Monday, November 28, 2011

Historiographies of New Media: CFP

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


* 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 by November 28, 2011.

Monday, November 14, 2011

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

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«

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

Wednesday, November 9, 2011

Backward Glances: A Media and Historiography Conference

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.

Tuesday, October 18, 2011

Friedrich Kittler (1943-2011)

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)

Thursday, October 6, 2011

Digital Art Works. The Challenges of Conservation

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:

symposia including Alain Depocas, Antoni Muntadas, Herbert Franke, Siegfried Zielinski et al

stay hungry. stay foolish.

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.

Tuesday, October 4, 2011

Wednesday, August 24, 2011

BYOB Linz I + II

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 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.

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

Saturday, April 16, 2011

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

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


Can I Get An Amen?, 2004
recording on acetate, turntable, PA system, paper documents, dimensions variable, total run time 17 minutes, 46 seconds

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


Friday, March 25, 2011

Prize for academic writing on (Media) Art Histories

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
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.

Thursday, March 24, 2011

Jeff Koons Must Die! (by Hunter Jonakin)

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." 

Saturday, March 19, 2011

google's institute for internet & society, berlin

via Geert Lovink on nettime, march 19th 2011

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


Q: Which institutions and who are you working with to set up the
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

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

Saturday, March 12, 2011

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

Geert Lovink, Rachel Somers Miles (eds.)


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.

Direct download

Wednesday, March 9, 2011

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

(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.


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

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

ninjafx: #IWD11 - female artists & digital media: Sabrina Raaf #interactiveart

ninjafx: #IWD11 - female artists & digital media: Cynthia Breazeal #robotics #roboticsqueen

ninjafx: #IWD11 - female artists & digital media: Pattie Maes #netart #interactiveart

ninjafx: #IWD11 - female artists & digital media: Francoise Gamma #digitalgraphics #animatedgifs #netart

ninjafx: #IWD11 - female artists & digital media: Krystal South #videoart #webart

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

ninjafx: #IWD11 - female artists & digital media: Laura Parnes #videoart

ninjafx: #IWD11 - female artists & digital media: Camilla Padgitt-Coles #VJ #electronicmusic

ninjafx: #IWD11 - female artists & digital media: Alexandria McCrosky #digitalgraphics

ninjafx: #IWD11 - female artists & digital media: Aurora Halal #videoartist #electronicmusic

ninjafx: #IWD11 - female artists & digital media: Alexandra Gorczynski #videoart

ninjafx: #IWD11 - female artists & media art collectives: Bea Fremderman & Jeanette Hayes #netart

ninjafx: #IWD11 - female artists & digital media: Alice Cohen #videoart

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

ninjafx: #IWD11 - female artists & digital media: Petra Cortright #netart #digitalgraphics @petcortright

ninjafx: #IWD11 - female artists & digital media: Rachelle Viader-Knowles #interactiveart

ninjafx: #IWD11 - female artists & digital media: Sabine Seymour #wearabletechnology

ninjafx: #IWD11 - female artists & digital media: Margarita Benitez #wearabletechnology

ninjafx: #IWD11 - female artists & digital media: Sage Keeler #netart #digitalgraphics

ninjafx: #IWD11 - female artists & digital media: Jennifer Chan #videoart #digitalgraphics

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 & Tracey Matthieson got me into digital art && are...

ninjafx: #IWD11 - female artists & digital media: Ellen Sandor #mixedmedia

ninjafx: #IWD11 - female artists & digital media: Claudia Hart #3dcomputergraphics #artgames

ninjafx: #IWD11 - female artists & digital media: Nina Valkanova #programmer #interactiveart

ninjafx: #IWD11 - female artists & media art collectives: Gabi Kepplinger of Stadtwerkstatt #netart #networkedart #artinpublicspace...

ninjafx: #IWD11 - female artists & digital media: Eva Grubinger #netart #networkedart

ninjafx: #IWD11 - female artists & digital media: Thecla Schiphorst #interactiveart #performance

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

ninjafx: #IWD11 - female artists & digital media: Lindsay Howard #netart #curating #digitalgraphics

ninjafx: #IWD11 - female artists & digital media: Sara Ludy #netart #digitalgraphics #videoart

ninjafx: #IWD11 - female artists & digital media: Eva Wohlgemuth, Kathy Rae Huffman #netart +

ninjafx: #IWD11 - female artists & digital media: Helen Thorington, Jo-Anne Green #netart #radioart #pioneers

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

ninjafx: #IWD11 - female artists & digital media: Jessica Westbrook #interactiveart #videoart

ninjafx: #IWD11 - female artists & digital media: Faith Wilding #cyberfeminism #performanceart

ninjafx: #IWD11 - female artists & digital media: Tiffany Holmes #interactiveart

ninjafx: #IWD11 - female artists & digital media: Marta de Menezes #bioart

ninjafx: #IWD11 - female artists & digital media: Manu Luksch #cctv #hacktivism #videoart

ninjafx: #IWD11 - female artists & digital media: Isabella Bordoni #electronicmusic

ninjafx: #IWD11 - female artists & digital media: Heidi Grundmann #artradio #radioart

ninjafx: #IWD11 - female artists & media art collectives: Elisa Rose of Station Rose #netart #electronicmusic

ninjafx: #IWD11 - female artists & digital media: Agnese Trocchi #netart #videoart

ninjafx: #IWD11 - female m artists & digital media: Jill Scott #interactiveart #videoart #body

ninjafx: #IWD11 - female artists & digital media: Melinda Rackham #netart

ninjafx: #IWD11 - female artists & digital media: Ruth Catlow #netart #artinpublicspace @furtherfield

ninjafx: #IWD11 - female artists & media art collectives: Margarethe Jahrmann "nybble engine toolZ" #gameart

ninjafx: #IWD11 - female artists & digital media: Monica Panzarino #interactiveart #videoart

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

ninjafx: #IWD11 - female artists & digital media: Dain Oh #animatedgif #netart @lunarbaedeker

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

ninjafx: #IWD11 - female artists & digital media: Naoko Tosa, f.e. "Talking to Neurobaby" #interactiveart #robotics

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

ninjafx: #IWD11 - female artists & digital media: Natasha Vita-More #transhumanism

ninjafx: #IWD11 - female artists & digital media: Agnes Hegedüs, f.e. "handsight" #interactiveart

ninjafx: #IWD11 - female artists & digital media: Christina Kubisch #electronicmusic

ninjafx: #IWD11 - female artists & digital media: Daniela Alina Plewe, f.e. "Ultima Ratio" #interactive art

ninjafx: #IWD11 - female artists & media art collectives: Sandra Rosas Ridolfi, Nina Wenhart of h3x3n #netart #interactiveart
ninjafx: #IWD11 - female artists & digital media: Ushi Reiter #electronicmusic #interactiveart

ninjafx: #IWD11 - female artists & digital media: Hannah Perner-Wilson #interactiveart

ninjafx: #IWD11 - female artists & digital media: Mika Satomi #interactiveart

ninjafx: #IWD11 - female artists & digital media: Marie Sester #interactiveart

ninjafx: #IWD11 - female artists & media art collectives: Mendi Obadike #netart #conceptualmusic

ninjafx: #IWD11 - female artists & media art collectives: Jennifer McCoy #interactiveart

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...

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

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

ninjafx: #IWD11 - female artists & digital media: Annie Abrahams #netart #networkedart

ninjafx: #IWD11 - female artists & digital media: Laura Beloff #wearbletechnology #networkedart

ninjafx: #IWD11 - female artists & media art collectives: Christa Sommerer, f.e. "interactive plant growing" #interactiveart

ninjafx: #IWD11 - female artists & digital media: Lisa Jevbratt #netart #dataviz #biofeedback

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

ninjafx: #IWD11 - female artists & digital media: Beatriz da Costa #tacticalmedia #hacktivism #bioart

ninjafx: #IWD11 - female artists & digital media: Natalie Bookchin #netart

ninjafx: #IWD11 - female artists & media art collectives: Honor Harger of radioqualia #netradio #opensource @honorharger

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

ninjafx: #IWD11 - female artists & digital media: Camille Utterback "textrain" #interactiveart

ninjafx: #IDW11 - female artists & media art collectives: Monika Fleischmann #interactiveart #mediaartdatabase

ninjafx: #IWD11 - female artist collectives & digital media: Old Boys Network #netart #cyberfeminism

ninjafx: #IWD11 - female artists collectives & digital media: VNS Matrix "A Cyberfeminist Manifesto for the 21st Century" #netart #cyberfeminism...

ninjafx: #IWD11 - female artists & digital media: Rachel Baker #netart #hacktivism

ninjafx: #IWD11 - female artists & digital media: Natalie Jeremijenko #netart #hacktivism

ninjafx: #IWD11 - female artists & digital media: Amy Alexander #netart #softwareart @uebergeek

ninjafx: #IWD11 - female artists & media art collectives: Young-Hae Chang of YOUNG-HAE CHANG HEAVY INDUSTRIES #netart

ninjafx: #IDW11 - female artists & media art collectives: Olga Goriunova #softwareart #netart

ninjafx: #IWD11 - female artists & media art collectives: Eva Mattes of 0100101110101101 #netart #gameart

ninjafx: #IWD11 - female artists & media art collectives: Joan Heemskerk of #JODI #netart #gameart #glitchart

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

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

ninjafx: #IDW11 - female artists & digital media: Mary Flanagan #gameart

ninjafx: #IDW11 - female artists & digital media: Mez Breeze #netart #mezangelle @netwurker !u r pure...

ninjafx: #IWD11 - female artists & digital media: Anne-Marie Schleiner #gameart #hacking #opensource

ninjafx: #IWD11 - female artists & digital media: Char Davies "Osmose" #virtualreality

ninjafx: RT @franckancel RT @bookmarks_books: Women supporters of the Paris Commune jailed in 1871 #IWD11

ninjafx: #IWD11 - female artists & media art: Maryanne Amacher #electronicmusic

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

ninjafx: #IWD11 - female artists & media art: Daphne Oram #electronicmusic

ninjafx: #IWD11 - female artists & media art: Ursula Bogner #electronicmusic

ninjafx: #IWD11 - female artists + media art: Delia Derbyshire #electronicmusic #pioneer

ninjafx: RT @katecrawford: Hedy Lamarr was my kinda gal: Hollywood star, jewel thief, scientist, and co-inventor of a precursor to wifi....

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

ninjafx: #IWD11 - female artists & digital media 05: Rosa Menkman #softwareart #glitchart #videoart #obsoletemedia @r0o0s

ninjafx: #IWD11 - female artists & digital media 04: Olia Lialina "my boyfriend came back from the war" #netart @GIFmodel

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

ninjafx: #IWD11 - female artists & digital media 02: Cornelia Sollfrank "female extension" #netart #hacking

11:12am via HootSuite
ninjafx: #IWD11 - female artists & digital media 01: LIA #generativeart #netart @liasomething

Tuesday, March 8, 2011

happy 100th birthday, international women's day!

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


(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

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:

The Philosophy of Software and the Ontology of Code

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 

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

David Berry
Palgrave Macmillan, May 2011

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

David Berrry,
Pluto Press, 2008


"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...

Tuesday, March 1, 2011

Media Archaeology. Approaches, Applications, and Implications

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

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 and his blog Cartographies of Media Archaeology.

Wednesday, February 23, 2011

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

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;)

Sunday, February 20, 2011

book on visitor research

> 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:
> 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

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

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.


This issue presents work by:
Bertha Bermudez, Scott deLahunta, Marijke Hoogenboom, Chris Ziegler,
Frederic Bevilacqua, Sarah Fdili Alaoui, Barbara Meneses Gutierrez,
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.

Tuesday, February 15, 2011

next step publishing

(For those not yet inscribed) there is a very interesting discussion taking place at
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".

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
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

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,
* 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.

Thursday, February 10, 2011

CFP - radical aesthetics / radical art (book)

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

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:

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.

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

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

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.

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: and


Wednesday, January 26, 2011

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

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
For more info

Saturday, January 22, 2011

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

forwarded from:

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

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:

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

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:
The 2010 abstracts, papers and videos:
ACAX | Agency for Contemporary Art Exchange:
BarabásiLab, Northeastern University, Boston:
Dept. Art+Design, Northeastern University, Boston:
Ludwig Museum–Museum of Contemporary Art, Budapest:

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 Alternatively you can follow us on Twitter.

Monday, January 17, 2011

moon museum

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





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]


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]


  1. ^ 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
  2. ^ a b Secret Museum On The Moon’s Surface. UCSD Libraries. March 1, 2008. Accessed July 14, 2010
  3. ^ 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.
  4. ^ a b Moye, David. Warhol in Space: Apollo 12 Secretly Carried Art to the Moon. AOL news. June 17, 2010, Accessed July 14, 2010.
  6. ^ a b Holy ^%$&! Man Smuggles Art To The &%#$ing Moon! February 8, 2008. Accessed July 14, 2010

See also

External links