artificially segregated communities of practice. Furthermore, the symposium will focus on striking examples, where artists and humanities researchers make an impact within the natural sciences. By bringing together network scientists and specialists from the arts and humanities we strive for a better understanding of networks and their visualizations in general.
The overall mission is to bring together pioneer work, leveraging previously unused potential by developing the right questions, methods, and tools, as well as dealing with problems of information accuracy and incompleteness. Running parallel to the NetSci2011 conference, the symposium will also provide a unique opportunity to mingle with leading researchers and practitioners of complex network science, potentially sparking fruitful collaborations.
In addition to keynotes and interdisciplinary discussion, we are looking for a number of contributed talks. Selected papers will be published in print in a Special Section of Leonardo Journal (MIT Press), as well as online in Leonardo Transactions. The symposium is a follow up to the first satellite event on “Arts | Humanities | Complex Networks" at NetSci2010 in Boston. The 2010 abstracts, papers and videos are available at http://artshumanities.netsci2010.net.

Confirmed keynote speakers: ^
Marek Claassen, Director, ArtFacts.Net
Jim Crutchfield, Director, Complexity Sciences Center, UC Davis / Scientific Director and Vice President, Art & Science Laboratory, Santa Fe
Nathalie Henry Riche, researcher, VIBE group, Microsoft Research, Seattle

Organizing committee: ^
Maximilian Schich, CCNR BarabásiLab, Northeastern University, USA
Roger Malina, Executive Editor at Leonardo Publications, France/USA
Isabel Meirelles, Dept. of Art + Design, Northeastern University, USA
Tijana Stepanovic, Ludwig Museum–Museum of Contemporary Art’s Affiliate, ACAX | Agency for Contemporary Art Exchange, Hungary

Possible subjects include: ^
* Contemporary art and network science;
* Cultural exchange and trade networks (from the Neolithic to modern supply chains);
* Emergence and evolution of canon in art, music, literature and film;
* Evolution of communities of practice in art and science;
* History and theory of network visualization;
* Networks in architecture and urban planning (from Ekistics to Reality Mining);
* Network structure and dynamics in art, music, literature and film;
* Networks of similarity and dependence (citation, motifs, Mnemosyne, etc.);
* Taxonomy and evolutionary models in art and science.

Submissions: ^
We are looking for ten 15 minute contributions covering a large territory around arts, humanities and complex networks. Abstracts should not exceed 300 words and include one relevant URL. You are also requested to upload your most awesome figure in jpg format. You will have the opportunity to post your submission using the EasyChair system: http://www.easychair.org/conferences/?conf=ahcnnetsci2011

Important dates: ^
The deadline for applications is February 6, 2011.
Decisions for acceptance will be sent out by February 28, 2011.
The symposium will take place in Budapest on June 7, 2011.

Attendance: ^
Attendance to our symposium is free of charge. As space is limited, we require registration. We encourage everyone to also register for the main NetSci2011 conference. NetSci2011 attendees can register directly during main conference registration. For the NetSci2011 registration fee and deadline please see http://www.netsci2011.net.

In addition we will give out a limited number of free tickets via Eventbrite. The respective link will become available here, shortly.

Links: ^
Download CFP: Arts, Humanities, and Complex Networks at NetSci2011: http://artshumanities.netsci2011.net
NetSci2011: http://www.netsci2011.net
The 2010 abstracts, papers and videos: http://artshumanities.netsci2010.net
ACAX | Agency for Contemporary Art Exchange: http://www.acax.hu
BarabásiLab, Northeastern University, Boston: http://www.barabasilab.com
Dept. Art+Design, Northeastern University, Boston: http://www.art.neu.edu
Leonardo/ISAST: http://www.leonardo.info
Leonardo/OLATS: http://www.olats.org
Ludwig Museum–Museum of Contemporary Art, Budapest: http://www.ludwigmuseum.hu

Contact: ^
If you would like to be added to the list of interested people, please drop us an e-mail with the subject "Please add me to the Arts, Humanities, and Complex Networks list" at artshumanities.netsci@gmail.com. Alternatively you can follow us on Twitter.

moon museum

2011-01-17T12:53:00.000+01:00

via @shane mecklenburger, who posted this beautiful link to facebook today,
text mirrored from wikipedia:

The Moon Museum is a small ceramic wafer three-quarters of an inch by half an inch in size,^[1] containing artworks by six prominent artists from the late 1960s. The artists with works in the "museum" are Robert Rauschenberg, David Novros, John Chamberlain, Claes Oldenburg, Forrest Myers, and Andy Warhol.^[1]
This wafer was supposedly covertly attached to a leg of the Intrepid landing module, and subsequently left on the moon during Apollo 12.^[2] The moon museum is considered the first Space Art object.^[3] While it is impossible to tell if the Moon Museum is actually on the moon without sending another mission to look, many other personal effects were smuggled onto the Apollo 12 lander and hidden in the layers of gold blankets that wrapped parts of the spacecraft.^[1]


Artist	John Chamberlain, Forrest Myers, David Novros, Claes Oldenburg, Robert Rauschenberg, and Andy Warhol
Year	1969 (1969)
Type	ceramic wafer
Dimensions	1.9 cm × 1.3 cm (0.75 in × 0.5 in)
Location	Apollo 12 Intrepid landing module, Mare Cognitum

[hide]

History

Image of the Moon Museum from the original New York Times article

The concept for the Moon Museum was brainstormed by Forrest "Frosty" Myers. He stated that "My idea was to get six great artists together and make a tiny little museum that would be on the moon."^[1] Myers attempted several times to get his project sanctioned by NASA. He claims the agency gave him the runaround and, Myers states, "They never said no, I just could not get them to say anything."^[1] Instead of going through the official channels he was forced to take the back route and try to smuggle it on board.
Myers contacted Experiments in Art and Technology (E.A.T.), a non-profit group that was linking artists with engineers to create new works. Through E.A.T., Myers was introduced to some scientists from Bell Laboratories, specifically Fred Waldhauer. Using techniques normally used to produce telephone circuits, the scientists etched the drawings Myers had gathered onto small ceramic wafers. Either 16 or 20 of these wafers were created,^[1] with one going on the lunar lander and the rest, copies of the original, handed out to the artists and others involved in the project.^[4]
When NASA dithered whether the museum would be allowed onto the module, Waldhauer devised another plan. Waldhauer knew a Grumman Aircraft engineer who was working on the Apollo 12 lander module, and he proved willing to place the museum on it.^[5] Myers asked Waldhauer how he would know if the museum actually made it onto the lander, and was told that the person who worked for Grumman would send him a telegram when the wafer was in place. At 3:35 p.m. on November 12, 1969, less than two days before Apollo 12 took off, Myers received a telegram at his house from Cape Canaveral, Florida stating "YOUR ON' A.O.K. ALL SYSTEMS GO," and signed "JOHN F."^[1]
The existence of the work was not revealed until Myers informed The New York Times which ran an article on the story two days after Apollo 12 left the moon and two days before they splashed down in the Pacific Ocean.^[6]

Artworks

Supposedly one of the 15 or 19 copies of the Moon Museum.

	Artwork Placement
Warhol	Rauschenberg	Novros
Myers	Oldenberg	Chamberlain

There are six artworks located on the ceramic tile, each one in black and white only. Starting in the top center is a single line by Robert Rauschenberg. To its right is a black square with thin white lines intersecting, resembling a piece of circuitry, by David Novros. Below it is John Chamberlain's contribution, a template pattern which also resembles circuitry. In the lower middle is a geometric variation on Micky Mouse, by Claes Oldenberg, a popular motif for the artist at that time. Myers created the work in the lower left, a computer-generated drawing of a "linked symbol" called "Interconnection". Finally, the last drawing in the upper left is by Andy Warhol. He created a stylized version of his initials which, when viewed at certain angles, can appear as a rocket ship or a penis.^[1]^[2] "He was being the terrible bad boy." says Myers.^[1] Warhol's work is covered up by a thumb in the image often associated with the Moon Museum, but other images with the drawing visible can be found.^[6]
Both John Chamberlain and Claes Oldenberg have confirmed through representatives that they did in fact take part in the moon museum and contributed drawings to the effort.^[4]

References

^ ^a ^b ^c ^d ^e ^f ^g ^h ⁱ Who is John F.?, History Detectives, PBS, Season 8, Episode 1, June 7, 2010. Accessed July 14, 2010
^ ^a ^b Secret Museum On The Moon’s Surface. UCSD Libraries. March 1, 2008. Accessed July 14, 2010
^ The Moon Museum: First Space Art Object Lands at Tampa Museum of Art. Tampa Museum of Art June 18 - August 1, 2010. Accessed July 15, 2010.
^ ^a ^b Moye, David. Warhol in Space: Apollo 12 Secretly Carried Art to the Moon. AOL news. June 17, 2010, Accessed July 14, 2010.
^ PBS' HISTORY DETECTIVES PUTS A QUESTION TO THE NATION: IS ANDY WARHOL’S ART ON THE MOON?. PBS. June 7, 2010. Accessed July 14, 2010
^ ^a ^b Holy ^%$&! Man Smuggles Art To The &%#$ing Moon! Greg.com. February 8, 2008. Accessed July 14, 2010

External links

ISEA 2010 - conference proceedings

2011-01-16T22:06:00.000+01:00

The conference proceedings of ISEA 2010 online available as a pdf:

http://www.isea2010ruhr.org/files/redaktion/pdf/isea2010_conference_proceedings.pdf

CFP: The Ethics of Sharing

2011-01-07T23:21:00.000+01:00

forwarded from http://felix.openflows.com

The Ethics of Sharing
Call for Papers for Vol. 15 - July 2011

Deadline for extended abstracts: January 31, 2011
Notification of acceptance to authors: February 8, 2011
Deadline for full articles: April 30, 2011
Publication: July, 2011

Sharing has emerged as one of the core cultural and ethical values native to the networked environment. It is built both into the technical protocols that make up the Internet, and holds together distributed, mediated communities and
organizations (even if they try to limit sharing to members inside the organizations).
In information ethics, sharing has implicitly been discussed in terms of privacy, intellectual property, secrecy, security and freedom of speech, which together define the social character of the information environment. But recent developments such as WikiLeaks have shown that there is a need to go beyond discussing the legitimacy of access or restrictions. We need to address the motivations and ethical positions that compel people to share information, even at considerable risk to themselves. Has sharing of information a special virtue of the information society? How are choices of sharing or withholding information justified? Is sharing subversive of the new global information regime, or an integral aspect of it?
This issue of IRIE brings together contributions towards an ethics of sharing that embeds the technological potentialities in lived social experience. In our understanding, information ethics "deals with ethical questions in the field of digital production and reproduction of phenomena and processes such as the exchange, combination and use of information."

book recommendations?

2011-01-07T14:11:00.001+01:00

i wanted to ask around if you have any good book recommendations on media art histories for spending cold early 2011 days?

These are the most recent books i read:

Dominic McIver Lopes, A Philosophy of Computer Art (on amazon)

R.Catlow, M.Garrett, C.Morgana, Artists Re:thinking Games (on amazon)

CFP: Digital Resources for Humanities and Arts (DRHA)

2010-12-15T16:31:00.003+01:00

DRHA 2011 (Digital Resources for the Humanities and Arts) Conference

Connected Communities: global or local2local?

Call for Papers and Performances

The deadline for submissions for papers and/or performances/installations is Monday 31st January 2011.

Applications from Curatorial based papers and panels very welcome !

Sunday 4th September - Wednesday 7th September 2011
University of Nottingham Ningbo, China
(with add on option of Saturday 3rd September in Shanghai)

In 2011 the DRHA conference will explore the new connectivities in societies and cultures which are enabled by the blending of virtual and physical space, the traversing of time and space through the virtual, and the evolution of innovative methodologies. Crossing disciplines and challenging boundaries within the humanities, arts and the creative industries, this conference will examine critically familiar notions of the ‘local’, the ‘global’ and the ‘network’ across the cultural spectrum.

Please see http://www.nottingham.ac.uk/cas/digitalresearchinthehumanitiesarts2011/index.aspx for more information. Abstracts should be approx 600 words. All submissions must be on-line.

Co-chairs - DRHA 2011 Judith Still (University of Nottingham) and Ghislaine Boddington (Middlesex University/ body>data>space). Conference Lead - Andy White (Nottingham University, Ningbo, China)

Mourning the Death of Education, Dec 15th 2010

2010-12-14T12:24:00.001+01:00

forwarded from marc garrett / furtherfield:

join us for a minute's silence on Resonance FM, mourning the death of
Education Dec 15th, 7-8pm http://tinyurl.com/ya6pzs5

A Collection of Many Problems (In Memory of the Dead Media Handbook)

2010-12-03T23:33:00.002+01:00

telharmonium

http://www.conceptlab.com/problems/ && http://www.conceptlab.com/problems/milan/ for the documentation
book available for 7.78$ at: http://www.lulu.com/product/paperback/a-collection-of-many-problems-%28in-memory-of-the-dead-media-handbook%29/5486558

from http://net-art.org/node/240:

"A Collection of Many Problems" by Garnet Hertz, extracted out of the Ancient and Modern Philosophers: as, Secrets and Experiments in Informaticks, Geometry, Cosmography, Horologiography, Astronomy, Navigation, Musick, Opticks, Architecture, Statick, Mechanics, Chymistry, Water-Works, Fire-Works, &c. In memory of the Dead Media Handbook.

This book concept is a continuation of Bruce Sterling's Dead Media Handbook proposal (1995), and is influenced by contemporary writings in media archaeology. Its format is inspired by Quentin Fiore's design of Marshall McLuhan's The Medium is the Massage: An Inventory of Effects (1967).

Licensing: This bookwork is currently being sold at cost and without profit to the author, and is distributed under a Creative Commons Attribution 2.5 License: you are free to share, copy, distribute, transmit, remix and adapt the work.

Graduiertenfeier @ Stift Göttweig, Dec 4th 2010

2010-12-03T13:39:00.005+01:00

tomorrow I will be at the Graduiertenfeier @ Stift Göttweig. i wished all of you could be there and we could see each other again. i'll be thinking of all of you && will take you with me in my pocket! many <3!

Olia Lialina, My Boyfriend Came Back From the War

2010-12-03T13:22:00.000+01:00

My boyfriend came back from the war from Per Platou on Vimeo.

jon satrom && ben syverson introducing the satromizerOS

2010-12-03T08:44:00.002+01:00

Introducing Satromizer OS from Pox Party on Vimeo.

media art and sustainable energy

2010-11-24T15:00:00.002+01:00

Energetics and Informatics: the 7th ADA Symposium, Whanganui, December 10-12 2010

The 7th ADA Network Symposium examines the relationship between energy and information in media arts. We ask how sustainable is the technology that supports media art? What new forms of practice are developing at the intersection of energy conservation and production, technology, and art? And how can we balance a global arts practice with the ethical complexities of global air travel, and the social complexities of remote participation?

These issues will be explored through keynote presentations, discussions, artist presentations, workshops, a screening programme and two exhibitions.

The symposium features keynote presentations by internationally renowned sound and media arts theorist Douglas Kahn, and Australian artists Joyce Hinterding and David Haines, and a remote conversation with London-based media artist Graham Harwood, creator of the Coal Fired Computer.

http://symposium10.aotearoadigitalarts.org.nz/

taxonomedia project

2010-11-17T20:48:00.004+01:00

A Taxonomedia (Consuelo Rozo and Vanina Hofman) interview by Raquel Herrera posted at the new media fix website can be found here.

We, in Taxonomedia, regard documentation as a privileged tool to explain an important artistic production which hardly could be conserved through other kinds of strategies. On the one hand, because of the essentially economic questions we have previously mentioned. The conservation projects that suggest solutions such as emulators and migrations are beyond the scope of most museums and media spaces, and probably their efforts in that direction are not sustainable in the medium or long run. On the other hand, there are expressions within art based on technologies that don’t “allow for their conservation”, and if presented with this situation, the artist’s intention must be respected. Finally, also, through their documentation and subsequent availability, the work might be able to survive as a concept and be recreated in other works. Projects like Variable Media delve into the conservation of the integrity of the work regardless of its medium, clearly considering media art within the field of conceptual art, emphasizing a perspective which many would find inadmissible, but is interesting to us.
(...)

To be able to access this material as it was in this day represents a huge time investment, a specific budget, provided also that the artist wants to work on that again. In some cases this might mean counting on programmers and developers to generate platforms that allow the piece to work seamlessly in current environments. We have translated a paradigmatic case undertaken for the exhibition Seeing Double (Guggenheim Museum) about the work The Erl King by Roberta Friedman and Grahame Weinbren. Examples like these are feasible if there’s an institution like a museum, a specialized archive or a project that might take charge. It is also possible, if the artist was willing to undertake it herself, as could be in the example you mentioned. She might add some ideas to the piece she didn’t include in the past and the technology she might have to use might also alter the particularities of the work. So we can imagine The Intruder might be different if manipulated, although we leave this aspect at the hands of the artist.

Reinterpretation and documentation are ways of contact with many of the previous works, but unfortunately the experience is hardly repeatable.

Artists Re:Thinking Games

2010-11-13T17:56:00.002+01:00

re-posted from neural.it:

Ruth Catlow, Marc Garrett, Corrado Morgana -  Artists Re: Thinking Games 

FACT/Liverpool University Press,  87 pages , 2010,  English , ISBN-13: 978-1846312472
Ruth Catlow and Marc Garrett, the two founders of Furtherfield (a collaborative artist-led community and organization dealing with art, technology and social change since 1996) are joined by artist and curator Corrado Morgana in editing this nice compendium of texts about game art. In the Furtherfield tradition the book is centered on artistic practice and is engaged with re-thinking games and their set of expected rules and stereotypes. So a few unedited interviews and texts by a valuable roster of contributors (Mary Flanagan, Mathias Fuchs, Anne-Marie Schleiner, Heather Corcoran, Daphne Dragona, Emma Westecott and David Surman) share quite a few remarkable concepts and topics: from "slow gaming" defined by Corcoran to the "interpassivity" formulated by Fuchs and the freedom of movement in game space discussed by Schleiner. Morgana, in the introduction, tries to frame many of these practices within Situationism and its strategies, including the preeminent and famous détournement. And strategies are undoubtedly essential for game art, so Morgana also points to the hacker approach as the other reference for artists who recombine games technically and conceptually. Published in conjunction with the exhibition "Space Invaders: Art and the Computer Game Environment" at FACT Liverpool (which travelled to the Netherlands Media Art Institute), this book talks about artists who construct non-normative games, and collects a representative selection of the significant game art scene.

ISEA2011 ISTANBUL Call for Papers, Artworks, Panels and Workshops

2010-11-12T21:12:00.002+01:00

CALL FOR 90 MINUTE PANEL PROPOSALS FOR ISEA2011 ISTANBUL CONFERENCE

ISEA2011 ISTANBUL dates are September 14 to 21 and the event will coincide with the Istanbul Biennial.
Please note that multiple proposals are acceptable.

Proposals should be submitted by panel chairs or co-chairs who will organize the session including its call for submissions or invitations.

PROPOSALS SHOULD PROVIDE AND ADDRESS THE FOLLOWING:

* A catchy title - you really need to stand out in the sea of information

* Concept for the panel and areas of investigation in the form of an abstract no longer than 350 words

* Keywords (maximum 10)

* Questions the panel will raise

* Specific topic areas presenters could address

* What types of presentation formats will be considered

* If your panel will be invitational, indicate the possible panelists (this is an hypothetical list the reviewers would like to see a sampling of your potential panelists)

* If your panel will have a call for submissions, provide a timetable for the process

* Include Email and Phone Contacts for Chair &/or Co-Chair together with address and affiliation

Leonardo Electronic Almanac (LEA) will provide the best panels proposal with an online platform for discussions (with ISSN: 10714391) leading up to the conference and moderated by the Chair &/or Co-Chair. Please state if you are interested in your proposal to be considered for a LEA Discussion (LEAD).

http://doc.gold.ac.uk/isea2011/ocs/index.php/isea2011/Istanbul

INCITE! Journal of Experimental Media & Radical Aesthetics

2010-11-10T14:45:00.000+01:00

//////////////////////////////////////////////////////////

INCITE! Journal of Experimental Media & Radical Aesthetics
Issue #2: Counter-Archive

Contributors: Simon Aeppli, Jo SiMayala Alcampo, Cory Arcangel, Dave Barber, Jessica Bardsley and Penny Lane, Nicola Bergstrom and Valdemar Lindekrantz, Michael Betancourt, Aleesa Cohene, Bruce Conner, Amelia Does, Walter Forsberg, Sandra Gibson and Luis Recoder, Noam Gonick, I LOVE PRESETS, Brett Kashmere, Bryan Konefsky, Evan Meaney, Jason Orman, Julie Perini, Jenny Perlin, Tasman Richardson, Michael Robinson, Ben Russell, Brittany Shoot, Ryan Tebo, Bart Testa, Cat Tyc, William C. Wees, and Philip Widmann.

Edition of 300.
Designed by Eliza Koch.
120 pages with DVD, $12 USD plus shipping.

//////////////////////////////////////////////////////////

CALL FOR SUBMISSIONS
INCITE #3: New Ages
http://www.incite-online.net/callforsubmissions_issue3.html

Submission Deadline: December 15, 2010

RE:WIRE Call For Papers

2010-11-10T14:43:00.000+01:00

Media Art History 2011 - Rewire
Fourth International Conference on the Histories of Media Art, Science and Technology
Liverpool, 28th September - 1st October 2011
Call For Papers now open - Deadline Monday, January 31st 2011

Host: FACT (Foundation for Art and Creative Technology), Liverpool
In collaboration with academic partners: Liverpool John Moores University, CRUMB at the University of Sunderland, the Universities of the West of Scotland and Lancaster, and the Database of Virtual Art at the Dept. for Image Science.

http://www.mediaarthistory.org/

Following the success of Media Art History 05 Re:fresh in Banff, Media Art History 07 Re:place in Berlin and Media Art History 09 Re:live in Melbourne, Media Art History 11 Rewire will host three days of keynotes, panels and poster sessions.

Media Art History 2011 - Rewire will increase the voltage and ignite key debates within the internationally distributed network of histories, which takes account of the questions surrounding documentation and methodologies, materiality, and agency. Rewire aims to up the current to illuminate the British contribution to media art, and by looking at our industrial heritage and contribution to the history of computing technologies themselves, we will open the discussion to how these contributions are manifested internationally. Considering the International scope of the histories of media art, science and technology, Rewire is also listed as part of the "McLuhan in Europe" programme, and will take place concurrently with The Asia Triennial in Manchester and Abandon Normal Devices, the North West's festival of new cinema and digital culture which returns to Liverpool in September 2011.The reviewers especially welcome proposals for presentations that
resonate thematically with these events.

We are looking for original research on:
* The relations between art, science, technology and industry, both historically and now
* New paradigms and alternative discourses for media art and media art history, such as, for example, craft, design, social media, or cybernetics
* Local histories and practices of media art, including (but not limited to) Britain
* Colonial experiences and non-Western histories of media art, science and technology
* Media art history in relation to the biological, biomedical and ecological sciences
* Relations between the histories of media art and those of computing and new technologies
* Writing art history in a technologised and scientific culture, including the documentation of media art and how it is changed in a technologised and scientific culture
* How the field of science and technology studies (STS) can offer useful models for new paradigms for art history

General papers will be accepted. The conference will be delivered in a range of formats, from panel discussions to Pecha Kucha sessions and video poster presentations, as well as a small number of invited speakers. The programme will include competitively selected, peer-reviewed individual papers, panel presentations, and poster sessions, as well as a small number of invited speakers. Keynote Lectures, by internationally renowned, outstanding theoreticians and artists, will deliberate on the central themes of the conference and will include the Roy Stringer Memorial Lecture, held annually by FACT in memory of Roy Stringer, an early pioneer of digital media, champion of multimedia industries in the North West and Liverpool, and former Chair of the Board at FACT. The conference will also include dedicated forum sessions for participants to engage in more open-ended discussion and debate on relevant issues and questions.

Please submit abstracts of no more than 250 words and a short cv by Monday 31 January 2011, either in Text, RTF, Word
or PDF formats, and clearly identify three keywords for your paper via the Call for Papers.

Chaired by Professor Mike Stubbs, Director of FACT, the panels at Rewire will be led by co-chairs - Paul Brown (Sussex, Deakin), Dr. Sarah Cook (CRUMB), Colin Davies (LJMU), Dr. Charlie Gere (Lancaster), Prof.
Andy Miah (UWS), Prof. Ed Shanken (UvA) - on areas of their own expertise, and submissions will be juried by the co-chairs together with Rewire's International Advisory Committee of leading academics, artists and industry professionals.

International Advisory Committee:
Steven BALL, Tatiana BAZZICHELLI, Stuart COMER, Sean CUBITT, Dieter DANIELS, Sara DIAMOND, Vince DZIEKAN, Charles ESCHE, Sarah FISHER, Jean GAGNON, Graham HARWOOD, Erkki HUHTAMO, Nick LAMBERT, Debbi LANDER, Tapio MAKELA, Chris MEIGH-ANDREWS, Frieder NAKE, Taylor NUTTALL, Steve PARTRIDGE, Christiane PAUL, Ned ROSSITER, Paul SERMON, Jinsuk SUH, Brett STALBAUM, Julian STALLABRASS, Atau TANAKA, Andrea ZAPP

exhibition: "Roboterträume" (robot dreams) @ kunsthaus graz

2010-11-06T10:08:00.003+01:00

exhibition:
09.10.2010-20.02.2011, 10:00 - 18:00 Uhr
kunsthaus graz, austria

http://www.museum-joanneum.at/de/kunsthaus/ausstellungen_3/robotertraeume

catalogue available here
contributing authors:
Isaac Asimov, Wenzel Mracek, Jutta Weber, Lilian Pfaff, Joachim Schätz, Manuela Kraft und den Kuratoren Katrin Bucher Trantow, Peter Pakesch, Andres Pardey und Roland Wetzel

Kehrer Verlag
Deutsch/Englisch
160 Seiten
Preis: 36 €

“Coding Patterns: The Algorithmic Mechanisms of John Whitney, Larry Cuba and Early Digital Animation”

2010-11-04T16:30:00.001+01:00

Andrew Johnston (PhD candidate, U. of Chicago)
“Coding Patterns: The Algorithmic Mechanisms of John Whitney, Larry Cuba and Early Digital Animation”
Respondent: jonCates (SAIC)
Thursday, Nov. 4 @ 6:30pm
The School of the Art Institute, 112 S. Michigan Ave, Room 1307

This paper examines the development of digital filmmaking and animation technologies in the 1960s and 1970s through an analysis of John Whitney and Larry Cuba’s films. Whitney made some of the first digital animations while an artist in residence at IBM from 1966-1969 and later worked with a variety of programmers through the 1970s, including Larry Cuba on "Arabesque" (1975). Through an analysis of the materials employed in the construction of Whitney and Cuba’s films, my paper attempts to make an intervention into contemporary discourses that highlight the ephemeral nature of digital film or that neglect the importance of how specific platforms and programming languages affect both visual aesthetics and notions of digital technology. I show how these filmmakers were each deeply invested in working through a negotiation with digital technology that attempts to reveal both the mechanism’s expressive logic and its limitations while simultaneously exploring the nature of animation.

jonCates, Associate Professor of Film, Video, New Media & Animation at The School of the Art Institute of Chicago, will respond.

"In Praise of Copying", Marcus Boon, 2010

2010-11-03T22:13:00.002+01:00

http://www.hup.harvard.edu/features/boon/Boon_text_final.pdf

Marcus Boon's new book, "In Praise of Copying". Download link above.
Fully enjoying reading it!

tate events podcasts

2010-10-29T16:10:00.005+02:00

podcasts of past tate events can be downloaded here

check out especially:
Resolutely Analogue?: Art Museums in Digital Culture podcast part 1, part 2

Expanded Cinema: Activating the Space of Reception part 1
part 2
part 3

and Friedrich Kittler's keynote lecture for Media Matters podcast

in praise of copying

2010-10-27T16:00:00.004+02:00

Marcus Boon's "In praise of copying" (2010) is available through the harvard univ. press website
Do read the author's statement for uploading the book to aaaarg.org.
through monoskop

Kim Cascone, The Aesthetics of Failure (2002)

2010-10-15T00:56:00.002+02:00

reposted from:
http://www.mediamatic.net/page/5901/en

The Aesthetics of Failure:

Over the past decade, the Internet has helped spawn a new movement in digital music. It is not academically based, and for the most part the composers involved are self-taught.

The digital revolution is over.

Nicholas Negroponte (1998)

Mr. Kim Cascone

Music journalists occupy themselves inventing names for it, and some have already taken root: glitch, microwave, DSP, sinecore, and microscopic music. These names evolved through a collection of decon-structive audio and visual techniques that allow artists to work beneath the previously impen-etrable veil of digital media. The Negroponte epigraph above inspired me to refer to this emergent genre as ‘post-digital' because the revolutionary period of the digital information age has surely passed. The tendrils of digital technology have in some way touched everyone. With electronic commerce
now a natural part of the business fabric of the Western world and Hollywood cranking out digital fluff by the gigabyte, the medium of digital
technology holds less fascination for composers in and of itself. In this article, I will emphasize that the medium is no longer the message; rather, specific tools themselves have become the message.

The Internet was originally created to accelerate the exchange of ideas and development of research between academic centers, so it is perhaps no sur-prise that it is responsible for helping give birth to new trends in computer music outside the con-fines of academic think tanks. A non-academic
composer can search the Internet for tutorials and papers on any given aspect of computer music to obtain a good, basic understanding of it. University computer music centers breed developers whose tools are shuttled around the Internet and used to develop new music outside the university.

Unfortunately, cultural exchange between non-academic artists and research centers has been lacking. The post-digital music that Max, SMS,
AudioSculpt, PD, and other such tools make pos-sible rarely makes it back to the ivory towers, yet these non-academic composers anxiously await
new tools to make their way onto a multitude of Web sites.
Even in the commercial software industry, the marketing departments of most audio software companies have not yet fully grasped the post-digi-tal
aesthetic; as a result, the more unusual tools emanate from developers who use their academic training to respond to personal creative needs.

This article is an attempt to provide feedback to both academic and commercial music software de-velopers by showing how current DSP tools are be-ing used by post-digital composers, affecting both the form and content of contemporary ‘non-academic' electronic music.

The Aesthetics of Failure

''It is failure that guides evolution;
perfection offers no incentive for
improvement.''

Colson Whitehead (1999)

The ‘post-digital' aesthetic was developed in part as a result of the immersive experience of working in environments suffused with digital technology: computer fans whirring, laser printers churning out documents, the sonification of user-interfaces, and the muffled noise of hard drives. But more spe-cifically, it is from the ‘failure' of digital technol-ogy that this new work has emerged: glitches, bugs, application errors, system crashes, clipping, aliasing, distortion, quantization noise, and even
the noise floor of computer sound cards are the raw materials composers seek to incorporate into their music.

While technological failure is often controlled and suppressed - its effects buried beneath the threshold of perception - most audio tools can
zoom in on the errors, allowing composers to make them the focus of their work. Indeed, ‘failure' has become a prominent aesthetic in many of the arts in the late 20th century, reminding us that our control of technology is an illusion, and revealing digital tools to be only as perfect, precise, and effi-cient as the humans who build them. New techniques are often discovered by accident or by the failure of an intended technique or experiment.

''I would only observe that in most high-profile
gigs, failure tends to be far more
interesting to the audience than success.''

David Zicarelli (1999)

There are many types of digital audio ‘failure.' Sometimes, it results in horrible noise, while other times it can produce wondrous tapestries of sound. (To more adventurous ears, these are quite often the same.) When the German sound experimenters known as Oval started creating music in the early 1990s by painting small images on the underside of CDs to make them skip, they were using an aspect of ‘failure' in their work that revealed a subtextual layer embedded in the compact disc.

Oval's investigation of ‘failure' is not new. Much work had previously been done in this area such as the optical soundtrack work of Laszlo
Moholy-Nagy and Oskar Fischinger, as well as the vinyl record manipulations of John Cage and Christian Marclay, to name a few. What is new is that ideas now travel at the speed of light and can spawn entire musical genres in a relatively short period of time.

Back to the Future

Poets, painters, and composers sometimes walk a fine line between madness and genius, and throughout the ages they have used ‘devices'
such as absinthe, narcotics, or mystical states to help make the jump from merely expanding their perceptual boundaries to hoisting themselves into
territories beyond these boundaries. This trend to seek out and explore new territories led to much experimentation in the arts in the early part of the
20th century.

When artists of the early 20th century turned their senses to the world created by industrial progress, they were forced to focus on the new and changing landscape of what was considered ‘background.'

''I now note that ordinarily I am concerned
with, focus my attention upon, things or
‘objects,' the words on the page. But I now
note that these are always situated within
what begins to appear to me as a widening
field which ordinarily is a background from
which the ‘object' or thing stands out. I now
find by a purposeful act of attention that I
may turn to the field as field, and in the case
of vision I soon also discern that the field has
a kind of boundary or limit, a horizon. This
horizon always tends to ‘escape' me when I
try to get at it; it ‘withdraws' always on the
extreme fringe of the visual field. It retains a
certain essentially enigmatic character.''

Don Idhe (1976)

Concepts such as ‘detritus,' ‘by-product,' and ‘background' (or ‘horizon') are important to con-sider when examining how the current post-digi-tal
movement started. When visual artists first shifted their focus from foreground to background (for instance, from portraiture to landscape paint-ing), it helped to expand their perceptual bound-aries,
enabling them to capture the background's enigmatic character.

The basic composition of ‘background' is com-prised of data we filter out to focus on our imme-diate surroundings. The data hidden in our perceptual ‘blind spot' contains worlds waiting to be explored, if we choose to shift our focus there. Today's digital technology enables artists to explore new territories for content by capturing and examining the area beyond the boundary of ‘normal' functions and uses of software.

Although the lineage of post-digital music is com-plex, there are two important and well-known pre-cursors that helped frame its emergence: the Italian Futurist movement at the beginning of the 20th century, and John Cage's composition 4'33' (1952).

Futurism was an attempt to reinvent life as it was being reshaped by new technologies. The Italian Futurist painter Luigi Russolo was so inspired
by a 1913 orchestral performance of a composition by Balilla Pratella that he wrote a manifesto, The Art of Noises, in the form of a letter to Pratella.
His manifesto and subsequent experiments with intonarumori (noise intoners), which imitated urban industrial sounds, transmitted a viral message to future generations, resulting in Russolo's current status as the ‘grandfather' of contemporary ‘post-digital' music. The Futurists considered in-dustrial life a source of beauty, and for them it provided an ongoing symphony. Car engines, ma-chines, factories, telephones, and electricity had been in existence for only a short time, and the resulting
din was a rich palette for the Futurists to use in their sound experiments.

''The variety of noises is infinite. If today,
when we have perhaps a thousand different
machines, we can distinguish a thousand
different noises, tomorrow, as new machines
multiply, we will be able to distinguish ten,
twenty, or thirty thousand different noises,
not merely in a simply imitative way, but to
combine them according to our imagination.''

Luigi Russolo (1913)

This was probably the first time in history that sound artists shifted their focus from the foreground of musical notes to the background of incidental
sound. Russolo and Ugo Piatti - who together constructed the noise intoners - gave them descriptive names such as ‘exploders,' ‘roarers,' ‘croakers,' ‘thunderers,' ‘bursters,' ‘cracklers,' ‘buzzers,' and ‘scrapers.' Although the intonarumori themselves never found their way into much of the music in the Futurists' time, they did manage to inspire composers like Stravinsky and Ravel to incorporate some of these types of sounds into their work.

A few decades after the Futurists brought incidental noise to the foreground, John Cage would give permission to all composers to use any sound in composing music. At the 1952 debut of Cage's 4'33', David Tudor opened the piano keyboard lid and sat for the duration indicated in the title, implicitly inviting the audience to listen to back-ground sounds, only closing and reopening the lid to demarcate three movements. The idea for 4'33' was outlined in a lecture given by Cage at Vassar College in 1948, entitled ‘A Composer's Confessions.' The following year, Cage saw the white paintings of Robert Rauschenberg, and he saw in this an oppor-tunity to keep pace with painting and push the stifled boundaries of modern music. Rauschenberg's white paintings combined chance, non-intention, and ‘minimalism' in one broad stroke, where the paintings revealed the ‘changing play of light and shadow and the presence of dust' (Kahn 1999). Rauschenberg's white paintings were a powerful catalyst that helped inspire Cage to remove all con-straints on what was considered music. Every environment could be experienced in a completely new way - as music.

Of equal importance to Cage's ‘silent piece' was his realization that there is, in fact, no such thing as ‘silence' - that, as human beings, our sensory per-ceptions occur against the background noise of our biological systems. His experience in an anechoic chamber at Harvard University prior to composing 4'33' shattered the belief that silence was obtainable and revealed that the state of ‘nothing' was a condition filled with everything we filtered out. From then on, Cage strove to incorporate this revelation
into subsequent works by paying attention not only to sound objects, but also to their background.

Snap, Crackle, Glitch

Fast-forwarding from the 1950s to the present, we skip over most of the electronic music of the 20th century, much of which has not, in my opinion, focused on expanding the ideas first explored by the Futurists and Cage. An emergent genre that consciously builds on these ideas is that which I have
termed ‘post-digital,' but it shares many names, as noted in the introduction, and I will refer to it from here on out as glitch. The glitch genre arrived on the back of the electronica movement, an umbrella term for alternative, largely dance-based electronic music (including house, techno, electro, drum'n'bass, ambient) that has come into vogue in the past five years. Most of the work in this area is released on labels peripherally associated with the dance music market, and is therefore removed from the contexts of academic consideration and acceptability that it might otherwise earn. Still, in spite of this odd pairing of fashion and art music,
the composers of glitch often draw their inspiration from the masters of 20th century music who they feel best describe its lineage.

A Brief History of Glitch

At some point in the early 1990s, techno music settled into a predictable, formulaic genre serving a more or less aesthetically homogeneous market
of DJs and dance music aficionados. Concomitant with this development was the rise of a periphery of DJs and producers eager to expand the music's
tendrils into new areas. One can visualize techno as a large postmodern appropriation machine, as-similating cultural references, tweaking them, and then re-presenting them as tongue-in-cheek jokes. DJs, fueled with samples from thrift store pur-chases of obscure vinyl, managed to mix any
source imaginable into sets played for more adventurous dance floors. Always trying to outdo one another, it was only a matter of time until DJs unearthed the history of electronic music in their archeological thrift store digs. Once the door was opened to exploring the history of electronic mu-sic, invoking its more notable composers came into vogue. A handful of DJs and composers of electronica were suddenly familiar with the work of Karlheinz Stockhausen, Morton Subotnick, and John Cage, and their influence helped spawn the glitch movement.

A pair of Finnish producers called Pan Sonic - then known as Panasonic, before a team of corpo-rate lawyers encouraged them to change their
name - led one of the first forays into experimentation in electronica. Mika Vainio, head architect of the Pan Sonic sound, used handmade sine wave
oscillators and a collection of inexpensive effect pedals and synthesizers to create a highly synthetic, minimal, ‘hard-edged' sound. Their first CD, titled Vakio, was released in the summer of 1993, and was a sonic shockwave compared to the more blissful strains of ambient-techno becoming popular at that time. The Pan Sonic sound con-jured stark, florescent, industrial landscapes; test-tones were pounded into submission until they
squirted out low, throbbing drones and high-pitched stabs of sine waves. The record label Vainio founded, Sähkö Records, released material by a growing catalog of artists, most of it in the same synthetic, stripped-down, minimal vein.

As discussed earlier, the German project Oval was experimenting with CD-skipping techniques and helped to create a new tendril of glitch - one of slow-moving slabs of dense, flitting textures. Another German group, which called itself Mouse on Mars, injected this glitch aesthetic into a more danceable framework, resulting in gritty low-fidelity rhythmic layers warping in and out of one another.

From the mid-1990s forward, the glitch aesthetic appeared in various sub-genres, including drum‘n'bass, drill'n'bass, and trip-hop. Artists
such as Aphex Twin, LTJ Bukem, Omni Trio, Wagon Christ, and Goldie were experimenting with all sorts of manipulation in the digital domain.
Time-stretching vocals and reducing drum loops to eight bits or less were some of the first techniques used in creating artifacts and exposing
them as timbral content. The more experimental side of electronica was still growing and slowly es-tablishing a vocabulary.

By the late 1990s, the glitch movement was keeping pace with the release of new features in music software, and the movement began congealing into a rudimentary form. A roster of artists was developing. Japanese producer Ryoji Ikeda was one of the first artists other than Mika Vainio to gain expo-sure for his stark, ‘bleepy' soundscapes. In contrast to Vainio, Ikeda brought a serene quality of spirituality to glitch music. His first CD, entitled +/-, was one of the first glitch releases to break new ground in the delicate use of high frequencies and short sounds that stab at listeners' ears, often leav-ing
the audience with a feeling of tinnitus.

Another artist who helped bridge the gap be-tween delicate and damaging was Carsten Nicolai (who records and performs under the name Noto).
Nicolai is also a co-founder of Noton/Rastermusic, a German label group that specializes in innovative digital music. In a similar fashion, Peter Rehberg, Christian Fennesz, and the sound/Net art project Farmers Manual are tightly associated with the Mego label located in Vienna. Rehberg has the distinction of having received one of only two honorary Ars Electronica awards in Digital Music for his contribution to electronic music. Over the
past few years, the glitch movement has grown to encompass dozens of artists who are defining new vocabularies in digital media. Artists such as
immedia, Taylor Deupree, Nobukazu Takemura, Neina, Richard Chartier, Pimmon, *0, Autopoieses, and T:un^*, to name just a few, constitute the second wave of sound hackers exploring the glitch aesthetic.

There are many artists who have not been mentioned here who contribute to pushing the boundaries of this movement. It is beyond the scope of
this article to go deeply into the evolution of glitch music, but I have included a discography at the end of this article that will offer good starting points for the casual listener.

Power Tools

Computers have become the primary tools for creating and performing electronic music, while the Internet has become a logical new distribution medium. For the first time in history, creative output and the means of its distribution have been inextricably linked. Our current sonic backgrounds have dramatically changed since 4'33' was first performed - and thus the means for navigating our sur-roundings as well. In response to the radical
alteration of our hearing by the tools and technologies developed in academic computer music centers - and a distribution medium capable of shuttling tools, ideas, and music between like-minded
composers and engineers - the resultant glitch movement can be seen as a natural progression in electronic music. In this new music, the tools
themselves have become the instruments, and the resulting sound is born of their use in ways unintended by their designers. Commonly referred to as
sound ‘mangling' or ‘crunching,' composers are now able to view music on a microscopic level. Curtis Roads coined the term microsound for all
variants of granular and atomic methods of sound synthesis, and tools capable of operating at this microscopic level are able to achieve these effects. Because the tools used in this style of music embody advanced concepts of digital signal processing, their usage by glitch artists tends to be based on experimentation rather than empirical investigation. In
this fashion, unintended usage has become the second permission granted. It has been said that one does not need advanced training to use digital signal processing programs - just ‘mess around' until you obtain the desired result. Sometimes, not knowing the theoretical operation of a tool can result in more interesting results by ‘thinking outside of the box.' As Bob Ostertag notes, ‘It appears that the more technology is thrown at the problem, the more boring the results' (1998).

''I looked at my paper, said Cage. Suddenly
I saw that the music, all the music, was already
there.' He conceived of a procedure which
would enable him to derive the details of his
music from the little glitches and
imperfections which can be seen on sheets of
paper. It had symbolic as well as practical
value; it made the unwanted features of the
paper its most significant ones—there is not
even a visual silence.''

David Revill (1999)

New Music From New Tools

Tools now aid composers in the deconstruction of digital files: exploring the sonic possibilities of a Photoshop file that displays an image of a flower,
trawling word processing documents in search of coherent bytes of sound, using noise-reduction software to analyze and process audio in ways that
the software designer never intended. Any selection of algorithms can be interfaced to pass data back and forth, mapping effortlessly from one di-mension into another. In this way, all data can become fodder for sonic experimentation.

Composers of glitch music have gained their technical knowledge through self-study, countless hours deciphering software manuals, and probing
Internet newsgroups for needed information. They have used the Internet both as a tool for learning and as a method of distributing their work. Com-posers now need to know about file types, sample rates, and bit resolution to optimize their work for the Internet. The artist completes a cultural
feedback loop in the circuit of the Internet: artists download tools and information, develop ideas based on that information, create work reflecting those ideas with the appropriate tools, and then upload that work to a World Wide Web site where other artists can explore the ideas embedded in the work.

The technical requirements for being a musician in the information age may be more rigorous than ever before, but - compared to the depth of
university computer music studies - it is still rather light. Most of the tools being used today have a layer of abstraction that enables artists to explore without demanding excessive technical knowledge. Tools like Reaktor, Max/MSP, MetaSynth, Audiomulch, Crusher-X, and Soundhack are pressed into action, more often than not with little care or regard for the technical
details of DSP theory, and more as an aesthetic wandering through the sounds that these modern tools can create.

The medium is no longer the message in glitch music: the tool has become the message. The technique of exposing the minutiae of DSP errors and
artifacts for their own sonic value has helped further blur the boundaries of what is to be considered music, but it has also forced us to also to examine our preconceptions of failure and detritus more carefully.

Discussion

Electronica DJs typically view individual tracks as pieces that can be layered and mixed freely. This modular approach to creating new work from pre-existing materials forms the basis of electronic music composers' use of samples. Glitch, however, takes a more deconstructionist approach in
that the tendency is to reduce work to a minimum amount of information. Many glitch pieces reflect a stripped-down, anechoic, atomic use of sound,
and they typically last from one to three minutes.

But it seems this approach affects the listening habits of electronica aficionados. I had the experi-ence of hearing a popular sample CD playing in a clothing boutique. The ‘atomic' parts, or samples, used in composing electronica from small modular pieces had become the whole. This is a clear indication that contemporary computer music has become
fragmented, it is composed of stratified layers that intermingle and defer meaning until the listener takes an active role in the production
of meaning.

If glitch music is to advance past its initial stage of blind experimentation, new tools must be built with an educational bent in mind. That is, a tool
should possess multiple layers of abstraction that allow novices to work at a simple level, stripping away those layers as they gain mastery. In order to
help better understand current trends in electronic music, the researchers in academic centers must keep abreast of these trends. Certainly, many of
their college students are familiar with the music and can suggest pieces for listening. The compact discs given in this article's reference list form a
good starting point. More information can be obtained by reading some of the many electronic mailing lists dedicated to electronica, such as the
microsound, idm, and wire lists. In this way, the gap can be bridged, and new ideas can flow more openly between commercial and academic sectors.

''We therefore invite young musicians of
talent to conduct a sustained observation of
all noises, in order to understand the various
rhythms of which they are composed, their
principal and secondary tones. By comparing
the various tones of noises with those of
sounds, they will be convinced of the extent
to which the former exceeds the latter. This
will afford not only an understanding, but
also a taste and passion for noises.''

Luigi Russolo (1913)

Postscript

First we shape our tools and then our tools shape us.

Marshall McLuhan

Within the current subgenre of electronic music known as 'microsound', or
glitch' and which I prefer to call 'post-digital', composers have
collapsed the performance and work environments into a single environment
via the laptop computer. The laptop is no less a musical instrument than
the guitar or the piano but represents the first time in music history that
an instrument can be used to write and perform music as well as distribute
it.

Most electronic music relies heavily on its ability to stimulate the
listener with new sounds sculpted via the power of the computer. These new
forms of computer music are heavily informed not only by the way the
computer enables the composer to work but also by how the software
developer implemented his or her software program. Many of the abstract
layers of digital technology that exist between the composer and the CPU
are now being drawn upon in an attempt to critique the medium of digital
audio and to use the less stable boundaries of software as a aesthetic
device. This collection of abstract layers of hardware and software can be
viewed as a 'chain of abstractions.'

The reason that these abstractions come into play on a laptop and not on a
dedicated piece of hardware such as a synthesizer or sampler is due to the
fact that the laptop is an open system whereas the synthesizer is a closed
system in which the end user accepts the limited functionality based on its
intended set of behaviors. For example, a synth cannot browse the internet
or perform word processing tasks but the laptop can and shapeshifts along a
continuous surface of possible functions, functions that can change based
on context.

The chain of abstractions has placed the musician in the role of a remote
operator of their 'instrument.' An instrument is defined in computer music
as a chunk of code running on the CPU that generates sound via some method
of sound synthesis. This code based generator of sound is kept separated
from the musician by multiple layers of conceptual abstractions. Each level
translates a lower language into a higher one which makes the information
flowing up the chain understandable to the person working on the level
above but also makes the lower levels inaccessible to those working at
higher levels who don't possess specialized knowledge. From the machine
code to the user interface to the cultural apparatus of the listener, the
musician can navigate these multiple levels in order to actualize their
vision or they can rely on the higher abstractions and let the
'under-the-hood' operations remain unknown.

But because the musician is relieved from the work of physically producing
sound (the causation of physical vibrations) there is another more direct
connection that gets formed by bypassing the physical connection to an
instrument: thought to sonic output. This freedom and power had contributed
highly to the rich culture of electronic music today enabling a new
generation of composer's access to tools and methods previously found only
in academia. The Ivory Towers have been infiltrated and their tools
appropriated in the service of creating a new style of music and this can
only be a good thing.

References

-Cage, J. 1952. 4'33'. Published c. 1960. New York: Henmar Press.

-Idhe, D. 1976. Listening and Voice: A Phenomenology of Sound. Athens, Ohio: Ohio University Press.

-Kahn, D. 1999. Noise, Water, Meat. Cambridge, Massa-chusetts: MIT Press.

-Negroponte, N. 1998. ‘Beyond Digital.' Wired 6(12).

-Ostertag, B. 1998. ‘Why Computer Music Sucks.' Available online at www.l-m-c.org.uk/texts/ostertag.html.

-Revill, D. 1992. The Roaring Silence. John Cage: A Life. New York: Arcade Publishing.

-Russolo, L. 1987. The Art of Noises. New York: Pendragon Press. (Originally published in 1913.)

-Whitehead, C. 1999. The Intuitionist. New York: An-chor Books.

Discography

-Christian Fennesz. 1999. +475637-165108. London: Touch TO:40.

-Farmers Manual. 1999. No Backup. Vienna: Mego MEGO008.

-Kim Cascone. 1999. cathodeFlower. Frankfurt: Mille Plateaux/Ritornell RIT06.

-Mika Vainio. 1997. Onko. London: Touch TO:34.

-Mouse On Mars. 1995. Vulvaland. London: Too Pure 36.

-Neina. 1999. Formed Verse. Frankfurt: Mille Plateaux MPCD72.

-Nosei Sakata and Richard Chartier. 1999. *0/rc. Brooklyn: 12K 12K.1006.

-Noto. 1998. Kerne. Bad Honnef: Plate Lunch PL04.

-Oval. 1994. Systemische. Frankfurt: Mille Plateaux MPCD9.

-Pimmon. 1999. Waves and Particles. Tokyo: Meme MEME015CD.

-Pita. 1999. Seven Tons for Free. Osaka: Digital Narcis MEGO009.

-Ryoji Ikeda. 1996. +/-. London: Touch TO:30.

-Various Artists. 1999. Microscopic Sound. New York: Caipirinha Music CAI2021-2.

-Various Artists. 2000. blueCubism. Osaka: Digital Narcis DNCD007.

-Various Artists. 2000. Clicks and Cuts. Frankfurt: Mille Plateaux MPCD079.

the sound of eye

2010-10-10T16:22:00.002+02:00

great blog with rapidshare links to rare material

Symposium: The Digital Oblivion - Substance and Ethics in the Conservation of Computer-Based Art

2010-10-04T11:45:00.005+02:00

4. – 5. 11. 2010
10.00–18.00

ZKM | Zentrum für Kunst
und Medientechnologie
Karlsruhe, Germany

As part of the broader research project digital art conservation, this international symposium aims to investigate the future of our digital cultural memory, focusing in particular on the preservation of computer-based art. For a couple of decades now, digitalisation has allowed the content of cultural memory to be more easily processed and circulated. However, the preservation of digital contents is fundamentally conditioned by the need to conform to an ever more rapid sequence of new technical systems. This functional obsolescence presents a systemic threat to digital cultural memory. Again and again, the threat of obsolescence leads previous criteria of cultural memory – longevity and authenticity – ad absurdum. The practice and theory of art collecting and preservation has also seen a paradigm shift, presenting curators, collectors, scholars and conservators with a new set of as yet unsolved problems. Whereas traditional media and tools remained in the possession of artists and curators, new digital media have definitely reduced the autonomy of these cultural actors.
Parallel to day-to-day collecting and exhibition practice – necessarily pragmatic – conservation theory has recently seen a normative debate on the ethics of preservation, a discussion comparable to developments elsewhere in the humanities and natural sciences, as well as in bioethics and environmental ethics. The conference’s discussion of the ethics of conservation aims to overcome the current uncertainty surrounding the preservation of digital media art as part of our cultural heritage. This set of interconnected themes forms the context for the questions posed by the first international symposium of digital art conservation, a threeyear research project funded by the European Union: What consequences will the ongoing systemic change of cultural memory have for our consciousness of time and of history, and for our image of ourselves and the world? Are traditional criteria for conservation – a work of art’s originality, longevity and inherent economic value – at all applicable to new media art? Should standards of best practice be developed for the conservation and collection of digital media art?

Speakers:
Prof. Dr. Hans Belting
Professor emeritus for the science of art and media theory,
Staatliche Hochschule für Gestaltung Karlsruhe
Prof. Dr. Edmond Couchot
Professor emeritus Université de Paris VIII
Alain Depocas
Director of the Centre for Research and Documentation,
Daniel Langlois Foundation, Montréal
Herbert W. Franke
Artist, scientist and writer, Egling
Rosina Gómez-Baeza Tinturé
Director, LABoral Centre for Art and Creative Industries, Gijon
Prof. Dr. Hans Dieter Huber
Head of degree programme conservation of new media and digital
information, Staatliche Akademie der Bildenden Künste, Stuttgart
Antoni Muntadas
Artist, New York
Daria Parkhomenko
Director, LABORATORIA Art & Science Space, Moscow
Dr. Ingrid Scheurmann
Deutsche Stiftung Denkmalschutz, professorship
architectural heritage and applied historical
building research, Technische Universität Dresden
Prof. Dr. Bernhard Serexhe
Head curator, ZKM | Medienmuseum, Karlsruhe
Prof. Dr. h.c. Peter Weibel
CEO, ZKM | Karlsruhe
Dr. Klaus Weschenfelder
President ICOM Germany
Prof. Dr. Siegfried Zielinski
Professor for media theory, Universität der Künste, Berlin

Entrance free, no booking required

Languages /Sprachen/ langues: EN, DE, FR
ZKM_Medientheater
Lorenzstraße 19
76135 Karlsruhe

Bit International : A Little-Known Story ...

2010-10-02T20:51:00.003+02:00

A little-known story about a movement, a magazine, and the computer\\\'s arrival in art: New Tendencies and Bit International, 1961-1973 : [bit international [Nove] tendencije. Computer und visuelle Forschung Zagreb 1961-1973. Exhibitions: Neue Galerie Graz am Landesmuseum Joanneum 28.04.-17.06.2007, ZKM, Center for Art and Media Karlsruhe 23.02.2008-18.01.2009] / ed. by Margit Rosen. - Cambridge, Mass. : MIT, 2011. - 576 S. : zahlr. Ill.
ISBN: 978-0-262-51581-8

This book documents a short but intense artistic experiment which took place in Yugoslavia fifty years ago, but whose impact has been felt far beyond that time and place. Ostensibly, the “little-known story” concerns the advent of computers in art and a movement which began in 1961 in Zagreb, Yugoslavia. It was through the activities of that movement, known as New Tendencies, and its supporting institution, the Galerija suvremene umjetnosti, that the “thinking machine” was adopted as an artistic tool and medium. Pursuing the idea of “art as visual research,” the New Tendencies movement proceeded along a path which led from Concrete and Constructivist art, Op art, and Kinetic art with its dynamic apparatuses to computer-generated graphics, film, and sculpture – from “programmed art” without computers to art generated or controlled by computers.

With their exhibitions and conferences on the theme of computers and visual research and the launch of the multilingual, groundbreaking magazine bit international in 1968, the New Tendencies transformed Zagreb, already one of the most vibrant artistic centers in Yugoslavia, into an international meeting place where artists, engineers, and scientists from both sides of the Iron Curtain gathered around the then-new technology. For a brief moment in time, Zagreb was the epicenter for exploring the aesthetic, scientific, and political potential of the computer. This volume, edited by Margit Rosen, includes new essays by Jerko Denegri, Darko Fritz, Margit Rosen, and Peter Weibel; a great number of essays and texts that were first published in New Tendencies exhibition catalogs and bit international magazine; and historic documents. Over 650 black-and-white and color illustrations testify to the wide and diverse panorama of artworks that were presented in the exhibitions, and introduce the movement’s protagonists. Many of the historic photographs, translations, and documents are presented here for the first time. The book presents the long overdue history of the New Tendencies experiment and its impact on the art of the twentieth century.

CFP: virtual histories (deadline: oct. 24th)

2010-09-15T09:14:00.001+02:00

CALL FOR PAPERS | VIRTUAL HISTORIES
Graduate Humanities Forum | http://humanities.sas.upenn.edu/ghf.shtml
Penn Humanities Forum | http://humanities.sas.upenn.edu
University of Pennsylvania

DEADLINE: THURSDAY, OCTOBER 14, 2010
SUBMIT proposals (250 words maximum) and one-page CV by e-mail
attachment to Scott Enderle (enderlej@english.upenn.edu).

The Graduate Humanities Forum of the University of Pennsylvania
invites submissions for its 11th annual conference: "Virtual
Histories." The one-day interdisciplinary conference will take place
on Friday, February 18th, 2011 at the Penn Humanities Forum in
conjunction with its 2010-2011 topic: "Virtuality."

Ours is, as the commonplace would have it, an age of information.
Viewed as part of the old-fashioned scheme of Stone, Bronze, and Iron,
our age seems rarefied indeed: hard yet malleable, iron is apt to be
shaped by our will, but information is infinitely more so. Poised to
escape into pure ideality, we may find it easy to forget that the
virtual also has a history.

"Virtual Histories" foregrounds the historical matrix in which our
information technologies are embedded, seeking traces of the virtual
in the rituals and dreams of the past, while at the same time
considering the history of virtuality as one not yet enacted.

We invite submissions from a wide range of disciplines exploring
points of continuity and rupture between past, present, and future
virtualities. How do the other worlds of religious doctrine overlap
with the other world of Second Life? What is the long history of
icons, scripts, and avatars? To what degree are instant wire transfers
more virtual than the bills of sale and credit, bank notes, or paper
money of earlier centuries? What is the phenomenology of a bank run?
What are the ramifications of virtual experience for the empiricism of
Locke, Berkeley, and Hume? What is the material history of the
virtual? How have constructs of gender and race virtualized bodies,
and what are the ethics of bodily escape and transcendence among
Platonic users of sites such as match.com?

At the same time as we seek to historicize the virtual, we invite
contributions that limn possibilities not yet realized, exploring the
potential of distant reading and text mining, and considering
prospects that continue to emerge for politics, social interaction,
and art, not only in visual, but also in auditory and even tactile
forms. What new subjectivities and experiences might the virtual make
available, perhaps even as it calls into question the stability of
those concepts?

Other topics for proposals might include the following:

-The demarcation of the virtual.
-The material bases of virtual superstructures.
-"New" media of past eras and virtual appropriations of "old" media.
-Grammars and ideologies of the virtual.
-Imagined communities and virtual nations.
-Intellectual Property and virtual appropriation.
-Mimesis, simulation, and sensory prosthetics.

Conference Keynote: LISA NAKAMURA (Illinois, Urbana-Champaign)
GRIEFING CULTURE AND INCIVILITY ON THE INTERNET
Lisa Nakamura is the author or coeditor of four books, including
_Digitizing Race: Visual Cultures of the Internet_ (University of
Minnesota Press, 2007) and _Race After the Internet_ (with Peter
Chow-White, Routledge, forthcoming 2011). She is currently working on
a new monograph tentatively entitled Workers Without Bodies: Towards a
Theory of Race and Digital Labor in Virtual Worlds. Nakamura is the
Director of the Asian American Studies Program, Professor in the
Institute of Communication Research and Media Studies Program, and
Professor of Asian American Studies at the University of Illinois,
Urbana-Champaign, where she teaches courses on Asian Americans and
media as well as introductory and advanced courses on new media
criticism, history, and theory.

Proposals should be no longer than 250 words, and should be submitted
along with a one-page CV by email attachment to Scott Enderle
(enderlej@english.upenn.edu). The deadline for proposals is Thursday,
October 14th, 2010.

--
Scott Enderle
Brizdle-Schoenberg Fellow in the History of Material Texts
Graduate Research Assistant
Penn Humanities Forum
University of Pennsylvania
Philadelphia PA
scott.enderle@gmail.com
862-812-8910

====

Paul Brown - based in OZ April to November 2010

mailto:paul@paul-brown.com == http://www.paul-brown.com

OZ Landline +61 (0)7 3391 0094 == USA fax +1 309 216 9900

OZ Mobile +61 (0)419 72 74 85 == Skype paul-g-brown

====

Synapse Artist-in-Residence - Deakin University

http://www.deakin.edu.au/itri/cisr/projects/hear.php

Honorary Visiting Professor - Sussex University

http://www.cogs.susx.ac.uk/ccnr/research/creativity.html

====

paraflows 2010, Sept. 9th - Oct. 10th

2010-09-14T12:23:00.006+02:00

paraflows 2010, "mind and matter" exhibition and symposion in vienna, started last week:
http://2010.paraflows.at/index.php

nonlinear history

2010-09-13T14:48:00.004+02:00

Andrey Smirnov's Nonlinear History (of audiovisual composition) features some long forgotten yet amazing equipment...ppts and videos can be downloaded here

Photos of Ars Electronica 2010

2010-09-11T15:11:00.002+02:00

i uploaded my photos from this year's Ars Electronica festival to here.
Enjoy!

noise & capitalism

2010-09-07T10:33:00.002+02:00

a recent title published by arteleku audiolab, edited by Mattin & Anthony Iles, with constributions by Ray Brassier, Emma Hedditch, Matthew Hyland, Anthony Iles, Sara Kaaman, Mattin, Nina Power, Edwin Prévost, Bruce Russell, Matthieu Saladin, Howard Slater, Csaba Toth, Ben Watson.

the full book can be downloaded here

an exhibition as concert based on the book is taking place at CAC Bretigny the next weeks.

Open Call for Artists - ANEMIC FESTIVAL

2010-08-07T12:22:00.001+02:00

Join us in creating the ANEMIC Festival, November 4 - 16, 2010!
2010 marks the first annual ANEMIC FESTIVAL, initiated by the organization « M77 Arts, Digital creation & Training ». The international festival of the independent creation dedicated to the short-films, animated films, documentary films, video arts, vfx & motion graphic , visual arts, digital creation, multimedia performance & installation, web art and all forms of crea(c)tion in situ & urban. The festival needs you ! We are looking for willing volunteers to help us to build an international platform gathering and displaying all independent & contemporary creations.

Interview with Ken Knowlton

2010-08-07T11:50:00.001+02:00

Zach Lieberman interviewed Ken Knowlton:
http://thesystemis.com/category/blog/

ken knowlton interview from thesystemis on Vimeo.

Vodule: Tracing the extension of volume and modularity in 3-D, augmented reality, and emerging media

2010-07-27T10:58:00.003+02:00

Vodule, a new project by Yong Kim, Eduardo Navas, Maxx Navas and Ludmil Trenkov, examines the concepts of volume and modularity in media:

"Vodule examines the concepts of volume and modularity in media. We focus on how image, sound and other forms of communication are reinterpreted and extended with the purpose to provide immediate and believable bodily experience. At the moment, it is in Augmented Reality, Gaming, and 3D technology where much research and development is taking place, which is why we take these areas as starting points. Vodule also includes material from more established fields that push the possibilities of representation and communication as we know it.

Vodule is a word that encapsulates “volume” as in actual body or mass, as understood in physical space and simulated in 3D visualization; and “module” as a reference to different parts or objects that can work together but are interchangeable and independent, as defined in computing. Media covered includes Film, Photography, Gaming and all in-between. Reblogs, news feeds, reviews and special features are presented together to enhance the understanding of emerging media.

We reblog everyday and write in-depth articles regularly. If you would like to contribute or give us a tip, make sure to visit our contribute page to learn how."

http://www.vodule.com

Original Pacman sketches

2010-07-05T08:12:00.003+02:00

via Alain Dépocas on FB:

Original Pacman sketches from Toru Iwatani.

http://control-online.nl/gamesindustrie/2010/06/22/iwatani-toont-gamesgeschiedenis-in-meest-pure-vorm/

Cory Arcangel - Arnold Schoenberg, op. 11 - II - Cute Kittens

2010-06-29T23:26:00.000+02:00

Amiga Gaming Retrospective

2010-06-15T20:00:00.002+02:00

Jeremy Reimer on ArsTechnica:

"The Amiga was born a game machine, but it entered a world where the video game industry was well-established and changing rapidly. Long gone were the days where a lone coder would stay up all night in his basement for six weeks and bang out a hit for the Atari 2600. Even the younger and smaller computer game industry had moved far beyond Roberta Williams putting floppy disks into ziplock bags and answering phone calls from players in her kitchen. The success of the Commodore 64 (and on the other side of the pond, the Sinclair Spectrum) meant that more money was available for computer game development, and it was a good thing too, as the more powerful 16-bit machines were starting to seriously test the limits of a one-man development team. For the first time, specialized careers were starting to emerge in game development. The Amiga's rich, 4096-color palette demanded people who were skilled artistically to create the sprites and backgrounds. The four-channel sampled sound chip cried out for musicians to make it sing. The larger size and complexity of the games required that someone other than the programmers be asked to test the games before they were released."

[read on]

art conference papers by pablo helguera / lol!

2010-05-04T15:42:00.005+02:00

Entangled. Technology and the Transformation of Performance

2010-04-29T21:27:00.003+02:00

Chris Salter's Entangled, Technology and the Transformation of Performance, explores technology’s influence on artistic performance practices in the twentieth and twenty-first centuries. In Entangled, Chris Salter shows that technologies, from the mechanical to the computational—from a "ballet of objects and lights" staged by Diaghilev's Ballets Russes in 1917 to contemporary technologically enabled "responsive environments"—have been entangled with performance across a wide range of disciplines. Salter examines the rich and extensive history of performance experimentation in theater, music, dance, the visual and media arts, architecture, and other fields; explores the political, social, and economic context for the adoption of technological practices in art; and shows that these practices have a set of common histories despite their disciplinary borders.

sample chapters available

geert lovink interview

2010-04-19T16:25:00.001+02:00

politics of internet culture / interview: geert lovink

Do read this !

2010-04-06T23:45:00.005+02:00

conversation of Garnet Hertz with Jussi Parikka on Archaelogies of Media Art published on

CTheory.net/Resetting Theory/rt020 - 4/1/2010

www.ctheory.net

lessons in web art. thomas dreher

2010-03-22T23:32:00.000+01:00

cyberneticzoo.com a history of cybernetic animals and early robots

2010-03-18T16:20:00.000+01:00

Tobias Bernstrup and Palle Torsson interview - jonCates (2007)

2010-02-16T06:10:00.002+01:00

"Make your own exhibitions. Examine it, rip it apart and learn from it and do copy it. Don´t forget that stealing is everything." from the Museum Meltdown arken.map README by Palle Torsson and Tobias Bernstrup (1996)

i am currently releasing an interview that i did w/Tobias Bernstrup and Palle Torsson on the Art Game Studies platform which i introduced here:

http://bit.ly/apCkM8

Bernstrup and Torsson collaboratively created a series of Art Games in the form of Art Mods called Museum Meltdown from 1996 to 1999. these Art Mods are among the first of their kind, New Media Art interventions into the site of their own exhibition which utilize the possibilities presented by First Person Shooters and level editing. i interviewed Bernstrup and Torsson in 2007 to discuss these Media Art Histories for an essay of mine called Running and Gunning in the Gallery: Art Mods, Art Institutions and the Artists that Destroy Them, which will appear in From Diversion to Subversion: Games, Play, and Twentieth-Century Art, edited by David Getsy. our discussion is both technical and conceptual, involving questions of Institutional Critique, site specificity and personal reflections of the often self-relfexive process of making museums meltdown...

jonCates
Chicago
2010

Art Game Studies resource

2010-01-25T22:48:00.003+01:00

i am releasing a new + open collaborative/community-based resource on/for Art Game Studies here:

http://bit.ly/5GdzNL

this list is primarily drawn from classes that i teach at the School of the Art Institute of Chicago where i have developed the New Media curriculum in the department of Film, Video & New Media. the list includes works that i + others have taught, played, researched, written on, developed, screened + exhibited as well those that have been developed by my students, colleagues, peers, fellow artists + myself. as such, this resource is subjectively crafted from my own experiences but hopefully objectively useful as a contribution to the field of Art Game Studies + Media Art Histories.

the resource will be used in my upcoming course Art Game Studies, a new Media Art Histories course being offered by the Art History, Theory & Criticism department + Film, Video & New Media. this course is both an overview of Art Games as well as introduction to the theories + discourses of Game Studies. the research for this resource also comes from + contributes to my ongoing work in this field, such as my essay, Running and Gunning in the Gallery: Art Mods, Art Institutions and the Artists that Destroy Them, which will appear in From Diversion to Subversion: Games, Play, and Twentieth-Century Art, edited by David Getsy, to be published by Penn State Press.

i am offering this resource freely + openly to anyOne who wants to contribute to or comment on these histories. i will be revising the version that i use in my classes based on your contributions + comments. i hope that artists, academics, researchers + theorists of Art Mods, Art Games, Artware + New Media Art (1) in general find this resource engaging + useful as an open + collaborative/community-based resource that we can develop together, to help document these emerging theorypractices. (2)

jonCates
CHICAGO.US
2010.01.20

1. a note on taxonomies + my approach: in my thinking/feeling on the subject, Art Games are a subset of Artware (or Software Art) which itself is a subset of New Media Art. i will use the term New Media Art, as it is used in the field by authors such Michael Rush in his New Media in Late 20th-Century Art from 1999 or Mark Tribe + Reena Jana in their collaborative book simply entitled New Media Art. i am also using the phrase "New Media Art" as we use it in the Film, Video & New Media Department. When we use the phrase New Media we refer to time, screen + code based Digital Art that is connected to the histories + theorypractices of Media Art, i.e. Film Art + Video Art. we are primarily concerned with experimental Media Art + we see New Media Art in relation to all other forms of experimental Media Art such as Film, Video, Animation, Installation, Art Games, Machinima, Realtime Audio Video, Web Art, Software Art + Free & Open Source Software. i also take this perspective from two of my own professors, Lev Manovich + Sean Cubitt. For Cubitt + Manovich Video Art and New Media Art are (respectively) both hybrid categories of creative cultural work, meshworks of interconnections that are socially situated technological forms. i am similarly motivated to understand Art Games in this manner.

2. a note on the contents of the Art Game Studies resource: this resource is not intended to be comprehensive but rather as i described above, collaborative + open. not all works in this list can be included in any given syllabus, courseware, research project, published essay, book, etc. still, i believe it is very important to openly compile + discuss such lists in order to respect + encourage multiple parallel Media Art Histories to develop. in this initial version i have not included many commercial mainstream or mass market gaming products or services in terms of chronologies of hardware (i.e. particular consoles) or software (i.e. specific games). in the cases where i have included these they are primarily in place to document the development of a genre (such as the First Person Shooter) or a crossovers between markets (such as in the case of Electro Plankton by Toshio Iwaii).

COPY-IT-RIGHT 2010

Gothic Chic in the Future Favela - Bruce Sterling (2009)

2010-01-04T20:09:00.003+01:00

Bruce Sterling delivered a keynote talk "Gothic Chic in the Future Favela" @ the conference You Me and Everyone We Know is a Curator in Amsterdam. Morgan Currie transcribed + has published a transcript on the Masters of Media collaborative blog of the new media master students of the University of Amsterdam. Currie's transcript of Sterling's talk follows below. - jonCates

"Bruce Sterling: Gothic Chic in the Future Favela

The next decade we’re entering into the teens. It’s a decade inhabited by digital natives, rather than digital revolutionaries, though this is something that has already happened. It’s already behind us, after 1989,when we switched from analogue to digital, from actual to virtual, from scientific to user-centric, local to global, multinationals to financial moguls.

Most of my life has been spent talking about this change. This next decade is in the hands of people who don’t care about that. They don’t know what a typewriter ribbons was. They don’t remember older ways of doing things abolished by these revolutions. Digital natives are growing up in a depression, when banks make people poor, and healthcare makes people sick. Digital natives never have to be told to digitize anything. The hardware is all around. Their immediate response is to grab for a mobile or a laptop.

The driving forces of the digital revolution continue and intensify, but there is no previous order left to rebel against. We don’t get a digital new world order. Digital culture is too fluid and inherently destabilizing, there are too many small pieces to join, and it’s always in beta form. The digital is a tool, but not a tool that interest groups can use to advance their own interests. We don’t get prosperity or governance from it. It’s not a force for good or ill but a phenomenon like electrification, the railroad, or other transformative infrastructures. Railroad natives were bored to death by people who explained railroads as if they were impressive. They’re just there once they’re there.

Now we need to comprehend the teens…today. My intuition is that the teens offer two categories of historical experience. What’s it like? Gothic high tech and favela chic. These two cultural sensibilities are not here yet.

Gothic high tech is the analogue past, It’s the industrial order with enormous holes and absences, with dead areas formerly thriving but that have been undercut or disintermediated, or digitally layered over or off-shored or abandoned. They no longer pay or socially function. They are ruins. In the graphics world they’re obvious: analogue graphics, letter set, hand-letter typed fonts, scissors, glue, type setting machines, books, magazines, print media, and the early digital media of 80s and 90s, stuck on abandoned websites and dead social networks. No one is in charge; it’s visibly decaying. Megatons of it, irrelevant, incapable of restoration, the walking dead…the House of Usher.

This will worry us. Rot was caused by the fact that you are super high tech. These are the consequence of the transition. The transition has torn money out of the system faster than wealth was generated. You are the curator of conditions of gentile poverty. The curator repurposes it; the heritage industrialist, the cultural industrialist, the knowledge worker of a dysfunctional heritage have awesome access, but are broke. The European cultural experience becomes the global experience. Amsterdam’s industrial shipping infrastructure has become a tourist attraction. Repurposed city centers are now common in Europe; they are shrink-wrapped ruins of Chinese restaurants, Braziliian night clubs, the spear heads of globalization. High-tech gothic.

It’s not conservative or backwards looking to say the basic means of production are cut and paste. This enables one to skip the boring parts that require original thought from scratch. No blank page is already blank.

Favela chic takes the logic of software and networks and applies them to institutions no matter what they are. It’s like taking a mac laptop and using it to hammer in nails. It represents the promise of change, instead of making do with overused stuff. It makes sense to young people and idealists. It’s consistent and easy to grasp. The problem is that over time, it tends to be squalid. It is user centric rather than planned. It’s made of small pieces joined: beta, open source rather than refined by competition. It pastes over institutional failngs with utopian rhetoric. Time reveals its slipshod cheesiness and cheapness, its poor engineering. Electronic democracy is about blogs, spam, flame wars, rather than the responsible participation in society. Sharing music means destroying the music industry. Digital artisanship means precarious employment. Dot com starts ups means existing monopolies on the ground and occupational forces that can’t establish functional governments. E-banking means financial panics. It’s endearing but flawed. It can’t take yes for an answer, which would imply building something solid instead of the next favela. It can’t acknowledge downsides. The universal forces of time and entropy apply to their labor. Revolutionaries are allergic to continuity. Digital culture will need critical reassessment in about five or seven years from now.

For people in museums this is more problematic. Because it’s more about irruption. We should scan all of our museum holdings and put them online, but now no one comes through our doors. How can we pay to maintain our website? The favela chic response is to just change the subject.

Mackenzie said the mobile internet is gonna be twice as big as the laptop revolution. The logical step isn’t to create a workable public order but a decent civilization. The logic is to transform everything into equivalents of internet architecture. Citizens become users, laws become code, cities become urbanwear applications.

Will we become internet civilization? No, the internet is unstable. Guidebooks become old fashioned immediately. The internet has gothic high tech aspects that can’t be disguised. Whereas the museum’s purpose is to hold on in perpetuity. There is no storage method for digital data that can predictably last for fifty years. Favela chics are jargon imperialists. They say if you’re not on search engines you don’t exist.

What is the response? The Unesco Cultural Heritage, academic conferences, live events. This conference is about picking over the ruins of favela chic and pulling it into gothic high tech. The digital is going to vanish like the dot coms, unless efforts are made to snatch it back. But that’s the problem. Nothing is left to conserve. Advanced but rapidly decaying hardware is everywhere. Maybe we’ll have an internet of things?

It’s critical to understand this will pass, this period has clear issues and a victory condition. There’s a promising situation called chic favela gothic. We’ll grow into an oxymoron. Realizing contradictions open things back up. Favelas are the plant nurseries, the squats, the reunited spaces, repurposed structures. High-end, low-end, for everybody. Chic favela gothic looks like a violent contradiction of terms, but it will make sense.

In 2020 children of digital natives will be interested in their analogue grandparents, in our parents. Those living from ‘45 to ‘89 will be romantic to young people denied that way of life. The digital revolution will have outlived its luster. It won’t be shiny or new but fashionable to count cost and valorize painstaking, beautiful analogue things that belonged to long dead atomic ladies and gentlemen. They’ll prize analogue museum pieces for weird, wrong reasons. What does a chic favela gothic institution look like? How does it strategize? It wouldn’t want a gothic ruin, but an unprecedented, elegant combination. Everybody lives in museums, in resolving contradictions. In new forms of the old continuity.

In the digital dark ages we may lose tons of stuff. I’m worried about the death of analogue published documents, magazines, and newspapers. We may lobotomize ourselves. We may become haunted by totalitarian states that ceaselessly reinterpret the past. Actual people’s experience that are set in record then incessantly reworked. The internet lends itself to that. Things we see stored there are not really restored. We don’t have storage methods. We can have a black out that lasts years. The internet is vulnerable to all kinds of passing upsets.

There may be a tipping point where it’s easier for a social network to start a religion or a museum, rather than the other way around. We may start making printouts of our digital stuff. But I say in my book Shaping Things that design objects exist as data and only occasionally as printouts. Right now we’re doing a crap job. No social network is also doing a cool store. Deviant art could lead the art world; deviant art has tons of art and could build a Deviant Art museum. Los Angeles low-brow artists have their own curators, collectors, and distribution system. But I worry about rhetoric that valorizes this stuff. Time will not be kind."

Arte electrónico: ¿qué preservar y cómo preservarlo?

2009-12-25T11:09:00.004+01:00

Conservación del Arte electrónico ¿Qué preservar y cómo preservarlo?
Apuntes [Media art conservation: what aspects should be preserved and how
can we address it?] compiles the proceedings of the homonymous
seminar that took place jointly at the “Espacio Fundación Telefónica” and
the “Centro Cultural de España”, in Buenos Aires.The publication is distributed
under Creative Commons license in Spanish http://taxonomedia.net

Super 90s Hacker Mash-up - Laurel Ptak (2009)

2009-12-19T18:12:00.003+01:00

Super 90s Hacker Mash-up - Laurel Ptak (2009)

In her "Super 90s Hacker Mash-up" project Laurel Ptak has created a visual media archeology of mass media representation/fantasies of hacking. below is an interview between Laurel Ptak and Morgan Currie as published on the Masters of Media collaborative blog of the new media master students of the University of Amsterdam. - jonCates

"Why do these images feel so nostalgic to us now?

From our contemporary perspective, these movies depict a certain kind of anxiety towards technology. By now these technologies have become so normalized in contemporary culture, even banalized, it’s hard for us to understand all the weird uncertainty that shaped these narratives and their aesthetics back then.

Except for Wargames these films were all produced from 1992-2001, when venture capital is flowing in, when any kid who graduates from college gets snatched up by Internet start-ups. Of course in the 90s, deregulation and neoliberal capitalism are also running rampant. So it’s no coincidence that the mass media starts to portray these people as a serious threat and dangerous. The earlier generation of hackers were arguably shielded by academic culture in order to develop what computers would become today. They weren’t yet a threat, because there was nothing at stake; they could just fuck around. It wasn’t until investments in the internet as an economic structure that the media started portraying the hacker as a threatening character.

Also, you can see this imagery in relation to the Digital Millennium Copyright Act passed in ‘98. The DMCA marks a sharp transition into the information age. The notion that information itself is threatening is absorbed into mainstream culture by the 90s.

Why do you think cyberspace took on this form across so many movies? Where did this imagery originate?

Well Tron is probably the earliest one, so it set the style to a degree, but Wargames is the most influential depiction of the hacker as we came to know it.

I also noticed once I started taking stills from the movies, that they all represent the body in relationship to technology in these cyborgian ways. It seems to reflect a fear that the machine could overtake the body.

And these films take incredible creative liberty in depicting software and cyberspace. They just make up what the operating system looks like. Computer technology didn’t correspond to what technology actually looked like at the time. It’s the hollywood effect.

You don’t see the internet looking like some futuristic galaxy of wires and tubes so much today.

Right. And it shows how a minority of the population used it at that point. It didn’t become a mass-owned phenomenon until around the early 2000s, when computers enter into many Americans’ homes. Back in the 90s, not enough people had access to know the difference.

Another fascinating aspect is that the hackers are always white, upper middle class teenagers in their bedrooms. Their privilege becomes a part of the hacker landscape. Usually we don’t depict white suburban kids as frightening or powerful, but by owning a computer they become a threatening image. Any other Hollywood movie representation of that period (think Home Alone) depicted that demographic differently of course.

It’s that the whole cyberspace notion of a computer dispersing power to people who otherwise wouldn’t have access to it?

Yeah, and in a couple of the movies the female is a hacker figure. Angelina Jolie in Hackers, Sandra Bullock in The Net. Hollywood was ready to put forth a more gender balanced narrative, but none of my research material or critical texts echoes this. Hacker culture is almost always exclusively depicted as a male culture. But Hollywood was ready to make it something that women participate in. These female depictions are still a minority across all the films, but they’re ahead of the other discourses in terms of gender.

Do you have a personal interest in hacking as a concept?

I’ve come to think of the hacker as a undervalued, underrepresented figure since the past two decades. My project is to recuperate it. The hacker in media is usually either a villainous figure or a super hero. I’m interested in creating a more complicated narrative.

I think we romanticize the ethic and manifesto of the earlier generation of hackers. For some that political ethic was meaningful, but for the majority of people hacking it’s an impulse to have fun, of pranksterism, of defining yourself in relation to authority. I love the idea of every hacker sitting there believing in the manifesto and its ethic, but i’d be surprised if even the last generations of hackers was thinking much about that.

I’m also interested in open source culture in general. And I desperately wish i could be a hacker, but sadly my technical skills underplay that.

How would you define the hacker today?

I’ve been looking at the early history of hackers in university culture, during the days of early computing at MIT, on through its media representations in 90s and early 2000s. Now the dominant mass cultural narrative recedes into cyberterrorism, into Obama’s task force. It’s become much less about teenage boys or individuals who can start nuclear wars and more about governments interacting across large networks.

Is there a contemporary hacker aesthetic we’ll laugh about some day?

We don’t even bother to visualize it much anymore. We know what the internet is, we live intimately with computers, so we don’t have to make some fantastical representation of it all. Part of why these movies were made is because there was so much anxiety about immateriality and invisible forces. In contemporary life we’ve had a decade of participating in a mass way in immateriality and virtuality, and we see it hasn’t ruined society. That’s why the conspiracy theories posited in these movies feel so dated. We’ve become culturally more comfortable with immateriality than we were back then."

@ RE:LIVE + online

2009-11-26T06:54:00.003+01:00

i am currently in Melbourne .AU to present my Media Art Histories research/writing in the RE:LIVE Media Art Histories conference w/fellow conference presenter + MediaArtHistories blog co-founder Nina Wenhart. we're using the Twitter tag #Relive09 && also the more general #MediaArtHistories for the conference related posts that we will make on Twitter:

http://twitter.com/#search?q=%23Relive09

http://twitter.com/#search?q=%23MediaArtHistories

join us as we twitter + tweet to each other + the various Media Art worlds on this blog, twitter + the netz!

// jonCates

technological determinism in media art

2009-11-25T10:54:00.003+01:00

Armin Medosch's master thesis on technological determinism in media art is super interesting, dealing with core issues of media art. available here

documentary collection on DLF web site

2009-11-13T15:45:00.005+01:00

Paul Sermon, Telematic Vision (1993-)

This documentary collection on Telematic Vision by Paul Sermon is based on an independent case study conducted by Rolf Wolfensberger in 2008 at the Museum of Communication (Berne, Switzerland), where the artwork has been part of the permanent exhibition since 2003. The case study documents this highly interactive work, not only from a technical perspective, but also by focusing on the particular audience experience in relation to the artist's intentions. Additionally, the study takes into account the technological changes undergone by the work since its creation in 1993. The present documentary collection is part of a series which includes that of The Giver of Names by David Rokeby and of Subtitled Public by Rafael Lozanno-Hemmer. [More...]

2009-11-02T16:27:00.004+01:00

an add from TIME magazine, June 16, 1986

monoskop

2009-10-23T13:41:00.001+02:00

a fine archive of writings on art, culture and media technology

9 evenings at the Daniel Langlois Fondation

2009-10-13T17:38:00.004+02:00

still a great documentation

EVA Conference, Berlin 2009

2009-10-13T15:41:00.001+02:00

EVA Conference, Berlin 2009
Elektronic Media & Visual Arts
November 11 - 13, 2009

Museums, libraries and archives are the institutional linchpin of the digital transmission of the cultural heritage. In service, research and management they meet the challenge of modern information society by using information and communication technologies. The 16th Berlin EVA conference offers a discussion forum of new media applications. It brings together the memory institutions with researchers of the information and communication technologies, IT - specialists and the public administration sector. Results of research and development will be presented with a strong reference to their usage. A particular "student's day" refers to innovative positions from the academic educational sector. As a member of the international EVA Conferences Network this event offers opportunities for international co-operation.

Conference Languages: German & English

Best of Creative Computing

2009-10-09T02:36:00.004+02:00

archived on atariarchives.org, three volumes of this fantastic magazine, that was published between 1974 and 1985 are available.

vol.1: http://www.atariarchives.org/bcc1/

vol.2: http://www.atariarchives.org/bcc2/

vol.3: http://www.atariarchives.org/bcc3/

immersive ideals/ critical distances

2009-10-05T11:16:00.002+02:00

an interesting PhD thesis by Joseph Nechvatal on the affinity between artistic ideologies based in VR and previous immersive idioms.

ryojiikeda.datamatics.data.series

2009-10-05T10:46:00.011+02:00

Ryoji Ikeda is widely recognized as Japan’s leading electronic composer/artist and is renowned for his acclaimed solo concerts, installations, recordings and collaborative work. Working across both visual and sonic media Ikeda explores the ways in which music, time and space are shaped by mathematical methods.

His latest project, datamatics, is an art project that explores the potential to perceive the invisible multi-substance of data that permeates our world. It is a series of experiments in various forms - audiovisual concerts, installations, publications and CD/DVD releases - that seek to materialise pure data. datamatics is the main part of the project and comprises two audiovisual concert pieces; C4I and datamatics. data.series consists of six installations - data.spectra, data.tron, data.tecture, data.scan, data.film and data.gram. dataphonics is a music project focused on the relationship between sound of data and data of sound, and crosses various formats; multi-channel sound piece, radio program and audio/data research etc. Each piece will be published as book or released as CD/DVD.

::Curating::Exhibiting::Collecting:: MediaArtHistories, CP

2009-09-27T19:12:00.001+02:00

The next MediaArtHistories modules in November 2009 and May 2010 will focus on Curating, Exhibiting and Collecting Media Art with the best experts in the field like Steve DIETZ, Christiane PAUL, Gunalan NADARAJAN, and others. These two modules complete a Certified Program in MediaArtHistories :: fully accredited with 30 ECTS (post graduate), offered low residency, parallel to employment, in English. The CP can later be extended to complete the full Master of Arts program incMediaArtHistories or used as study-abroad credits.
www.donau-uni.ac.at/mah-cp

The November module will start with an excursion to Berlin and end in a workshop with Lev MANOVICH. The May module will include a excursion to the relevant Ars Electronica sites and workshops with main players in Linz.

Module 1. Nov 2-12, 2009
Berlin and Goettweig/Krems

Module 2. May 1-11, 2010
Goettweig/Krems and Linz

The postgraduate program MediaArtHistories opens a passageway into the most important developments of contemporary art through a network of renowned international theorists, artists, curators and many others. Using online databases and other modern analysis instruments, knowledge of computer animation, net art, interactive, telematic and genetic art as well as the most recent reflections on nano art, CAVE installations, augmented reality and wearables are examined. Historical derivations that go far back into art and media history are researched in intriguing ways with media art. Important approaches and methods from Image Science, Media Archaeology and the History of Science & Technology are extensively integrated into the program.

The MediaArtHistories MA modules are based on the international practice and expertise in Curation, Collecting, Preserving and Archiving and Researching in the Media Arts. Thus setting the conditions necessary for wider consideration of media art works and the integration of new media into the international contemporary art scene. New databases and other scientific tools structuring and visualizing data provide the contexts to enhance and develop new understanding in the histories of media art.

DANUBE UNIVERSITY - located in a UNESCO world heritage site is the first public university in Europe which specializes in advanced continuing education offering low-residency degree programs for working professionals and lifelong learners. Students come twice a year for 2 week blocks to Monastery Göttweig in Austria. The Wachau is voted #1 Places Rated by National Geographic.
http://www.nationalgeographic.com/travel/sustainable/pdf/destination-scorecard.pdf

http://www.donau-uni.ac.at/mah
http://www.virtualart.at
http://www.donau-uni.ac.at/telelectures

Department for Image Science
Danube University Krems

Contact - application information
Andrea Haberson
andrea.haberson@donau-uni.ac.at

Contact - course and content questions
Wendy Coones
wendy.coones@donau-uni.ac.at

Dan Graham: Beyond. Retrospective at the Whitney

2009-09-23T17:38:00.002+02:00

About the Exhibition

On view June 25-October 11, 2009

Dan Graham: Beyond surveys the artist's career from the mid-1960s to the present. As one of contemporary art's most innovative and influential figures, Dan Graham has been at the forefront of many of the most significant developments in art, including conceptual art, video and film installation, performance, site-specific sculpture, and musical collaboration. This exhibition—his first retrospective in the United States—examines each stage of Graham's career through his photographs, projects for magazine pages, films, architectural models and pavilions, performances, video installations, prints, drawings, writings, and his work with musicians Sonic Youth, Glenn Branca, and Japanther.

Graham was born in Urbana, Illinois, in 1942 and grew up in New Jersey, a suburban landscape that would inspire him throughout his career. He began his career as a writer, and founded and directed the short-lived John Daniels Gallery in New York in 1964, exhibiting the work of a new generation of conceptual and Minimalist artists—including Donald Judd, Sol LeWitt, and Robert Smithson. This experience had a deep influence on Graham's subsequent work, particularly the artist's relationship to his peers and to the culture at large as well as his interest in art’s economic and social framework.

Graham's rejection of the high-seriousness of modern art emerged at the same moment as Pop art in the early 1960s. "I love magazines because they are like pop songs," he once explained about his early conceptual magazine works, "easily disposable, dealing with momentary pleasures." He infused his approach with a wide range of literary, anthropological, and scientific influences, from cybernetics and topology to the writings of Jean-Paul Sartre, Gregory Bateson, and Margaret Mead. Graham's performances of the 1970s and his architectural pavilions of the 1980s to the present, with their kaleidoscopic refraction of bodily experience, demonstrate his interest in revealing the private self as part of a social, public context.

The fluid, democratic quality of Graham's work continues to exert a powerful influence on younger generations of artists. His desire for a connection to others mirrors our own; yet his work offers a way to critically explore that desire at a moment when interconnectivity and instant feedback are conditioning our collective consciousness to an unprecedented, global degree.

Exhibition Catalogue

Dan Graham: Beyond
Editors: Bennett Simpson and Chrissie Iles.

Essays by Rhea Anastas, Beatriz Colomina, Mark Francis, Dan Graham, Chrissie Iles, Alexandra Midal, Bennett Simpson, Mark von Schlegell, and Philippe Vergne. Interviews with Dan Graham by Kim Gordon, Rodney Graham, and Nicolás Guagnini.

Dan Graham has always pointed beyond in his work: beyond the art object, beyond the studio, beyond the medium, beyond the gallery, beyond the self. Beyond all these categories and into the realm of the social, the public, the democratic, the mass produced, the architectural, the anarchic, and the humorous. This volume, which accompanies a retrospective organized by the Museum of Contemporary Art in Los Angeles, offers the first comprehensive survey of Graham's work. The book's design evokes magazine format and style, after Graham's important conceptual work from the 1960s in that medium. Generously illustrated in color and black and white, Dan Graham: Beyond features eight new essays, two new interviews with the artist, a section of reprints of Graham's own writing, and an animated manga-style "life of Dan Graham" narrative. It examines Graham's entire body of work, which includes designs for magazine pages, drawing, photographs, film and video, and architectural models and pavilions. The Museum of Contemporary Art in Los Angeles and MIT Press, 2009. 384 pages.

Experimentelle Aesthetik, 1959

2009-09-21T10:18:00.008+02:00

.
A reenactment of the Herbert W. Franke, Experimentelle Aesthetik exhibition at the Museum für Angewandte Kunst - Wien, 1959.

“The Politics of Open Source” Call For Papers

2009-09-09T17:16:00.000+02:00

Call for Papers
JITP-2010
“The Politics of Open Source”
May 6-7, 2010 - Amherst, Massachusetts
http://www.umass.edu/jitpwww.umass.edu/jitp

A two-day University of Massachusetts Amherst conference jointly hosted by the:
Department of Political Science
Science, Technology, and Society Initiative (STS)
Journal of Information Technology & Politics (JITP)
Qualitative Data Analysis Program (QDAP)
National Center for Digital Government (NCDG)

Approach
Free/Libre and Open Source Software (FOSS) has made significant advances, both technically and
organizationally, since its emergence in the mid-1980s. Over the last decade, it has moved from a
software development approach involving mostly volunteers to a more complex ecology where firms,
nonprofit organizations, government agencies and volunteers may be involved. Moreover, the
production paradigm continues to expand to other areas of digital content (e.g., Creative Commons,
Wikipedia, Connexions, etc.). In this conference we use the phrase “open source” to capture this
broader phenomenon. The Program Committee encourages disciplinary and interdisciplinary
approaches to the study of open source, broadly defined.

"Politics" in the conference title, can have many interpretations. Political issues closely tied to the free
and open source software movement(s) include: national government policies related to the adoption
of open source technologies or questions related to interoperability and open standards, software
patents, vendor lock-in, and copyright. These are central themes we expect may be discussed in this
forum. In this context, we welcome international submissions since differences in the political
perspective appear in international contexts. However, topics related to how the concept of openness
has led to various interpretations, adaptations, and applications of “open source” in other domains,
and political issues that surround these broader innovations, are also welcome. Specific topics might
include, but are not limited to:

General topics related to the politics of open source
• How open source software or its principles are changing politics
• Emerging transparencies in software, systems and society
• Open source in the developing world and other international contexts
• The political economy of open source
• Digital divides and open source
Open source and the public sector
• Open source software and transparency in government
• Government policies toward open source and open standards
• Regulation and open source
Open source and democracy
• Open source and democratic engagement
• Open source voting systems
• Activism, political mobilization and open source
The expansion of open source into other domains
• Understanding how open source collaboration works and how it can be extended into other
areas of collective action
• Policy areas, such as the effects of free textbooks on education policy or the politics of "One
Laptop Per Child"
• The political implications of open source in other cultural domains

Keynote Speakers
We are pleased to confirm Clay Johnson (Sunlight Labs) as one of the daily keynote speakers for JITP-
2010.

Paper Submissions
Authors are invited to prepare and submit a research paper, policy viewpoint, workbench note, or
teaching innovation manuscript to JITP by January 10, 2010. A small number of papers will be
accepted for presentation at the conference. Other paper authors will be invited to present a poster
during the Thursday evening reception. All accepted authors will be asked to submit a "YouTube"
version of their research findings. Accepted paper and poster authors will be invited to resubmit their
papers to JITP after the conference with the goal of producing a special issue, or double issue, of JITP
on the broad theme of "The Politics of Open Source."

How to Submit
Everything you need to know about how to prepare and submit a strong JITP paper is documented at
http://www.jitp.net/. Conference papers will be put through an expedited blind peer review process
by the Program Committee, and authors will be notified about a decision by March 10, 2010.

Copyrights
Conference proceedings, including both paper manuscripts and poster summaries, will be made
publicly available under a Creative Commons license. Authors who wish to contribute to the JITP
special issue will be asked to sign the publisher’s copyright agreement when they resubmit their
manuscript.

Best Paper and Poster Cash Prizes
The author (or authors) of the best research paper will receive a single $1,000 prize. The creator (or
creators) of the best poster/research presentation will also receive a single prize of $1,000.

Program Committee
M.V. Lee Badgett, University of Massachusetts Amherst
Paul M.A. Baker, Georgia Institute of Technology
Deborah Bryant, Oregon State University Open Source Lab
Andrea Calderaro, European University Institute
Mark Cassell, Kent State University
Edward Cherlin, Earth Treasury
Gabriella Coleman, New York University
Doug Downham, University of Massachusetts Amherst
Robert English, Daystar Computing & University of Massachusetts Amherst
Joseph Feller, University College Cork
Jelena Karanovic, Rutgers University
Dave Karpf, University of Pennsylvania/Miller Center for Public Affairs
Andrea Kavanaugh, Virginia Tech
Jose Marichal, California Lutheran University
Jens Hardings Perl, Pontificia Universidad Católica de Chile
Charlie Schweik, University of Massachusetts Amherst, co-chair
Stuart Shulman, University of Massachusetts Amherst, co-chair
Megan Squire, Elon University
Krishna Ravi Srinivas, Research Information System For Developing Nations
Louis Suarez-Potts, Sun Microsystems, Inc. & OpenOffice.org
Anas Tawileh, Cardiff University & Meedan.net

das wArs Electronica 2009 (thx mario!)

2009-09-09T05:12:00.002+02:00

ars electronica 2009 is over,
the audio and video file of the conferences online:
http://www.aec.at/humannature/stream

THE PAST?S DIGITAL PRESENCE: CALL FOR PAPERS

2009-09-04T20:24:00.001+02:00

**CALL FOR PAPERS DEADLINE EXTENSION: SEPTEMBER 30TH**

THE PAST?S DIGITAL PRESENCE:
DATABASE, ARCHIVE, AND KNOWLEDGE WORK IN THE HUMANITIES
A GRADUATE STUDENT SYMPOSIUM AT YALE UNIVERSITY
FEBRUARY 19TH AND 20TH, 2010

How is digital technology changing methods of scholarly research with pre-digital sources in the humanities? If the ?medium is the message,? then how does the message change when primary sources are translated into digital media? What kinds of new research opportunities do databases unlock and what do they make obsolete? What is the future of the rare book and manuscript library and its use? What biases are inherent in the widespread use of digitized material? How can we correct for them? Amidst numerous benefits in accessibility, cost, and convenience, what concerns have been overlooked? We invite graduate students to submit paper proposals for an interdisciplinary symposium that will address how databases and other digital technologies are making an impact on our research in the humanities. The graduate student panels will be moderated by a Yale faculty member or library curator with a panel respondent. The two-day conference will take place February 19th and 20th,
2010, at Yale University.

Keynote Speaker: Peter Stallybrass, Walter H. and Leonore C. Annenberg Professor in the Humanities, University of Pennsylvania

Colloquium Guest Speaker: Jacqueline Goldsby, Associate Professor, University of Chicago

Potential paper topics include:
? The Future of the History of the Book
? Public Humanities
? Determining Irrelevance in the Archive
? Defining the Key-Word
? The Material Object in Archival Research
? Local Knowledge, Global Access
? Digital Afterlives
? Foucault, Derrida, and the Archive
? Database Access Across the Profession
? Mapping and Map-Based Platforms
? Interactive Research

Please email a one-page proposal along with a C.V. to pdp@yale.edu. Deadline for submissions is September 30th, 2009. Accepted panelists will be notified in early October. We ask that all graduate-student panelists pre-circulate their paper among their panels by January 20th, 2010. Papers should be no more than 15 minutes in length.

Please contact Molly Farrell, Heather Klemann, Ryan Brasseaux, and Taylor Spence at pdp@yale.edu with any additional inquiries. For more information about conference events, please visit our website:
http://digitalhumanities.yale.edu/pdp.

Molly Farrell
Ph.D. Candidate in English
Yale University

Régine Debatty on Inke Arns and Thibaut de Ruyter's exhibiton 'Awake Are Only the Spirits'

2009-09-04T04:47:00.004+02:00

"In his book Gramophone, Film, Typewriter, Friedrich Kittler draws parallels between the introduction of a new media and spiritism. The Morse alphabet was quickly adopted in seances of spiritism to converse with the deceased. On some photographic plates one could sometimes discern the face of a ghosts. In 1893, Edison described the 10 uses he imagined for the phonogram and one of them was to record 'the last words of dying persons'..."

this statement begins Régine Debatty's review of 'Awake Are Only the Spirits' - On Ghosts and Their Media exhibition at HMKV (Hartware MedienKunstVerein) in Dortmund, Germany. the Media Art exhibition 'Awake Are Only the Spirits' is curated by Inke Arns and Thibaut de Ruyter. Debatty comments that this exhibition re-instills her enthusiasm about Media Art:

http://www.we-make-money-not-art.com/archives/2009/09/awake-are-only-the-spirits-on.php

Pure:dyne

2009-08-12T18:35:00.002+02:00

Watch out for what ever comes out of this!

Pure:dyne Code Sprint- Goto10 @ LABoral Centro de Arte y Creacion Industrial
9th to 15th of August 2009

The artist collective GOTO10 gathers at LABoral this summer for an intense week of coding in support of the ongoing Pure:dyne project, which is underway at this very moment.

Pure:dyne is a GNU/Linux operating system developed by and for artists that offers a complete set of tools for processing audio and video in real time, making it an ideal work platform. Developed by GOTO10 alongside a community of users, Pure:dyne includes the tools most frequently employed by digital artists, all in a coherently integrated format: Pure Data, Supercollider, Icecast, Csound, Fluxus, Processing, Arduino, amongst others. Used by artists, medialabs and universities, Pure:dyne is a powerfult instrument and a network structured for artistic production through the use of FLOSS (Free/Libre Open Source Software).
*
*The LABoral ‘code sprint’ is one of a series initiated by GOTO10 to gather members from across Europe for seven days to work on new features and system developments. Sharing a common living and working space, away from distractions, this intense working method is popular in FLOSS projects to inject a lasting energy into volunteer developers who otherwise collaborate online.

The discoveries and advances made by the Pure:dyne team are to be made available and become a permanent part of the Platform 2 Multimedia Production Centre of LABoral.

http://goto10.org/
www.laboralcentrodearte.org

2009-07-29T12:22:00.003+02:00

Art and education have launched a papers section, for which they have posted a call for submissions on e-flux . It just launched but could evolve in a useful platform..check out an interesting contribution by Joseph Nechvatal

Modern Art: Who Cares? II MA:WC?II congress 2010

2009-07-24T16:24:00.005+02:00

INCCA Update – June 5, 2009

News

Latest news on "Modern Art: Who Cares? II" congress

Preparations for the 2010 congress are in full swing. It will take place in Amsterdam from 9 - 11 June
2010. A pre-congress reception will take place on the evening of the 8th of June.

Registration will start in September 2009, so keep your eye out for updates per email or via the link on
the INCCA http://www.incca.org/modernartwhocares and SBMK websites http://www.sbmk.nl/

Tickets to the congress will cost:
€ 290
€ 160 for students

Included in the price of the ticket is a copy of the book Inside Installations (working title), which is due
for launch in March 2011.

The congress programme is being created in collaboration by a group of experts from 34 organisations
who are working together under the umbrella project PRACTICs. Most of these individuals worked
together during the EU project Inside Installations (2004-2007). For more information about PRACTICs
follow this link. http://www.incca.org/projects/64-current-projects/475-practics

Co-organisers of the congress would like to point out that there will be no call for papers, but there will
be a call for posters. This is expected to be sent out in September 2009.

MA:WC?II will feature plenary lectures as well as a choice of circa 10 parallel sessions per day;
discussions, workshops and site visits. There will also be time allocated to poster presentations and
networking sessions. The themes for the three day congress are as follows:
Day 1: Acquisition: production and collection building
Day 2: Articulation: care & conservation
Day 3: Access: presentation & the role of the public
More details on the programme will be posted alongside registration information in September.

If you have any questions about the Modern Art: Who Cares? II congress, please send an email to
modernartwhocares@gmail.com

MediaArtHistories

The Information Machine (1958)

Historiographies of New Media: CFP

Zebrastraat : Call for Entries - New Technological Art Award Foundation Liedts-Meesen 2012

review: »Klangmaschinen zwischen Experiment und Medientechnik«

Backward Glances: A Media and Historiography Conference

Backward Glances

Friedrich Kittler (1943-2011)

Digital Art Works. The Challenges of Conservation

stay hungry. stay foolish.

cloud over liverpool

Satellites use GPS system from above - 02 October 2001 - New Scientist

BYOB Linz I + II

RIP Zdeněk Sýkora

mac 1984 commercial

Nate Harrison: Aura Dies Hard (Or: How I Learned to Stop Worrying and Love the Copy), 2010

Prize for academic writing on (Media) Art Histories

Art&Education announces inaugural Papers Prize:No Rules–Negotiating Art and Deregulation

Jeff Koons Must Die! (by Hunter Jonakin)

google's institute for internet & society, berlin

The Video Vortex Reader II: Moving Images Beyond YouTube (2011)

Geert Lovink, Rachel Somers Miles (eds.)

celebrating the 100th international women's day - 100 female artists and digital media

happy 100th birthday, international women's day!

A Little-Known Story about a Movement, a Magazine, and the Computer’s Arrival in Art New Tendencies and Bit International, 1961–1973

The Philosophy of Software and the Ontology of Code

The Philosophy of Software: Code and Mediation in the Digital Age

Copy, Rip, Burn: The Politics of Copyleft and Open Source

Media Archaeology. Approaches, Applications, and Implications

INSECT MEDIA: An Archaeology of Animals and Technology

Nick Lambert's thesis: "The Status of Computer Art"

book on visitor research

JAR - a new magazine on artistic research

next step publishing

CFP - radical aesthetics / radical art (book)

Conference "The Philosophy of Computer Games", Athens, April 2011

CFP - Arts, Humanities, and Complex Networks — 2nd Leonardo satellite symposium at NetSci2011

moon museum

Contents

History

Artworks

References

See also

External links

ISEA 2010 - conference proceedings

CFP: The Ethics of Sharing

book recommendations?

CFP: Digital Resources for Humanities and Arts (DRHA)

Mourning the Death of Education, Dec 15th 2010

A Collection of Many Problems (In Memory of the Dead Media Handbook)

Graduiertenfeier @ Stift Göttweig, Dec 4th 2010

Olia Lialina, My Boyfriend Came Back From the War

jon satrom && ben syverson introducing the satromizerOS

media art and sustainable energy

taxonomedia project

Artists Re:Thinking Games

Ruth Catlow, Marc Garrett, Corrado Morgana - Artists Re: Thinking Games

ISEA2011 ISTANBUL Call for Papers, Artworks, Panels and Workshops

INCITE! Journal of Experimental Media & Radical Aesthetics

RE:WIRE Call For Papers

exhibition: "Roboterträume" (robot dreams) @ kunsthaus graz

“Coding Patterns: The Algorithmic Mechanisms of John Whitney, Larry Cuba and Early Digital Animation”

"In Praise of Copying", Marcus Boon, 2010

tate events podcasts

in praise of copying

Kim Cascone, The Aesthetics of Failure (2002)

The Aesthetics of Failure:

with:

Mr. Kim Cascone

The Aesthetics of Failure

Back to the Future

Snap, Crackle, Glitch

A Brief History of Glitch

Power Tools

New Music From New Tools

Discussion

Postscript

References

the sound of eye

Symposium: The Digital Oblivion - Substance and Ethics in the Conservation of Computer-Based Art

Art&Education announces inaugural Papers Prize:
No Rules–Negotiating Art and Deregulation

Ruth Catlow, Marc Garrett, Corrado Morgana -  Artists Re: Thinking Games 