ART, TECHNOLOGY, AND CULTURE

UC Berkeley’s Public Lecture Series: 1997-2010 Matmos takes questions at ATC’s 10th Anniversary celebration.

Published by the Art, Technology, and Culture Colloquium with support from the UC Berkeley Center for New Media and the Center for Information Technology Research in the Interest of Society (2010). All copyrights to images and text within these pages remain with their owners. Art, Technology, a n d Culture

It was 7:30 pm on January 21, 2001. Two hundred people Radley from the Art Department about starting a lecture were jammed into Kroeber Hall 160, well beyond capacity. series. We went to Provost Carol Christ who gave her bless- Chicago Art Institute Professor Eduardo Kac was about to ing and initial funding for honoraria. We invited speakers discuss his latest artwork, ‘Transgenic Bunny,’ a glowing and arranged to hold it in the Art Department’s lecture hall albino rabbit cloned with DNA from a phosphorescent on Monday evenings. The first lecture was in January 1997. algae. The audience included students, faculty, members of Turnout surprised us; we averaged 50-75 people, even on the public, and animal activists. The mood was tense. As the rainy nights at the end of the semester. Most were students, lights dimmed, I decided to alert campus security, and then a good fraction were faculty and visitors from as far away as realized I’d forgotten my cell phone… San Jose. In one of the first lectures, Berkeley philosopher Hubert Dreyfus transformed Kierkegaard’s 1846 essay The Altering an animal to create an artwork raised a myriad of Present Age into a contemporary critique of the Information ethical issues. After Eduardo calmly answered pointed ques- Age, asking what role information technology played in pro- tions about his philosophical and political motivations and moting a nihilistic leveling of meaningful distinctions. explained his critique of genetic engineering, at least some accepted that he was pushing the boundaries to raise pre- Although Kevin Radley bowed out after a year, I was deter- cisely these questions. That lecture exemplifies the excite- mined to keep the series going. I created an Advisory Board ment of the dialogue represented in this catalog. and a “wish list” of 50 speakers from around the world. Each summer I worked with designer Kevin Clarke to create an Founded in 1997, UC Berkeley's Art, Technology, and Culture annual series poster. Email allowed us to get the word out, Colloquium has become an internationally known forum for locally and worldwide; over 1500 joined the mailing list. I presenting ideas that challenge conventional wisdom about went to the Chancellor and Deans with hat in hand and they technology and culture. This series, free of charge and open graciously dipped into their discretionary reserves. There to the public, presents artists, writers, curators, and scholars was no funding for staff until later. When Greg Niemeyer who consider contemporary issues at the intersection of aes- joined the Art Practice faculty, he got involved and became thetic expression, emerging technologies, and cultural his- Associate Director of the series, and has continued to help tory. This catalog is an informal archive of the 130 lectures shape the direction and content of the series since then. presented in the 14 years from 1997 to 2010. In 2002, many of the ATC faculty regulars came together The roots of the series go back to 1995, when the Depart- with others from around campus to develop a plan for the ment of Industrial Engineering and Operations Research at “Berkeley Center for New Media” (BCNM) which was ap- UC Berkeley hired me from USC to teach and do research in proved in 2004. BCNM is now is the primary sponsor of the robotics and automation. I had two passions: making art and series and BCNM Associate Director Susan Miller does a working as professor in the College of Engineering. I set up superb job coordinating logistics. The Center for Information a lab with students and at night started exploring outside the Technology in the Interest of Society (CITRIS), led by Paul College: faculty and students from the Arts and Humanities, Wright, is also an important contributor. In 2006, BCNM the Berkeley Art Museum and Pacific Film Archive, and the established a graduate seminar, “Questioning New Media,” legendary techno-art scene in San Francisco. which is organized every semester around the series with readings the week before and post-mortems the week after The “World Wide Web” was bringing together Bay Area art- each event. ists, designers, and engineers eager to experiment. There was a huge amount of activity on campus but no central fo- In 1997, we invited Billy Kluver, considered the Father of rum for presenting ideas about art and technology. Encour- Electronic Art, to discuss his legendary 1960s Experiments aged by discussions with Eric Paulos, John Canny, Mark Pau- in Art and Technology (E.A.T), involving performances and line, Howard Besser, and Rick Rinehart, I approached Kevin collaborations with artists such as Robert Rauchenberg and 3 4 hlp ls.A w peae fr i vst w discovered we wouldtalk 70 his his of be night the that visit, his for prepared we As Glass. Philip ary 2002. whoFebrumentor in and presented thinker brilliant a lain, - Dr.of memory Sh- the Leonard to and Electra, and Odessa, for look ward to and the years ahead. This catalog is students, dedicated to Tiffany, and colleagues, friends, of group I am extremely fortunate to work with an extremely talented information such asadvisors, sponsors,andmailinglist. recordings (archived by Rick Rinehart and BAMPFA), and to video and audio selected to links programs, series updated is website series The from thetimeoftheirpresentations. chronological order, with images, abstracts, and biographies in speakers the presents catalog informal this date; to series ATC the in presented have who writers and scholars, ists, art- of roster the summarize adequately to impossible It’s tives. perspec- multiple from scrutiny require ideas Such culture. section remains rare: ideas that address art, technology, technology,university,the spans culture inter and their but art, of union justified. The be can’t that ideas for tolerance little is there emphasized; is Rigor ideas. counter-intuitive welcome faculty and authority question students Plaza; Berkeley Sproul on palpable still is spirit Savio’s Mario ing. Berkeley is proud of its reputation for counter-cultural think- in theseries. for strive we inquiry ongoing and accomplishment ebrated cel- of spirit the capturing series, the of highlight a remains evening that away,and passed since have Whinnery John and Kluver Billy dissertation. his of copy bound a with him presented Whinnery, John Emeritus Professor EE advisor, Birthday.Kluver’sPh.D. Happy sang audience the as cake a out brought we Afterward masterful. was talk His years. 40 in campus to return first his was It Department. neering Kluver had earned his Ph.D. from Berkeley’s Electrical Engi- Dr. 1957, in Laboratories Bell joining to prior that learned t contains It http://atc.berkeley.edu. — KenGoldberg th birthday. Wealso A UC Berkeley ugust 2010 and - - Claude Shannon and his electromechanical mouse Theseus. Eduardo Kac’s “Transgenic Bunny.” Billy Kluver, ATC, 1997. ATC SPEAKERS (1997-2010)

Aaron Betsky Will Wright Marina Grzinic Charles Ray George E. Lewis Okwui Enwezor George Legrady Christiane Paul Pamela Z Lynn Hershman Debra Solomon Marianne Weems Paul Haeberli Leonard Shlain Cory Arcangel Martin Jay Sara Diamond Jonathon Keats Julia Scher Steve Wilson Rudolf Frieling Hubert L. Dreyfus Michael Naimark Pierre Huyghe John Randolph Paul D. Miller Matmos Bruce Tomb Victoria Vesna Kaja Silverman Billy Klüver Paul Kaiser Doug Aitken Lev Manovich Oliver Grau Trevor Paglen Carlo Sequin Robert Atkins Bill Fontana Luc Courchesne Anne M. Wagner Geert Lovink Peter Lunenfeld Chip Lord Yael Kanarek Margaret Morse Constance Lewallen Kristin Lucas Jon Winet Pamela Lee Greg Lynn Margaret Crane Mark Hansen Naut Humon Woody Valsulka Richard Rinehart Perry Hoberman Michael Joaquin Grey Shawn Brixey V. Vale David A. Ross Jim Campbel Ray Beldner Douglas Davis Nina Katchadourian Golan Levin Erik Davis Marie Sester Kota Ezawa Barbara London Peter Selz Neighborhood Public Radio Janet Cohen Vivian Sobchack Steve Kurtz Keith Frank Sean Kelly Hasan Elahi Jon Ippolito Mimi Nguyen Laurie Anderson JODI Digital Rirkrit Tiravanija R. Luke Dubois Mark Dery Sonya Rapoport Anne Pasternak Gail Wight Eric Zimmerman Joseph DeLappe Valéry Grancher Katie Salen Marcia Tanner Diana Thater Rachel Green Jennifer McCoy Gary Hill David Byrne Kevin McCoy Katherine Hayles Jane McGonigal Mark Hosler Steve Dietz Marko Peljhan Camille Utterback Alex Galloway Jaron Lanier Candice Breitz Jordan Crandall Cobi van Tonder Ben Rubin Amy Franceschini Bruno Latour David Harrington Jeffrey Shaw Tom Marioni Joe McKay Rich Gold Miranda July Shari Frilot Eduardo Kac Mark Pauline Leo Villareal Rafael Lozano-Hemmer Stephen Beck Anne Walsh C5 Michael Rees Chris Kubick Natalie Bookchin Shirley Shor Eugene Thacker 5 “ACCESS” by Marie Sester.

Laurie Anderson. 6

1/27/97 Aaron Betsky

Icons in the Sprawl: Making Form in the Electrosphere

Image: Kohn Pederson Fox Associates, mixed-use tower, Shanghai World Financial Center. Affiliation: Curator, SFMOMA, San Francisco.

Bio Hudson, 2006) Betsky has also contributed to a variety of Aaron Betsky is an internationally acclaimed architect, crit- publications and newspapers, including the Los Ange­les ic, curator, educator, lecturer, and writer on architecture and Times, The New York Times, The Vil­lage Voice, Domus, Elle design. and Met­ro­pol­i­tan Home.

Although Betsky was born in Missoula, Montana, he grew Betsky has held the Eero Saarinen­ chair in architec­ ­ture at the up in The Netherlands. He graduated from Yale University Uni­ver­sity of Michi­gan and has been a vis­it­ing pro­fes­sor at with a B.A. in History, the Arts and Letters and a M.Arch. some lead­ing uni­ver­si­ties, including Columbia­ Uni­ver­sity, the Cal­i­for­nia Col­lege of Arts in San Fran­cisco, the School Early on in his career, Betsky worked as a designer for Frank of Archi­tec­ture in Hous­ton, and at the Southern­ Cal­i­for­nia Gehry and Hodgetts & Fung. From 1995-2001 he was Cura- Insti­tute of Santa Monica. He is an honorary­ member of the tor of Architecture, Design and Digital Projects at the San British Insti­tute of Archi­tects (2004) and has won an award Francisco Museum of Modern Art before moving back to from the Amer­i­can Insti­tute of Archi­tects (2001). The Netherlands, where he served as director of the Nether- lands Architecture Institute in Rotterdam from 2001 to 2006. Betsky was named as the director of the 11th Exhibition of Since August 2006, Betsky has been the director of the Cin- the Venice Biennale of Architecture in 2008. cinnati Art Museum.

Betsky has published more than a dozen books on art, archi- tecture, and design, and written numerous monographs on the work of late 20th century architects, including I.M. Pei, UN Studio, Koning Eizenberg, Zaha Hadid and MVRDV, as well as treatises on aesthetics, psychology and human sexu- ality as they pertain to aspects of architecture, and is one of the main contributors to a spatial interpretation of Queer theory. Among his books are What is Mod­ernism (Phaidon Press, 2008) and The United Nations Building­ (Thames & 8 0h eie Biennale; Venice 50th Y New Museum, Guggenheim Present, the to 1951 from Art of work was featured in Museum Whitney American the Art, New D.C.; Washington, Hirshhorn the Museum, Paris; Pompidou, Centre the Angeles; Los Art, Contemporary of Museum the Art; of Museum County Y including shows mounted at the Museum of Modern Art, New Ray’s work has been featured in numerous group exhibitions, for ModerneKunst, Oslo,Norway. Museet Fearnley Astrup and Switzerland; Bern, Kunsthalle, Malmö, Sweden; The Institute of Contemporary Art, Art, Contemporary London; for Center Rooseum, The Angeles; Los Projects, Regen include venues exhibition Solo Chicago. ContemporaryArt, of Museum the to and Angeles, Los Art, New Art, of American Ray’sMuseum the of Whitney at opened work both Los Angeles and Osaka. In 1998, a retrospective survey yearsin ten last overthe made and tree fallen bya inspired II in Los Angeles, which featured Gallery in New Chicken, include exhibitions solo 2007 Ray's Charles Bio Dreams and Conflicts:and Dreams ork; the of Dictatorship The Viewer , Angeles Los the Minneapolis; Center, Art Walker the ork; The New Beetle, New The Y ork; it toured to the Museum of Contemporary of Museum the to toured it ork; Y ork, and Y ork; and the Dallas Museum of Art. His Singular Forms (Sometimes Repeated): Centre 1955—1985, Angeles Los Charles Ray's Log at Regen Projects at Matthew Marks Matthew at FigureFather Hinoki, a carved sculpture hre Ray: Charles C Affiliation: Artist,Los Angeles. harles Image: “Firetruck” (1993). Untitled Fellowship. Council forthe Arts; andtheRutgersUniversity Artists Council (Visiting Foreign Artist Grant); The NewJersey Louis Comfort Tiffany Foundation; theCanadian Arts the NationalEndowment forthe Arts; Art Matters,Inc.; Ray hasreceived grants fromtheLarry Aldrich Foundation; Biennale, Italy;andDocumentaIX,Kassel,Germany. Venice 1993 the France; Lyon, de Biennale 1997 the Art; American of Museum Whitney the at Exhibitions Biennial four in included been has Ray Art. American of Museum Whitney 1900—2000, Culture, and Art Art, Century: American Contemporary of Museum Angeles; Los Art, Pompidou,Paris; R ay , Museum of Contemporary of Museum Cézanne, After cts: n n Aot lee States, Altered About and In Ecstasy: o Agls ad The and Angeles; Los 2/10/97

9 10 (2001-2006). His contribution to the to contribution His (2001-2006). Memories of Full ets (2002), and more recently the internationally traveling War (1993), the as 1990’ssuch early tic work, producing pioneering prizewinning projects in the artis- his into processes 1980’scomputer integratethe to in artists of generation first the of one Legradyis George bara. Bar Santa UC at program Technology& Doctoral Arts dia LegradyGeorge Interactiveof Professor Me- is the in Media Bio (Asof2/15/07) artist’s recentworks. the of examples with metaphors interface of ceptualization plane. Thisrelevancethe discuss will presentation con- and literal and symbolic the both on meaning new with tually that pass through them. They charge the information contex- Interface metaphors quantitatively transform the information environment. digital the within experience viewer’sactive inter the redefining nature, conceptual and sensory thetic, aes- symbolic, linguistic, site a of developments innovative key for the be to promise environments metaphor these cessfully navigate inside the suc- interactive program. can As a result, viewer the metaphor, or story” “the knowing By data. understanding and accessing wayof a provide to and viewer the situate conceptually to which by models tional Digital Interactive media require metaphor based, organiza- Abstract 3/3/97 Slippery Traces (1995), Anecdoted Archive from the Cold the from ArchiveAnecdoted Image: “Tracing InstallationLay-out,” Kunsthalle Bonn(1997)andMOCA, LA(1998). Affiliation: Artist, Media Arts & Technology, University ofCalifornia,Santa Barbara. N arrative Strateg ies nInteractive Mdia Sensing Speaking Space George Legrad Interface Metaphors: Pock- - - library’s collectionuntil2014. that mapsthehourlycirculation ofbooksmoving outofthe gatepages/november05.shtml) is a data visualization project the Museum (http://artport.whitney.org/at Whitney Artport Library,Public attle “Making featured Invisible”, Visiblethe National Endowment for the Arts. His commission for the Se- and Science Arts, Technology,the and Council, Canada the the Foundationfor Langlois Daniel Foundation,the Capital Creative from awards received has He others. and (1997) Canada of Gallery National the Pompidou(2001), Georges (2003), San Francisco Museum of Modern Art (2002), Centre Rotterdam DEAF03, (2003), Electronica Ars (2004), Kiasma Art Contemporary Cornerhouse of Museum the (2005), Gallery,Manchester (2006), Madrid ARCO, at 06 BlackBox (2006), Angeles Los Gallery,Telic(2006); Communication of Museum Frankfurt (2006); Festival Media New Beijing 3rd (2006); Jose San 06, ISEA at recently most ternationally in- exhibited been have installations interactive digital His narrative experiences. socio-cultural and representations aesthetic of forms new creating of means a as processing data with content tural 1990’searly the in discipline a cul- intersecting in been has digital media field since the early stages of its formation into y that use the Internet and artificial intelligence software. intelligence artificial Secret Agents Private I, The and Art andFilms ofLynn Hershman Internet the use that installations interactive and 1980s the from videos to 78) the work—from of range chester, Man- in Gallery Whitworth the at retrospective a 2007, In The Tate Modernland Museum, Center,ZKM The Art Walker the including tions, Gallery, Manchester England. Art Her work is collected by many Whitworthinstitu- the and Canada of Gallery tional Na- The at retrospectives including world, the throughout museums in exhibitions 160 over had has and LOR- (1979), NA laserdisc, art interactive first the made having with credited is She filmmaker. and artist an is Hershman Lynn Bio digital revolution thatoccurred 144years afterherdeath… the also but life, artificial of possibilities the only not dicted pre- Ada Babbage. Charles by Numbers” of “Enchantress programthe computer named first the writing with credited is who Byron, Lord of daughter the Lovelace, of Countess Ada, mathematician the brilliant plays Swinton film. Tilda the first film to use virtual sets, which were invented for this in intertwine memory and history, ence, Themes of love, sex, artificial life, computers, DNA transfer Abstract uooos Agents, Autonomous The Hess Collection. eis (1974- series Breitmore Roberta etrd comprehensive a featured Affiliation: Artist, University ofCalifornia,Davis. Conceiving Ada, Conceiving L ynn Hershman Conceiving Ad Image: “Ada: FliteofBird.” -

ticipated for release in 2010. in release an- for ticipated is which film, feature-length this of phase editing the documentary forthcoming her FellowshipFoundationfor Memorial heim time Achievement Award,a and Lif- Siggraph AchievementAward,2009 Lifetime art digital d.velop 2010-2011 the of recipient a is awards Leeson Hershman numerous won have and others, among Festival, , val Toronto FestiFestivalFilm Film- and International TheBerlin Film Sundance the of part been Ada—have ceiving Con - Teknolust, Culture, films—Strange feature three Her lery inSeattle. in 2005 on the occasion of a retrospective at the Henry Gal- Press California by of UniversityThepublished was Leeson and virtualworlds. of humans and machines, and the relationship between real of consumerism, privacy in a era of surveillance, interfacing nized as key to the working of our society: identity in a time nologies and her investigations of issues that are now recog- technew of - use pioneering her for acclaimed ternationally Over the last three decades, Hershman Leeson has been in- the University ofCalifornia,Davis. ment at the San Francisco Art Institute, Professor Emeritus at Directing. P.and Alfred Electronica, Foundationand Sloan for Writing a Hershman Leeson is Chair of the Film Depart- Film the of Chair is Leeson Hershman h i peety in presently is She Revolution. Art Women Other awardsinclud Other 2009 John Simon Guggen- Simon John 2009 3/31/97 Prix Ars

11 12 availableGRAFICA(http://graficaobscura.com/in Obscura is research This HTML. to work unpublished his of much convert to Brown Dave by inspired was Haberli 1994, In graphic imagescaneasilybecreated. photo- or generated computer of paintings impressionistic that found Haeberly strokes, individualbrush of orientation objects in a scene. By controlling the color, shape, size, and of relationships depth the as well as shading, and geometry representations, visual exploring for tools and processing, image programming, futurist prototyping, rapid for cutting His research interests include geometric paper folding, laser on computergraphics research fulltime. Latterly,work to files. graphics able for was he format (SGI) approach.this ment GraphicsSilicon the devised He Image imple - to software producing graphics, computer in niques tech- (NPR) rendering non-photorealistic in involved also was He workstations. Graphics Silicon for system window ics in Silicon Valley, California. He worked on the early MEX wasHaeberli 1983–1999, Between GraphSilicon at based - Wisconsin– Madison. of University the from Engineering Electrical in degree Science of Bachelor a with researcher and mer program - graphics computer American an is PaulHaeberli Bio 4/1/97 Affiliation: ArtistandEngineer, SiliconGraphics. P Image: “Paper Foldng Project”(1994). aul Haeberli Media Synthesis computer-based techniques, basedinMadison, Wisconsin. using material sheet from structures freeform build to aims which Design, Lamina with involved currently is Haeberli index.html). and Historiography amongmany others. Criticism, Cultural Theory, Social continental in and methods figures other School, Frankfurt the of Theory Critical the as such activities, intellectual and academic other with history connecting in groundbreaking been have research interests his and Historian Intellectual renowned a is He Berkeley. California, of University the at History of fessor Pro- Ehrman Hellman Sidney the is 1944) (born Jay Martin Bio from theirdistantsources. traces indexical attenuated transmit to potential the have systems telerobotic that and experience corporeal prior on parasitic fact in are reality virtual of simulacra” “pure edly suppos- the that Jay argues light, of speed finite the to ence atmeporalof notion eyesight. Baudrillard’sAnalyzing refer Aristotelian/Lockean/Berkeleyan/Cartesian the in grounded of a breakdown of the fundamental concept the “present” as tion of starlight as Memento Mori to Nietzsche’s anticipation no- Benjamin’s from ranging implications epistemological Roemer. and ontological has Thishindsight” “astronomical covery of the finite speed of light by Danish astronomer Ole Jay traces the implications of this delay back to the 1676 dis- Internet. the on to devices telerobotic to and vision telescopic inherent is that appearance and reality between delay time the Jayconsiders Martin theorist critical and Historian Abstract The SpeedofLight Affiliation: Historian,University ofCalifornia,Berkeley. Astronomical Hindsight Image: International Astronomical Union. Martin J - and He isthehusbandofliterary criticCatherineGallagher. magundi. journal quarterly the in column regular a has also He search isonLying inPolitics. Post-Structuralism/Post- of History.Intellectual European in Modernism re- current His place the and Culture, Visual Criticism, Cultural and Historiography in territory new ing explor as well as Marxism/Socialism, of nuances many the explore to continued then since work FrankfurtHis School. the of insight theoretical the to Academy American the ing expos- in works influential most the of one considered is book His Berkeley). at department Sociology the chair later would Jay's(Löwenthal researchto crucial were that ments docu- and letters personal to access him providedwho had Löwenthal Leo to closest was He School. Frankfurt the of a correspondence and friendship with many of the members established he dissertation, his researchfor conducting was he While 1923-1950. from School Frankfurt the of history into the book telage of H. Stuart Hughes. His dissertation was later revised tu- the under Harvard at History Ph.D.in his completed he 1971, In 1965. in College Union from B.A his received He Virtual Reality ay The Dialectical Imagination, which covers the : 9/10/97 Sal- -

13 14 cluding Harvardcluding University, University,Princeton MIT, New Scher has taught and lectured at a number of institutions, in- the John SimonGuggenheimFellowship 1995-96. HarvardUniversity,at Studies Surveillance and 1996-1997, FellowshipInstitute Bunting a for including fellowships and grants many of recipient the is She label. recording Electra lery in Berlin—as well as on the world wide web and on the New in Gallery Rosen drea An- Art, Modern of Museum Francisco San the at hibitions worldwide in physical art spaces—including recent solo ex- Her spoken word CD’s and installations have been exhibited soothing voices andbaby blankets. included have installations the of variations Other culture. surveillance in participate actively to viewer the to vitation often involve a person wearing a security uniform and an in- installations of series called a produced has Scher 1988, Since trol andseduction. con- power, of issues explore that works tion/performance web/installa- transitory and temporary creating by systems monitoring of ideologies and dangers of exposure in ested veillance issues in our culture and cyber-sphere. She is inter sur and security electronic engages critically Scher’swork Bio 10/1/97 Security by Julia . These have taken different forms but Y ork, and Esther Schipper Gal- Schipper Esther and ork, Affiliation: Artist,MIT Visual StudiesandRadcliffe,Cambridge, MA. and The Cult ofSur Image: “Wonderland” installation(1998). Predictive Engineer Julia Scher - - many. Architectures at the Kunsthochschule für Medien Köln, Ger in Surveillant professorship first the holds currently Scher technic InstituteandDAS Arts, Amsterdam. Y r Uiest, ugr Uiest, n Rnsle Poly- Rensselaer and University, Rutgers University, ork veillance - Frankfurt (1989). In addition to his influential critique ofFrankfurt critique influential his to Ar addition In (1989). of University the and 1968), to 1960 (from Technologyof Institute Massachusetts the at taught also has Dreyfus sor Profes- Berkeley, at career teaching his of While most spending Heidegger. Martin especially Maurice Foucault, and Michel Merleau-Ponty, of work the of interpreter ing Hubert Dreyfus (BA and PhD Harvard) is considered a lead- Bio any support such commitment. than rather undermine to tends world, simulated commitment. However, the Internet, which offers unconditional risky,a risk-free a making by done is This overcome. nihilism is sphere religious the in Only nihilism. to led and distinctions qualitative all leveled held, he This, mitment. com- and responsibility undermined that curiosity idle and anonymity risk-free promoted Press, the in implemented as Sphere, Public the that masses,”thought the Kierkegaard of tyranny and “the wasMill Tocquevilleproblem the thought rious problem for many intellectuals. But while thinkers like mocratization and expansion of the press, had become a se- de- recent the to century,thanks 19th the of middle the in whichsphere public the calls Habermas whatwas concern his of focus The Press. the to opposed so was he why and Public the by meant he what understand to need we ternet In- the hated have would Kierkegaard why understand To Abstract

ANONYMITY Affiliation: Philosopher, University ofCalifornia,Berkeley. Image: Times Squareastakenby Dick DeMarsico(1945). Hubert L.Dreyfus KIERKEGAARD ON THE INTERNET: VS. COMMITMENTN THE PRESENT AGE - spell outwhat wecandoto lureback thegods. Melville’s of polytheism the reconstruct Davidworkof the in Fostercaptured Wallace.Finally, they as world modern our of emptiness sad the to gods own his invent to Superman Nietzsche’s of attempt failed the from gods; lesser the all out wipes who Being Supreme a of tion contempla- blissful Dante’s to world polytheistic Homer’s cultural decline from the intensity, wonder, and openness of sense of enchantment and meaning. The authors follow our Western Canon to show step by step how our culture lost its tled enti- book a Kelly) Sean (with completing currently is He philosophers. trained analytically to accessible philosophers continental tificial Intelligence, Dreyfus is known for making the work of All Thingsthe worksin whichgreatest Shining, the uses and Dick Moby 10/15/97

15 16 rc Tm etbihd h itricpiay practice, interdisciplinary TOMB, the BRUCE established Tomb Bruce California Collegeofthe Arts (CCA). at intermittently lecture to continues he and Arc) (SCI ture Architecof - Institute California Southern at taught has John residence formusician,D.J. Shadow. new a and Francisco, San - Nation Food Slow Pavilionfor for Wine, Food & the Arts, as well as the nomadic Craft Beer include Projects exhibition designs for Selected environments. social and working, ing, liv - their and people between relationships metaphorical the to dilemmas prosaic from possibilities of range shifting focuses, his work strives to reveal, question and redefine the and inspiration of base broad a from Drawing Arts. Visual the and Design, Environmental Architecture, of realm the in versed practitioner’ design ´general a is Randolph John Bio ing Dept. Berkeley’sseveralUC including from MechanicalEngineer engineers, and designers of team large a with collaboration particular SFMOMA. at in installation 1996 a Gnomon, projects, architecture and art ongoing describe their will Randolph John and Tomb Bruce Architects Abstract

11/5/97

i 19. Through 1998. in www.bructomb.com, John Randolph,and Tom Bonauro.Affiliation:Architects, InterimOfficeof Architecture, San Francisco. Image: “Gnomon”(1996),takenby BenBlackwell, courtesyofSFMOMA. Artists: Bruce Tomb, John Randolph COPIA: The American Center Gnomon P arado was a was Mediating xical Spaces - d n a at SFMOMA. installation the Arts, the for Center Headlands at Latrine the include: collaborations art, known best separated Their architecture. and traditionally design, that boundaries the blurring Randolph, John with Tomb Bruce by 1984 in co-founded was as IOOA, known also Architecture, Of Office Interim Francisco/Oakland since 1989. San in Arts of College California at Professor Adjunct nior Se- a is and Obispo, Poly,Luis Cal San at Tombtaught has tural practice andyet central toarchitectural thought. architec- conventional to peripheral is that work of pursuit Media Van v.08, for SFMOMA. The practice is defined by the the Museum, omsind n eprmna claoaie projects collaborative such as the award winning experimental and commissioned Bruce T at New Langton Arts, and Langton Arts, New at facie prima , and the and Project, (de)Appropriation omb Vista Point, at the M.H. deY Gnomon, Ant Farm Ant oung ratories in Murray Hill, NJ working on small signal power signal small on working NJ Hill, Murray in ratories he was a Member of Technical Staff at Bell Telephone Labo- 1968 Berkeley,to FromCalifornia, 1958 1957. of versityin and received a Ph.D. in Electrical Engineering 1954, from the Uni- in States United the to came He Stockholm. in ogy of RoyalInstitute the Technolfrom graduated He Sweden. - in up grew and 1927, in Monaco in born was Klüver Billy Bio photograph basedonshadow telemetry. each for times the determine to records solar and buildings the of measurements used and lunch had they where rant restau- exact the determine to archives and maps used He taken. were whatthey whereat time exactly and determine to photographs the analyzed Kluver scientist, qualified a As 1916. in Cocteau Jean by taken friends their and digliani, Mo- Picasso, of photographs 18 on based is which casso, book, recent most his discuss also will He dertaken by E.A.T. from1966tothemid1970s. and Technology,un- Art in projects Experiments the of and through tion with Jean Tinguely on the machine that destroyed itself, collabora- first his from artists with work his of history the on center will talk His 1957. in graduating since time first the for Berkeley to return will Klüver Billy legendary The Abstract Oracle with Robert Rauschenberg and the founding Collaboration of Artists Affiliation: EngineerandPresident,Experimentsin Art and Technology. A Day with Pi- with Day A Image: “BillyKlüver: RestingonDuct.” P Billy Klü ast , Present Billy Klüver diedJanuary 2004. sso (1994)published by MITPress. Paris with Julie Martin (1988) and author of Klüver is the co-editor of Rooftop GardeninginNew India; in gram pro- television educational including Art Outside 1969 Projects from and Japan; Osaka ‘70, Expo at PavilionPepsi new technology: administered interdisciplinary projects involving artists with tists who can collaborate with them, E.A.T. also initiated and scien- and byengineers assistance matchingwith and them information technical with artists providing to addition In president ofExperimentsin Art and Technology. been has he 1968 Since engineers. and artists for nization orga- service not-for-profit Technology,and a Art in ments berg, Robert Whitman, and Fred Waldhauer founded Experi- Rauschen- Kluver,Robert 1966 In Warhol.Andy and Cage Johns, Jasper Tinguely,Jean technology,including new incorporating art workson of collaboratedartists with he 1960s, early the In amplifiers andinfra-red lasers. conservation in electron beams, backward-wave magnetron , Future ver and Engineers: on Rie, oet ashneg John Rauschenberg, Robert Rainer, Yvonne in New in Communication and Children 9 Evenings: Theatre & Engineering in 1966; Pavilion (1972), co-author of Kiki’s Y ork, amongothers. A Day with Pica- 11/19/97 Y ork;

17 18 I will also show “Reality Generator,” an interactive virtual interactive Generator,”an “Reality show also will I on theInternet. available environments chat graphical and worlds; VRML or movies QuickTimeVR as such systems VR desktop end low- games; computer multiplayer on-line and CD-ROM, head-mounted displays and photorealistic graphics; arcade, feature that works VR high-end are neously.examples The simulta- users more or one to accessible environments tive interac- computer-generated 3-D mean I worlds virtual By digital realisminvirtualworlds. visual define that characteristics of number a discuss I will talk my In user? the of engagement bodily the multisensory on also but illusion visual on only not relies that one realism, and of simulators, kind motion new a represent VR games, computer Do film? and photography with perience of redefining the standards of realism determined by our ex- realism of optical media? Is digital technology in the the process from different image synthetic a of realism the is How illusion generators computers. digital by replaced being everywhere are machines these Today video. and film, photography, culture mass of gies technolo- media the of domain the became representations century,twentieth the During illusionistic of production the Abstract 12/8/97 Image: “HIPerSpace Wall atCalit2”(2009),LaJolla, CA. Affiliation: Artist,University ofCalifornia,SanDiego. as Lev Mano an IllusionMachine Computer lectures, seminars,andworkshops since1999. 450 deliveredhaving world, the around lecture to demand in much is He (Calit2). Technology Information and tions Telecommunicafor Institute - California at Initiative Studies Software the of Director a and Diego California-San of sity Univerin Department, VisualProfessor Arts a is Manovich have been reprintedover which 300timesin30+countries. articles 100 written has He McLuhan.” shall most suggestive and broad ranging media history since Mar “the as hailed is which 2001) Press, MIT (The Media New and 2005), Press, MIT (The Database the 2008), license, CC under (released include books Manovich’s Lev Bio virtual worlds and ofcomputerimagingingeneral. commercial of conventions key the invert systematically to try I project this In designing. currently am I which world vich otaeTks Command Takes Software Soft Cinema: NavigatingCinema: Soft The Language of Language The - - in computer graphics, geometric modeling, and computer- and modeling, geometric graphics, computer in ley since 1977. For the last 20 years, he has been interested Berke- California, of University the at Science Computer of Carlo H. Séquin, originally a physicist, has been a professor Bio (Asof1/10/07) need forbuildingrealphysical art objects. the to as questions intriguing other raise technologies tion form Fabrication processes. New emerging virtual presenta - also been built directly with computer-controlled Solid Free- matter. Recently small scale-models of such sculptures have that he would not dare to shapes prototype manually from physical complicated construct to him allows and labor of weeks several him saves approach prototyping virtual Our program. our by generated blueprints feet) (3 full-scale of help the with Collins by realized havebeen designs cessful Suc- shapes. final their define that parameters the optimize to and surfaces, saddle and knots involving sculptures geometri- cal abstract of configurations different visualize to his students, he has developed a several computer programs Gower,in working sculptor wood a MI. Collins, Brent With ated sculpture. He has developed a close collaboration with geometry, Sequin explores the possibilities of digitally gener Gabo, and later from books on mathematics and differential Calder, Bill, of works the by inspired Originally geometry. Carlo Sequin sees himself as a composer in the space of pure Abstract Mathmatics-B Affiliation: ComputerScientist,UCBerkeley. C and RealSculpture arlo Sé Image: “Figure-8 Knot.” - ased the “IEEE Technical Achievement” award. “Artisticand Geometry.”Engineering” receivedrecently He tures. For these activities he has coined the terms: “Aesthetic sculp- geometric for severaldesigns created has and artists, some with collaborated also has he 1990s, mid the Since chanical engineers. me- and architects, designers, circuit for tools design aided quin Virtual 12/28/97

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to engage creatively with technology. It will do so with these at bother who looks those of talk some evidence—artworks—by Thisforged there. out be may what for metaphors or “genetic”, packaged in more or less engaging or eloquent mersive, that are staging processes more or less “intelligent” interactive,im- reactive, less or more experiences offer self my- including artists dozen few a by gear and Installations ing new techniques to materialize their own views of things. carelessly,sometimes are, us- millennium late the of Artists bling exercise inforgingevidenceforwhat may be. rooted in anxiety, and it’s production, a necessary and hum- be to appear beauty for quest the and creativity again, yet and Suddenly uncertainty. and chaos complexity, bracing question the single point of view of Italian Renaissance, em- into put to learn we as intelligence visual of basis very the con- text, both physical manufacturing and intellectual, has of now set to process challenge This Earth. the of face the is called reality, and of our idea of it, which has transformed what of re-editing continuous of process a to pointed fire” vision: Aristotle’s “radiating objects” and Pythagoras’ “visual of nature the on philosophers Greek ancient among debate the revisit to perspective this from interesting is It about. is to look at the world and furthermore to show what the world how us teach to ability the Oscar have artists that believed Wilde fog, London the of depiction Turner’s to Referring Abstract Affiliation: Affiliation Artist,University ofMontréal. Luc Courchesne Image: LucCourchesne, astakenby Luc. as ForgingEvidence Art Making (1990), Severalin 1984. thored including installations, being productions first his Luc has been exploring the field of interactive video, one of Bio tions ofthekindworld wearemoving into? indica- today’sas at artworks look suggested, Wildeas we, can And “beauty”? to What’smind: happened in questions Society. the the of president Technologyand Montréal Universitéde at Art design information of professor is Courchesne Luc 1999 inLinz, Austria. Electronica Ars Pris at Distinction of Award an Tokyoand in 1997 Biennale ICC the of Prix Grand the awarded was sively in galleries and museums worldwide. Luc Courchesneexten- shown been have works His followed. (1999) vous Family Portrait (1993), , which he co-au- he which Movies , Elastic Passages (1998), and 2/25/98 Portrait One Rendez-

21 22 Lunenfeld’s talk constructs a lineage of the alchemical imagi- and kingswere redolentwithgnosis. elixirs dragons, and kilns of illustrations their - information with pictures complex their imbued Alchemists tradition. visual powerful a had practice, their to referred alchemists chemy’simage. the TheGreat to Work,approachas arcane way,about mayback,reinvigoratingal- arts look digital the round- a in and Instead, method). scientific the of crux the is (which verifiability to aspire to art for reason no is there These standards are most assuredly not those of science, for peraesthetic shouldstrive? hy- electronic an which towards standards internal the are whatstandard.” then, internal becomes, an Thequestion of service the towards directed work, “creative as art defined DickK. Philip art. technologyas masqueradingis media tal chemytoday,then science, for mistaken art were digi- most al- if mysticism.But its off shook whenscience obscurity to them whatdoomed is that and science, for mistook herents ad- its that art an is It transformation. of art the is Alchemy in pictureswehave concealedthetruth.” and havewherecode we But in nothing. something written said (actually) have we openly spoken have we “Wherever Abstract 3/11/98 —The RosariumPhilosophorum Magic, Technology &DigtalMedia Affiliation: NewMedia Theorist, Art CenterCollegeofDesign. Image: “MatthewRichie. Self-Portrait in2064”(2003). Peter Lunenfeld The Alchemical Imaginary http://www.peterlunenfeld.com. editorial directoroftheMITPress Mediawork project. and creator the is He (forthcoming). Uploading and loading and USER, Grid, to Snap include books His UCLA. at partment Peter Lunenfeld is a professor in the Design | Media Arts de - Bio that ofrecognition. than subtle more pleasures and knowledge oblique of tion acquisi- the demands possible, even is it Transcendence,if coded. more be should arts electronic of standards internal hopes of attaining an ever more subtly nuanced realism; the the in improvements technological and upgrades of cycles inevitable industry’s into play not should then, media, ital coded a grail they of transcendence. power: Artists who of engage with dig- promise the and knowledge of danger the Barney. Matthew between artist danced Alchemists of films over-coded phantasmagorically the and Ritchie, Diana Thater, the cartographic Web sites of painter Matthew temporary work like the light and color video projections of con- to 1950s the in Smith Harry avant-gardefilmmaker of nary in the media arts, running from the mystical animations

: The Secret War Between Down- Between War Secret The TheDialectic, Digital Cremaster and immersion inthedigitalarts. interactivity of meaning the on well as video closed-circuit essays on particular media art forms such as installation and artists in the United States and Europe as well as theoretical media contemporary by work of range wide a on criticism essaysinclude and books in publications plus hundred Her and themeaningofhomein the ageofprivatized mobility. eat, cyborgsfreeways, food whatand malls aerobics, video to sports and graphics news, television from range dressed ad- has she forms cultural The culture. digital and media new to video and television to film from focus shifting a in media through change cultural studies She Cruz. Santa UC at Media Digital and Film of Professor a is Morse Margaret Bio artificial death. and life artificial of finally, and interactivity of immersion, of idea the screen, the to body the of relation shifting the explained using examples largely from media art to illustrate is body the to specifically apply virtualities or presence of fictions How rules. different to according operate that ence pres- of fictions are virtualities novel, the and film theater, from know we that scene other the and past the of the fiction Unlike fiction. of species another as “virtualities” ing introduc- *Virtualities*, on draw will Morse’stalk Margaret Abstract Affiliation: ProfessorofFilm and Video, University ofCalifornia,SantaCruz. Margaret orse Image: “Osmose”CharDavies, (1995). Bod Virtualites y Fictions: 1990’s. late the since forms collective virtual emerging including update will that book researchinga as Triumphwell the as Will,of Riefenstahl’sLeni on monograph a writing currently is She versity Pressin1998). of ZKM in Karlsruhe (Cantz Verlag 1997), as well as the author es that have come out of the Institute for Visual Media at the Hardware, Software, Artware on computer-assisted art piec- book the of author principle wasand Morse editor Prof. the Virtualities:(Uni- Cyberculture Television,and Art Media I wl ades hfs n utrl forms, cultural in shifts address will It Virtualities. 4/8/98

23 24 From 1984- 2004, the collaboration Margaret Crane|Jon Wi- Bio Project website:http://www.america-the-globe.net/dw/ aren’t wanted. to somewhere far away. We keep hanging around where we magnificent and empty sweeps ramp on freeway the night, at Late obsess. We else. someone of us remind that losers As live. time we becomes solidified, wewhere get restless. is We fall inthis love with And funnel. the of center the in gulf. enormous an in spinning funnel Timeslows way down a is maelstrom Theus. becomes anguish then, Until other. action. and thought eachsaywhatto to knowThen will we sion bridge. One day, a bridge will span the chasm between the beautiful lie we’ve constructed. It is elegant as a suspen- is Relief deafening. is things tactile of silence wooden dull buildings. The tall the in flicker sky,lights fading a Against coffee tables and classic cars whisper of a classy way of life. are. We stride through the obsolete panorama. High modern Our emotions are epic. Objects are props that tell us who cheap. we so away itself gives past. Time the into flows future airports. We are in one world. But we dream of another. The Inside. Outside. From room to room. New cities and foreign The Twentieth Century. Abstract

3/11/98 Jon Image: “The Globe”(2004),sculpturewithredcarpetandtheatricallighting. Interactive N Winet Endless Beginnngs: Affiliation: XeroxParc, Palo Alto. d n a arrative inPublcSpace MargaretCrane is representedby GalleryPaule Anglimi in SanFrancisco. and nia; New Columns, White porary Art Center, Buffalo, New Their work has been shown nationally at Hallwalls Contem- tural regeneration andglobaleconomics. cul- of contemporarylandscape the in identity northeastern project based in Newcastle Upon Tyne that explored English and Francisco; San poster project highlight non-profit social service agencies in elections; tial presiden- US the on project year-longmultimedia a Globe, on public space. Their projects include Silicon the in Valley,Internet the investigatingof impact the tank think a PARC, Xerox at residence in artists were they guage and image in the Information Age. During 1993-1998 net has produced projects revolving around politics, art, lan- and Photography,of Center/Friends Adams Ansel Camerawork, FranciscoSan poraryCalifornia; Forum, Barbara, Arts Santa of Contem- Museum JoseArt; Contemporary San of and Art Institute Jose San Minnesota; Minneapolis, Arts, Intermedia Y erba Buena Center for the Francisco,for San Center Arts, Buena Califor erba 20-04 r i pbi kiosk public in art 2003-2004 a Street The , [2002] an online hypertext online an [2002] Monument, Y Y ork. Thecollaborationartist ork; Walker Art Center and 2004-America & The - malleability and objectification of the electronic image as a as image electronic the of objectification and malleability the explore to continues he manipulation, digital Through experimentation. process-oriented and creativity real-time in manifested as machine, and artist between dialogue the de- such Articulator,Image emphasized VasulkaDigital of the as vices vocabulary the of investigations early his In scape ofthe American Southwest. land- the upon inscribed memory-theater spectacular a as envisioned — images recorded of meaning history,the and grammarcollectiveof discourse metaphorical a to memory, imaging evolved highly a applies essay,Vasulka haunting textured, lushly this In video. in works major the of one is The culmination of this investigation, codes tonarrative strategies. imaging these of application the to manipulation, digital of technologies new with experiments through signal, tronic from a rigorous deconstruction of the materiality of the elec- evolved has image-language expressive an of development Vasulka's images. technological of meaning metaphorical narrativeand the of exploration sophisticated a undertaken in collaboration with Steina in the early 1970s, he has since tapes of body pioneering elec- a producing After imaging. tronic of potential syntactical the of articulation rich a on focused has work Vasulka'sWoody mid-1970s, the Since Bio Reflections onPost Art of Memory (1987), Wood New EpistemcSpace : Image: Steinaand Woody Vasulka. Affiliation: Artist,SantaFe. y Vasulka -Cinematic Practice He lives inSantaFe, NewMexico. New Biennial, Art American of Museum Whitney the Exhibitions (LACE); Carnegie Museum of Art, Pittsburgh; and New Photography, of ter Cen- International the including institutions festivalsand at individual works have been shown in numerous exhibitions, collaborative works have been exhibited internationally. His With Steina,hehaswon numerousawards andgrants; their and Television Film in Prague. of Faculty Arts Performing of Academy the and Brno in Engineering Industrial of School the at studied He Woody VasulkaCzechoslovakiaBrno, in was1937. born in that hasdominatedhislaterwork. inquiry an strategies, narrativemetaphorical of and opment devel - the to codes these apply to began Vasulka (1983), opera" "electronic fantastical the With es. means of rendering a complex inventory of rhetorical devic- Y r; o nee Contemporary Angeles Los ork; The Commission The 9/23/98 Y ork.

25 26 generated artificial life projects were included in two in Whit- included were projects life artificial generated supercomputer- and sculpture His 60’s. the in race space the launched that spacecraft Soviet the Sputnik, of model chrome polished highly a included exhibits first his of One artist inNew from MFA his got then He 1984. in graduated and Berkeley UC at genetics and biology art, studied Grey Joaquin Michael Bio (Asof10/21/98) their implications. discusses he as them with play to viewers encourage will and lecture his to Zoobs of box huge a bring will Michael market. toy the to related be might biology and sculpture how in anyoneinterested and students, business engineers, manufacturing psychologists, mathematicians, biologists, kinematicians, artists, roboticists, to interest of are Zoobs a brilliantarray ofpost-Mondriancolors. availablein are and blocks, Lego of symmetry 4-fold the to “biological Lego,” have 64-fold symmetric joints as opposed as known Zoobs, year.each Zoobs of millions sells cisco, commercial toy market. Primordial.com, based in San Fran- the to Zoobs sell and manufacture to company a build to world art the from hiatus a 1990’stook mid Michael the In Abstract 10/21/98 Y l’ supue rga ad eae wl known well a became and program sculpture ale’s Y ork. Zoob Image: “Artificial MuscleContraction: SelfOrganizingSystem”(1983-2001),taken by John Berens,courtesybitformsgallerynyc. Affiliation: Artist andInventor, New , Zoology Michael Joa Dreams ofC , Ontology quin Grey asuality mythological origins fromtheprimordialZoop. their after Zoobs, ele- calls five he that structures of geometric mental set a design to him led kinematics and form, evolution, biological in interest ongoing His Biennials. ney , O togeny : , and Botany Y ork. years, he has organized countless exhibitions of 20th cen- 20th of exhibitions countless organized has he years, the Over Art. Modern of Museum Francisco San the of tor New Boston’sof of ContemporaryDirector rector of Art, Institute Di- Berkeley, Museum, Art University the at Curator Chief and Programs and Collections for Director Assistant Art, of Museum Beach Long the of Director Deputy as positions with reputation curatorial his established has Ross David Bio with whom technology isascommoncrayons.” artists with dealing in....we’re them take will who natives friendly some find they’ll that hope and support life with in “Technology is not an alien landscape where we drop artists ties, aesthetics,andimplications. quali- distinguishing its identify to effort an in topic, this on specifically focused audience, Davidthe between and Ross dialogue a be will Wednesday’s presentation mainstream? gone has art truly digital mean this to Does medium. country the embrace this in art contemporary and modern of Whitney,and Walker SFMOMA, Art Center are among the few major institutions world. art the in created has nology tech- that shifts cultural the at looking finally are Museums Abstract (As of11/4/98) Y ork’s Whitney Museum of American Art, and as Direc- —David Ross,Wired Magazine Affiliation: Curator, SFMOMA,SanFrancisco. Da vs. The Digtal A The Art Musum vid A. Ross Image: David A. Ross. SFMOMA unveiled itsfirstnetartexhibitatsfmoma.org. mid-October In medium. its as Internet the uses that work art- art, net attention: his caught has form new a Recently lishing newartforms. estab- and defining in role pivotal a play will he that gests world’s the curatorof foremost be Video today.Art to Ross’s track sug- record him consider still many and Art, Video in specializing curator world’sfirst the was David 1972, In and Harvard. SFAI, UCSD, including world, the around universities and museums at lectured has and published, widely is art, tury ge 11/4/98

27 28 tage stereopticons. vin- and radio, film, paper, peeling ancient, used also has phy,He installations. and “objects” post-minimal as well as photogra- and drawing, printmaking, casting/installations, video- imagery, volumetric high-density sources, “virtual” and “real” linking performances intercontinental websites, interactive including technology,traditional and advanced and now streaming video theater on the Web. He gorges on pioneer in “long-distance art,” most a of as all knownlive also satellite video, is He puppy). a like lap your in down lie InterNet the speak, prints you, touch video makes (he do it’swhatto do supposed is, not out—that inside turn media new making in specializes who artist an is Davis Douglas Bio California. northern in Devil”—executed the and Text,Flesh A Cities, own—”TheClara his Santa of worksTapes” early “Twoand radical two 90’s.to reference be will the lecture his of in center the At art web and 60’s the in art performance and next the video of beginnings in the to references arts specific with the century of destiny the of theory new a offers Davis lecture, this For arts. electronic contemporary the of evolution the in role integral an played has Davis New Douglas performer, and critic artist, unique a As Abstract 11/18/98 (or, Beyond Image: “The LastNineMinutes”(1977).Live performance,documenta VI. the FutureinMedia,Gender Douglas Da Art of Y ork-based Affiliation: Artist,New the Third Kin several corporations &foundations. ties and art colleges and served as consultant in this field for Davisadvancedtaught has universi25 than more at media - digital arts,”ThunderGulch,” basedinLower Manhattan. the collaborativeto devotednew a co-founded he 1996, In theory. media in element “human” the viewer, the of importance crucial the on focuses 1993, Message), the Not is Medium theory. and ies stud- museum of genre burgeoning work”the pioneering in truly “a calls Danto C. Arthur what is (1991) Transformed essays.theoretical of book widely-quoted a is technology. and art of field the in classic a considered is 1973, in tries Davis’book, rible Beauty,anevolving globalmulti-mediatheaterpiece. Collaborative Sentence (1994). In 1997, Davis launched web, wide world the on pieces art earliest the of one of author the is He 90s. and 80s the throughout interactivityplorationof involving variouscontinued media performance live his with telecasts satellite international first the of one in part took of opening the at 1977, In Y ork. vis (1977), Post-Modern the on Essays ArtCulture: , published in severalin published coun- Future, the and Art h Fv Mts fT Pwr o,Wy the Why (or, Power TV of Myths Five The and Society) Hs ex- His Minutes. Nine Last The Duls Davis Douglas VI, documenta The World’sFirst TheMuseum Ter - about the semiotics of computer interfaces and the nature of deal great a reveals topos persistent curiously this that ing computer argu- RPGs, in latest the to magic MUDs to Adventure from of games, role metaphoric the explore also will Davis Web. Wide World the of hieroglyphics pertext hy- the into magic Renaissance and Dante through techne mnemonic this trace and Memory, of Art ancient the cuss dis- will He imagination. digital the up open of to phantasms history the into peer will Davis magic, beindistin- from guishable would technology advanced sufficiently any that remark Clarke’sfamous C. Arthur from cue Takinghis place.” that supposedly helped yank them from the stage in the first technologies very the body-snatched sometimes impulses in the Age of Information (Harmony Books, 1998), “mystical book new his in shows Davis Erik As world. modern the of foundations the form that underpinnings mythological cultural, and the psychological, into way their worming underground, went and themselves disguised they cases, many disappear—in exactly not did longings metaphysical and phantasms old this In the But world. the disenchant age. helped has view,technology modern the of shores the on crashed visions apocalyptic and transformations, spiritual dreamings, cult the that us West’sinform Historians oc- of mysticalheritage Abstract TechGnosis: Myth, Magic, and Mysticism and Magic, TechGnosis:Myth, Mysticsm Affiliation: NewMediaCritic,SanFrancisco. Erik Da and Information Culture Image: ErikDavis atEsalen. TechGnosis: oculture StudiesdepartmentatUCDavis. the in lecturer visiting a as Davisserving currently Technis - and publications. A steel-string fingerpicker in his free time, Davisessaysand articles contributed books has of scores to album. A frequent speaker at universities and festivals alike, classic cult Zeppelin’sLed on fourth volumeTechGnosis critical a and , the Landscape, Spiritual California’s through Journey A State: Visionary The of author the is Davis Erik Bio (Asof1/7/07) virtual worlds. vis 12/2/98

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my file folders public. I’d put my findings up on the net, for net, I’d the public. on folders up file findings my my put make to was project Internet the motivationfor original My followed thework ofmany artists astheymatured. slotted the information in file folders. Through the years, I’ve and documentation, gathered studios, their I’vevisited ists. art- emerging for foraging wide and far traveledI’ve since ever and early Japan, to ago, my years thirty over of was trips research One years. many for doing been had I what doing continue to was it, conceived initially I as artists, the “Art“Artalogue”or an Travelogue.” meeting in purpose My site: China this characterizing http://www.adaweb.com/context/stir-fry/. of One might call it ways many are There the crewatada’webassembleditintoanengagingform. I managed to get data to New Internet in China was an adventure. It wasn’t always fun, but net. the on something the Thirteenput using and yearsago, work, all it make could who along someone brought also I computer,a with stuffed recorder,camera,tape cables. and backpack a lugging China for left I 1997, of September In to beonthecuttingedge. haveurge still the I Digital and is blockArt, the on kid new edge. Todaycutting the the on was it because me attracted When I began my curatorial work in the early 1970’s, video Abstract Y ork nearly every night, where Curating Dgtal rtA fromRussia B Image: Barbara London.Affiliation:Curator of Video andDigitalMedia,MoMA,New arbara Lond InterNyet Looking atMusic: Side2,amongothers. Dong, Song include tions VideoSpaces, AutomaticUpdate, exhibi- pioneering Her Japan. and Russia, China, including countries varietyof a in tendencies electronic and artworks eral travel-intensive “dispatch projects,” prospecting for new sev- upon embarked has London Bill Viola, and Hill, Gary Ander Laurie son, Terry including Fox, Nam June Paik, artists Shigeko Kubota, Zhang Peili, the media significant on of publishing work and presenting, commissioning, Along with 1974. in program video institution’s that founding New of in Art Museum Modern The at media of curator a is London Barbara Bio Digital artdigestsideasatmegahertzfrequencies. speed at issue now is the speed at which information moves. society.The revolutionized speed mechanical how see ily eas- now can We it. around work their built and “speed” idea the abstracted Futurists the only but horses, galloping and trainmoving fast a painted movement.Manyartists cal mechani- of speed of importance the understood Futurists we find ourselves in. At the turn of the twentieth century, the Speed of access to data is the driving force of the revolution beneficial. be would process curatorial the demystifying that thought I curators and for anyone else curious about art in China. Also : Y ork. Y ork; she has held this position since position this held has she ork; 1/20/99 -

31 32 step out on this aesthetic limb while they are still alive and alive still are they while limb aesthetic this on out step to chosenhave Ippolito Frank,and Cohen, issue, this dress ad- to curators or conservators future on rely than Rather wishes oncetheartistisdead. artist’s the with accordance in media new into translation work’sthe shepherd museum--to a of case the in curators, and work--conservators the of owners the of responsibility the becomes then It formats. different in re-creation its by compromised not is integrity whose work a of conceive is to media variable of gist the anecdote, or documentation second-hand through than directly more work their rience expe- to posterity want who media new in working those artists For Museum. Guggenheim the at art and technological ephemeral, performative, of curator a as experience Ippolito’sof out grew media,” this “variable dubbed approach, for idea The art. preserving and making to approach unprecedented an with experimented recently have polito Ip- Jon and Frank, Keith Cohen, Janet of team artistic The outstripped traditional conservation protocols. quickly has media, digital with especially obsolescence, of problem The obsolete. it made 2.0 Netscape before years go outof few to a lasted 1.1 Netscape for Z’swork Group production; fewdecades a took bulbs fluorescent vin’s Fla- Dan yellow; to centuries few a took oils Rembrandt’s Abstract 2/17/99 Affiliations: Jon: Artist andCurator, New J anet Cohen,KeithFrank The MediumIsNot d n a Image: “The Unreliable Archivist.” jonIppolito Y ork; Keith andJanet: Artists, New gue, andthrow stuffateach otheratwww.three.org. work. of body their for prize clashes of perspective. They were recently awarded a Tiffany the Internet’s of capacity for advantageencouraging flame wars and other take projects recent their drawing, or book, installation, an of form the took collaborations adversarial earlier their While 1992. in together working began they since process collaborative the in inherent conflict the ing Janet Cohen, Keith Frank, and Jon Ippolito have been explor Bio (Asof2/17/99) from slippingthroughthecracks ofhistory. edge cutting the on art prevent maywhich museums—one and collectors, private artists, between relationship the for paradigm new radically a February,suggest this SF in lery Gal- FourWalls the at view on be will which experiment, this work. of original Theresults the of interpretations mate legiti- were decided they versions the executed then artists artworks. their Theof three one reality,execute whichto in virtual to video to paint oil from media, alternative suggest to curators of kicking. group select a Toinvited they this do the Message Y ork. Y ou can see them haggle, ar haggle, them see can ou - - portunity to think about how the advent of micro-mechanics tionship we maintain with them, they offer the viewer an op- rela- the on commenting thus and machine, the of tionality humor.of bysense sharp a dysfuncRevealingpotential the - concealed partly only is grounding conceptual its that able their first perceived be can work undeni- also is it formal, as point. at this While at found be to workbody of phisticated dium, jodi.org contributes one of the most achieved and so- me - primary their as web the chosen have who artists “As JODI. Digital artistsJoan HeemskerkandDirkPaesmans are Bio (Asof3/17/99) Wiskey-Echo-Bravo scar-Echo- Whiskey-Oscar-Romeo-Lima-Delta-Wiskey-India-Delta-0- Echo- Wiskey-India-Tango-Hotel-India-November-Tango-Hotel- Oscar-Foxtrot-November-Echo-Tango-Alpha-Romeo-Tango vember-Sierra- Echo-Victor-Oscar-Lima-Uniform-Tango-India-Oscar-No- Abstract Affiliation: Digital Artists, Barcelona. “is jodi.orgdo Image: “Arco Trollar” (2010). JODI .” ness tointerfacestandardization.” the website ofjodi.org might be an antidote to our oblivious- bars, system icons. With its `interface in your face’ approach, scroll menus, pull-down right, bottom can trash little a with desktop, a as itself presents computer Theanymore. them “There are interfaces so commonplace that we hardly notice has profoundlytransformed thenatureofthisrelationship.” wn?” —Benjamin Weil, adaweb —Christiane Paul 3/17/99

33 34 -science-fiction fantasies and separatist-feminist nightmares separatist-feminist and fantasies -science-fiction of crisis masculinity.” “the Most eerily, called he’ll contemplate—and critique— have critics feminist what of tomatic symp - and culture, postmodern of nature unnatural ingly increas- the of emblematic as motherhood male of visions read He’ll millennium. the of eveFrankenstein the on myth the of return the and humans, cloning begin to threat entist Seed’sDolly’sDr.(Dick?) of Richardmad-sci - cloning, ings mean- tangled the unravel will Dery Bellies,”“Empathy In duction. Repro- Assisted for Center the of director Fishel, Dr.Simon said woman,” a inside be to have doesn’t it so conditions, carry a child. The placenta provides the necessary hormonal not could whyman reason “Therea no section. is cesarean bydelivered have it and embryo an carry could man a that Timesthe told fertilization, vitro in of technique the oped Sunday devel- who expert England’sfertility the Winston, Robert Times.Lord in headline 1999 February, pro- a expert,” claimed fertility says babies, have can “Men reach. within almost seems life creating of dream male Dolly,the sheep cloned the by up stirred fantasies and fears the Amid Pyrotechnic Insanitarium: American CultureontheBrink. book, new his from chapter a on based LIES,”lecture a BEL- “EMPATHY pun) the (forgive deliver will Dery Mark Abstract 4/14/99 American Culture The Pyrotechnic Insantarium: Image: MarkDery, takenby Jorge Madrigal. Affiliation: Criticand Author, New Mark Dery at The the Brinkof emy inRome. Acad- American the at Scholara Visiting and Irvine, UC at at New Journalism of Department the in professor a been has Dery [Duke University Press],which heedited). cluded in the pioneering cybertheory anthology (in- Future” the to “Black essay 1994 his in theorized and coined he term “Afrofuturism,”a and Signs,” the of Empire the in Sniping and Slashing, Hacking, Jamming: “Culture essay1993 his through popularized movementhe criticism media guerrilla jamming,”the “culture of concept the with associated widely is Dery criticism. cultural of works both (Grove/Atlantic),Brink the sanitarium: on Culture American and (Grove/Atlantic) Century the of include books His lecturer. and writer,scholar, independent an is Dery Mark Bio of aFrankensteinian creationmyth. verse opening the as birth Dolly’svirgin on back look may that future not-so-far the man’s,man’s,of a man’s world of Y ork University, a Chancellor’s Distinguished Fellow Y the Millennium ork. Escape End Velocity:the at Cyberculture h Prtcnc In- Pyrotechnic The Flame Wars and Cornerhouse, Manchester. Zealand), (New Room Physics the (Sheboygan,WI), Center don, Ars Electronica (Austria), Exit Art (New cluding venues such as the Natural History Museum of Lon- lege of Art. Wight has exhibited her work internationally, in- from the Studio for Interrelated Media at Massachusetts Col - BFAa FellowJavitsand a was she where Institute Art cisco Gail Wight holds an MFA in New Genres from the San Fran - Bio conceptions—and misconceptions-of“humanity.” it’sand biology to attention its in insistent our in complicity more is Wight’sworkrole, a plays often technology While creates, and aspects of artificial intelligence as her subjects. it and practice culture the pedagogy, scientific neurology, Today,historical and Wight’scontemporary embraces work health. their historical influences on our current views of illness and works addressing areas of research in the neurosciences and successiveto led illness mental surrounding issues into tion investiga- initial her ago, decade a Over technology. and cognitiveof sues theory scientific of history the and science formance work, conceptual artist Gail Wight investigates is- Working primarily with installation, computer, text, and per Abstract Image: “ZooKit”(1997),takenby Craig Weiss. Y Affiliation: Artist,MillsCollege,Oakland. ork), Kohler Art of Electrochemistry T Gail he

Desprate - Wight ih hs etrd n r ad cec ad xiie her work exhibited internationally. and science and art on lectured has Wight ter forthe Arts. Cen- Headlands Center,and PerformanceComputing High Albuquerque the Exploratorium, the Project, Street Capp at Italy,Bellagio, in FoundationRockefeller the at residencies held has and Program, Exploratorium’sPerformance the in MIT,at cognition on project research a for worked has She P oet i cs 9/29/99

35 36 exhibit in a contemporary art museum in the United States, United the in museum art contemporary a in exhibit solo a had Grancher 1999, In mainstream. art temporary con- the in art Internet selling for known best is Grancher theorist, curator andlecturer. Valéry Grancher is a French Internet-based artist, performer, Bio relationships betweenindividuals? the are use? What one does Memory? language Whichtity? perceptual phenomenologies come into play? What is iden- which parameters, physical of Independent time? to cord ac- one does status whattemporality, to corresponds now space all “virtual?” As define one does Howchange? it will how and question into thrown artist the of and author the of status the Is sense? broadest its in Internet the on duction What are the new parameters that will influence artistic pro - arts. the and culture science, law, politics, finance, of areas the in particularly day,most present and historical knowledge, of fields all definitivelywas altering system this nineties the of beginning the By universities. the in primarily used then War,wasCold and the and complex industrial military the of context the in sixties the of end the at initially veloped de- Internet called commonly system communication The Abstract 10/27/99 Valéry Grancher Imag i on nat Image: “14Juillet, 2006.” Affiliation: Artist,Paris. the Internet i on

an Paris, “thebiggestGooglepaintingsnever produced.” in fair art international the FIAC, at sold and exhibited he 2005 In world. art the in word buzz a become had Google Portrait.”“Self called piece a creating by project laborative col- Art” “Search the launched he Internet, the dominate to began Google as 2002, In project. “webpaintings” his in art pop with experimented Grancher 1998, “cybertime.”In of concept the with “webscape,”dealt whichproject his in “Alone”like installations webcams used he 1997 In (1995). physicalin art) (email community Internet the exchangesof in 1995, he used emails in his art to show the processes and world day.art the the of in fads started Grancher the When sometimes with a sense of humour, sometimes appropriating Grancher’s art is a mix of conceptual and pop art references, sold atthePacific Film Archive. was which him about book a published time, the at Seuil Pacific du Berkeley,the Editions ArchiveFilm in California. d M d ean i ng gram atthe Art CenterCollegeofDesign (2004-present). MFAthe pro - in member 2007. faculty core a Thateralso is in Germany Munich, in Moderne der Pinakothek the and House Opera Munich the at place took coils... in fainting recent, most Theexhibitions. of number a curated has and peers her of work the about ten ownher making to addition In work, Diana Thaterwrit- has in Film and Video. Guggenheim Fellowship and the James D. Phelan Art Awarda Grant, NEA an including honors, and awards numerous of recipient the is She Center. Art from MFA her and from NYU History Art in BA her received Thater International. Carnegie the and Munster in Project Sculpture the ennials, Bi- Whitney three including exhibitions group in featured been has work her 1990, Since Chicago. of University the at Society Renaissance the and Rotterdam With, de Witte Los Angeles; and Architecture, for Art Center MAK cession; New Art, New Arts, the for Center Dia ny; of Art, Kunsthaus Graz, Austria; Kunsthalle Bremen, Germa- Thater’s solo exhibitions include the Santa Monica Museum video andfilmtoconstructanarchitecture ofideas. works with color, shape, silence Thater and installation. image and literally and uses video film, in works Thater Diana Bio Y ork; Walker Art Center,Minneapolis; Se- WalkerViennaArt ork; ...drawling, stretching and stretching ...drawling, Y The Best Animals re A ork; Museum of Modern of Museum ork; the BestSpace is Diana Thater Image: “BrokenCircle—2nd Floor.” Affiliation: Artist, Los Angeles. the DeepSpace For moreinfo:www.thaterstudio.com. Best Documentary. for Award Academy 2009 the received which Cove, The film, documentary the in seen be captivity.can work Their slaughter,capture, into the dolphins stopping of to sale and dedicated is that Institute Island Earth of project a is phins phers for videogra- the been have Mason KellyT. and Thater Diana the Flat Animals: SaveJapanDolphins.org since 2000. SaveJapanDol- 11/17/99

37 38 the Venice Biennale (1995), a John D. and Catherine T. Mac- honors, most notably the Leone d’Oro Prize for Sculpture at and awards numerous of recipient the been has and tions, Founda- Guggenheim and Rockefeller the and Arts the for Hill has received fellowships from the National Endowment the Coliseumand Temple of Venus andRomeinItaly. for work performance and installation an and Washington, Seattle, in Library Public Central Seattle the and London in Museum Science the for works include projects missioned celona; and Kunstmuseum Wolfsburg, among others. Com- Bar Contemporani, d’Art Museu Basel; Gegenwartskunst, New SoHo, Museum Paris;Guggenheim Pompidou, Georges Centre Art; Modern of Museum cisco Paris;Contemporain, l’Art Franpour San FondationCartier - and institutions museums worldwide, including solo exhibitions at at the presented been have work his of Exhibitions ontological spaceandviewerinteractivity. to conundrums perceptual and synesthesia language, of ity physicalthe - from ranging issues arrayof an explore to ues contin- intermedia with work longtime His work. formance per and installations, mixed-media videos, single-channel of body large perfor a 1970’s,producing early and the mance—since installation video, sound, media—in- sculpture, of range cluding broad a with worked has Hill Gary Bio 12/1/99 Courtesy oftheartistandDonald Image: “Withershins” (1995),mixedmediainstallation,takenby GaryMcKinnis. A gitation T Y ork; Museum für Museum ork; The Perfomative Image: o Gary Hill w ard Ontological Inquiry Y oung Gallery, Chicago.Affiliation: - - - of The Academy ofFine Arts Poznan, Poland (2005). Causa Honoris Doctor of Degree Honorary an and (2000), Kurt-Schwitters-Preis the (1998), Grant Foundation Arthur Artist, Seattle.

40 man Distinguished Teaching Award. Luck- the and California, of University the Fellowshipfrom Presidential a Humanities, the for Endowment National the from grants and Fellowship,fellowships Guggenheim a ing She is the recepient of numerous prizes and awards, includ- Virtual BodiesinCybernetics,Literature, andInformatics . recently, most and Science, os Bound: Orderly Disorder in Contemporary Literature and Models and century. Her books include twentieth the in technology relations and science the culture, on between teaches and writes Hayles Katherine N. Bio (Asof1/26/00) from onetotheotherandback again. flow they as media digital and print between influences the map to is media. aim digital The and print to specific istics media. At the same time, it will also delineate the character digital and print in hypertext will between similarities talk explore this illustrated, Richly print. in image and word of fusion the with experimented exuberantly have which books, artist of tradition the is known widely Less image. and word of fusion the explored vividly have Media New Fromhypertextdynamictypographyfictions, multimedia to Abstract 1/26/00 Literary Strategies in the Twentieth Century, Cha- The Cosmic Web: Scientific Field How We Became Posthuman: Became We How Affiliation: NewMedia Theorist, University ofCalifornia,Los Angeles. Rethinkng SignfersnNewMdia Print IsFlat Image: “Typography” by Benjammin1wallpapers. Katherine Hayles and CoeIsDeep: - from the Telegraph totheComputer. and Media, New literature, ic electron- theorizing books two on work at currently is She Linking Bodies: Hypertext Fiction in Print and Print in Fiction Hypertext Bodies: Linking Coding the Signifier: Rethinking Semiosis Rethinking Signifier: the Coding dctoa site educational ed, with the Minneapolis Institute of Arts the award-winning Gallery 9, and digital art study art collection. He also co-found- online the 1996, in department Initiatives Media New the founded he where Minnesota, Minneapolis, in Center Art Walker the at Media New of Curator former the is He Technology Network. and Art the ZERO1: organization, producing its of Director Artistic currently is and 2006 in Edge the on FestivalArt of Global 01SJ biennial the of Director Founding the was He Lights.mn. Northern of Director Artistic Found and - the President, er, is He creator. platform serial a is Dietz Steve Bio html. www.yproductions.com/writing/archives/signal_or_noise. availableat is talk the strategy.”of “exit text an Full atic culture, and the wunderkammer, ending, naturally, with rhizom- computability, connectivity, interactivity, of terms in museum” “networkdistinctive the characteristicssible of to net art - and by extension, network culture. I suggest pos- relation in noise or signal is museum the whether explore I Shannon’sClaude Mathematical Communication Theory of —or not—in networked society? Using some of the ideas in brick-and-mortarthe of changeHowrole museum the does Abstract ad h ats community artist the and ArtsConnectEd, Affiliation: NewMediaCurator, the Walker Art Center, Minneapolis. Image: ClaudeShannonandhiselectromechanical mouse Theseus. The Netw Steve Dietz Signal orNoise? http:// ork Museum American Art. journal, scholarly the of editor and Museum Art American Smithsonian the at Initiatives Media New and Publications of the Chief WalkerCenter,to founding was Art Prior Dietz nesota, andtheMinneapolis College of Art andDesign. College of the Arts, Carleton College, the University of Min- California at art digital and curating about taught has Dietz University Press. from MIT Press, University of California Press, and Princeton publications in and aceart; and Institute, FranciscoArt San Fe, Santa Site Parago, Centro LABoral, Center, Art Walker mrc, uem es Bakls, ulc r Review, Else/Where Art Public BlackFlash, News, Museum America, in Art Afterimage, Salmagundi, Spectra, Quarterly, Design interviews in appeared have His writings and media. new about extensively writes and speaks also He worldwide. exhibitions art media new and contemporary numerous curated and organized has Dietz seum in1992. Mu- Smithsonian American Art the at programs media new independent museum-based, earliest, the of one founded site ih h MKih Fudto. Dietz Foundation. McKnight the with mnartists.org and ; in exhibition catalogs for catalogs exhibition in Agent; Intelligent Parkett, Artforum, Flash Art, Parkett,Flash Artforum, 2/16/00

41 42 communities may beinterpreted asart. discursive which in way interesting the show “Spiral,” and “Starrynight” interfaces, visual new two Rhizome’s art. as appears often discourse Internet, it. the critique Thus,on to to make art (email, websites) is identical to the material used used material the where medium artistic modern first the is choose to aestheticize their corporate identities. The Internet like organizations art net hand, other the On certain authorityfromthisgenredistinction. a gaining identities, corporate adopt to chosen thus have etoy.com and RTMark like artists Net legitimate. to power its in lies identity corporate the of ways.appeal The miliar fa- more in used and understood be may it that so it, tame to Internet, the recuperate to work, its undo to trying now well. are too workedArtists revolution that Thea is Internet is behindnet.art’s corporate tendencies? organizations are becoming more and more aesthetic. What corporate time, same the at And incorporate. to like artists frustratingly and fiercely debated both is vague. days,These line separating artistic and corporate content on the Internet retailers etoy between waged eToys.comand etoy.com artists Austriannet shown,the has battle legal recent the As Abstract 3/15/00 Affiliation: Alex Gallo Image: “Kriegspiel”RSG(2008),gamestill. Rhizome.org vs. NewMdia Art Artist and Theorist, Rizome,New The People sity. Eugene with ritten Thacker.teachesHe New at TheExploit: A cow- Theory2007), (Minnesota, Networks of recently most and 2006), (Minnesota, Culture Algorithmic Exists After Decentralization (MIT, 2004), moment.”of Gallowayauthor the is political the to attuned completely and compelling visually sharp, “conceptually as work his described recently Times projects. Kriegspiel Carnivoreand the of ator a founding member of the software collective RSG, and cre- programmer.Gallowayand R. author Alexander an is is He Bio w ay Y ork. Protocol: How Control How Protocol: Gaming: Essays on TheNew York Y ork Univerork - taneously seeing and being seen that are helping to changeto helping are that seen being and seeing taneously simul- of privateforms usurp new that and pleasures space; humans and machines; new senses of intimacy and invasive of couplings new pleasure—involving erotic of sources as incorporation and integration, identification, of processes erwise be seen solely in terms of a technics of control. New 4. Theworldserotic new whatwithin up open that oth- can movements representing totracking them. from shift A heralds. this crisis that The representation assume. we privileges the reversing back,’ ing ‘see- whicha kinds mark all of apparatus processing in ded embed - but such, as ‘representing’ longer no image 3. The arises, withconventions thataugmentthecinematic. calization that accompany it. A new kind of ‘moving image’ statisti- and compilation, orientation, of structures new the and principle, organizing an as database the of rise The2. to changing patternsofperception andembodiment. connected deeply are networks.processes and Theseforms tion, and ways in which they ‘arm’ vision within new ocular images are embedded, their emerging formats of regimenta- contemporary which within complexes militarized The 1. This talkwilladdress4topics: Abstract Image: “Drive, Track 3”(2000),singlechannel videoinstallation. Jord Affiliation: ArtistandMedia Theorist, New an Crand Armed Vison tional Visual Arts (inIVA) inLondon. Interna- of Institute the with conjunction in Markets,” and currently moderating a mailinglist forum entitled “Networks Foundation,X New Art the of director and of Editor founding is Crandall year.next Karlshrue ZKM by published be will culture and technology on writing critical Crandall’s of anthology An in ARTLABthe Tokyo. at 17 May opens exhibition next His Graz. in Joanneum Landesmuseum am Galerie Neue the at museum show, curated by Peter Weibel, is currently running solo first His theorist. media and Jordanartist Crandallan is Bio (Asof4/5/00) tion intheworld. the contours of the body, its desires, and its sense of orienta- all Y ork. Blast ( http://www.blast.org) Y ork. Crandall is Crandall ork. 4/5/00

43 44 case of new work and experimental collaborations with pro- started also Amy 1995, In odox approach toonlinepublishing. sign, and has been internationally recognized for its unorth- De- and Art for Oscar) online an of equivalent (the awards Modern Art. of Museum twocisco won The has Webbysite FranSan the of - collection permanent the in included be to website first the as selected was Atlas magazine. online an (www.atlasmagazine.com), Atlas co-founded she 1995, In University where shestudiedphotography andsculpture. Valley. In 1992 she received a BFA from San Francisco State California’s Joaquin of San orchards and fields the amid up grew and family farming a to born was Franceschini Amy Bio (Asof9/27/00) habitat protectionandsustainableeconomicgrowth?” between contradiction the account into take will that tion research: How do we lead development activities in a direc- Soleri’s visionparallels aquestionthatarisesinmuch ofmy ecology.with architecture of fusion the embody which ies drawn to Paolo Soleri’s vision of Archeology: concept of cit- ing a networked, artists community/farm. “I was particularly develop- in interest renewed a sparked haveArcosanti and II Biosphere to visit recent Her agriculture. sustainable and Currently Amy is researching eco-architectural environments Abstract 9/27/00 , an online show- online an Futurefarmers, Amy Franceschin Affiliation: Design forJetLag Communiculture: Image: futurefarmers.com. Artist, SanFrancisco. a ra s rsl o pplto got ad economic expansion. and growth population of result a as Area Bay the in birds migratory and wetlands by suffered problems Area Now 2 exhibition. This piece addressed environmental for sculpture kinetic data-driven, internet-based, an completed Amy Recently, corporate clients. many for projects media new develops and program dence artists. and grammers Y ra un Cne fr h rs Bay Arts: the for Center Buena erba hosts an artist in resi- in artist an hosts Futurefarmers ited works as works ited exhib- internationally seminal such include that stallations 90’s his work has focused on interactive computer based in- and 80’s the In precursors. reality virtual and shows stage Genesis included 70’s the in projects multimedia his 60’s, the in works performance and cinema expanded with ning Begin- interactiveart. of pioneers the of one is ShawJeffrey Bio of thissingularmedium. mechanisms consumption and distribution production, the transformingradically well as interaction tiveaudience and tentialities for completely new approaches to cinema narra- which can also draw on networking capabilities, release po- technologies, Such technologies. projection immersive and dome full panoramic, innovative include that experience cinematic of kinds new completely of development the as challenge central the sees Shaw forms, anachronous and gence is not much more than a digital dilation of traditional Hollywoodthe jecting whosemodel hype converdigital of interactivenarrative.Re- and cinema digital of futures sible The current research effort at his Institute focuses on the pos- the ZKM. at productions other in as well as works recent his in ality Jeffery Shaw willdiscussstrategies ofinteractivity andvirtu- Abstract (As of10/11/00) and City TheLegible Image: “The LegibleCity”(1989-91).Jeffrey Shaw, DirkGroeneveld, The and VirtualMuseum and GideonMay. Affiliation:Artist,ZKM,Karlsruhe. Jeffrey Sha and Interact Virtualites - Academy ofDesign (HfG)inKarlsruhe. founded recently the at Media Art of Professor also is Shaw and Media)inKarlsruheGermany. for Institute the of for director (Centre Art ZKM Visualthe at founding been has he 1991 Since manual. users Place—a ivi tes w 10/11/00

45 46 od a a rvctv sekr h lcue throughout lectured who speaker provocative a was Gold by genres document merging art,design, science,andengineering. new of creation the at looks which RED (Research in Experimental Documents) at Xerox PARC, of manager the be to on went He technologies. shared on based together scientists and artists (PAIR),fine whichpairs program artist-in-residence PARC the created he 1994, In Computing. Ubiquitous in researcher a was he nine- where ties, early the in PARC Xerox joined Gold the PowerGlove. of manager the was he Toys Mattel At person. erized comput- commercially-available autonomous fully first the invented he Sega At an M.F.A. fromMills College. searcher with ten patents and a B.A. from SUNY inter-disciplinaryre- and composer, inventor,lecturer - cartoonist, artist, digital a was Goldstein) (Richard Gold Rich Bio digital art.” trate on “a certain phylum of stuff that might be classified as concen- he’ll talk, the In us. envelopes and surrounds that has surviveto designed he evolvingthe within plenitude of culture artifacts explore will Gold Rich progress, in book from drawn talk, his In Abstract

11/27/00 (Activision), People Computer Little a e PowerPoint new a Plenitude, The Reflections on Image: Rich Gold’s Power Glove forMattel. Affiliation: Artist, XeroxParc, Palo Alto . -Albany and Rich Gold Plentitude: a LifeofMakingStuff 2007. Gold’sbook stein. Gold- Chase Henry son, LaPalma,his Marina and wife, his Gold died in his sleep on January 9, 2003 and is survived by (EKOs). ing, creativity, innovation and Evocative Knowledge Objects engineer of nature the book, the of future the on world the was published posthumously in posthumously published was Plenitude The -

48 Globe, PBS, BBC, (ABC, media mass the in and Press) MIT Oxford, Hudson, and Thames (Phaidon, books Humans, Rabbits and Robots (University of Michigan Press, include books His Celeste, porary, (Contem- publications art contemporary in both featured been has work His worldwide. publishes and lectures Kac Modern Art inRiodeJaneiro, amongothers. the ZKM Museum, Karlsruhe, Germany, and the Museum of in Art Modern New of Museum the of collections permanent the to belongs and internationally exhibited is work Kac’s fluorescent jellyfishandglows inthedark. a from genes from bred was bunnyAlba. Thecalled rabbit with then and invented, entitled piece groundbreaking a with “transgenicart”—first his with art contemporary for direction new a opened Kac century twenty-first the of dawn the of Telepresenceat pioneer Art, a as ‘80s the in known dimensions Internationally communication. political of and poetic philosophical, the gates investi- who writer and artist pioneering a is Kac Eduardo Bio Y 1/29/01 ork, the Museum of Modern Art of Valencia, Spain, Valencia,of Art Modern of Museum the ork, Washington Post, Genesis (1999), which included an “artist’s gene” he ls At Artforum, Art, Flash Artpress, , otmoay art contemporary Magazine), Arts NY Telepresence and Bio Art—Networking Bio and Telepresence (2000), his fluorescent his (2000), Bunny GFP Chicago Tribune, Image: “GFPBunny,” transgenic artwork (2000). Alba, thefluorescent rabbit. ARTnews, Affiliation: Artist,School ofthe Art InstituteofChicago. Kunstforum, Le Monde , Le New York Times). Eduardo Kac to Transgenic Art From Telepresence Boston Tema mented onthe Web: http://www.ekac.org. The School of the Art Institute at of Chicago. TechnologyHis work and is docu- Art of Professor Governors of Board is He Electronica. Ars by awarded media prize highest of the and field arts the in award prestigious most the Award, Nica Golden the awards,including manyreceived has Kac Press, (MIT Beyond 2007). and Art Bio Life: of Signs and 2005) i wr i kntc cltr, epnie environments, responsive sculpture, kinetic in work His Museum inNew Guggenheim the of Anniversary 50th the and (2008) City Mexico in Massacre Student Tlatelolco the of Anniversary Expansion of the European Union in Dublin (2004), the 40th Y the of opening the Lyon(2003), in Cities of Summit World Nations’ United the (2001), Rotterdam in Europe of Capital Cultural the (1999), City Mexico in Celebrations lennium His work has been commissioned for events such as the Mil- agency”. alien for antimonuments “temporary provide installa- to aim his tions devices, other and sensors links, cell-phone and internet sound, projections, robotics, Using terfaces. physicalin- custom-made and technologies new deploying usually space, public in installations interactive large-scale Rafael Lozano-Hemmer is an electronic artist who develops Bio novel technological interfaces. of means by landscapes urban and buildings emblematic transform and challenge to designed artworks interactive Architecture”,whichincludes other Vectorialand Elevation In this talk Rafael Lozano-Hemmer will describe “Relational Abstract mgci ete o r ad ei i Jpn 20) the (2003), Japan in Media and Art for Centre amaguchi Y ork City(2009). Rafael Lozano-Hemmer Image: “Vectorial Elevaton” courtesyofbitformsgallerynyc. Building Dgtal Anti-Monuments Relational rchitecture: A Affiliation: Artist,Montréal. New porary art collections such as the Museum of Modern Art in contem- public privateand in is work His countries. dozen video installation and photography has been shown in three many), Leonardo (USA), in published been has writing His ture Instituteandthe Art InstituteofChicago. Architec MediaLab, - Netherlands MOCA, MIT LA Museum, Union, Guggenheim Cooper Berkeley, UC Harvard, Princeton, school, Bartlett the among college, Goldsmiths at conferences, them and workshops many given has He tional Bauhaus Award inDessau,Germany. Interna - Lyonan in and Lumières the Trophéelowship,des at year” the of performer “Artist/ Francisco, San in AwardsWebby Prix Ars Electronica in Austria, Academya distinction at the SFMOMA British BAFTA the at Nica Golden twoa London, in InteractiveAwardsArt for received have pieces His dation inZürich and TATE inLondon. Aztlán (USA)andotherartmedia publications. Y ork, the Jumex collection in Mexico, the Daros Foun- (Mexico), Actual Movimiento ’s Rave Awards, a Rockefeller fel- Rockefeller a Awards,RaveMagazine’s Wired Performance Research (UK), (Germany), Kunstforum (Netherlands), Archis 2/26/01 Telepolis (Ger -

49 50 formation commodity. In systems where uncertainty is high is uncertainty commodity.where formation systems In in- as theory C5 define simulations and prototypes models, analysis Experiments, networks. distributed and databases visualization, system involving strategies information tical cooperativeof Focussystems. developmentthe on is tac- of mapping and analysis for models visualization devises C5 and artisauniqueaspectof C5 culture. business both by contextualized is researchthat conduct to gies appropriate to both. The opportunity for C5 researchers and strate- techniques methodologies, conceptual nificant Theory that is realized through research serves to define sig- and artas business. For C5,theoryisproduct. art, as research astheory, art between philosophical conflict no is there that understands C5 Company, Liability Limited a as Structured enterprise. business and or C5 Corporation, founded in 1998, is both an artistic endeav - Bio and Altoids. Langton Arts, New the Arts, for Center TransmedialeCantor San Jose Museum of Art, ASU Institute for Studies in the Arts, Center,Innovation,the Walkerthe TechArt of ca, Museum Electroni- Ars Siggraph, for projects commissioned and tus company’sprospec- the survey will Monday’spresentation Abstract 3/19/01 Image: “Analogous Landscape”(2005),installationview, San Francisco Camerawork. Affiliation: ArtistCorporation, SanJose. and ItsDiscontents Data C5 tig andaffiliates Anne-MarieSchleiner andBruceGardner. Veronica Jevbratt, Lisa Ramirez, Brett Ekenberg, Stalbaum, Joel Slayton, Jack Toolin, Jan Geri Wit- Durie, Steve is C5 knowledge arerequired. and specific goals not defined, new approaches to emerging life actions. edge game” or venture into the thrills and challenges of real “knowl- a play can environment.you There, game another enter temporarily and workplace the leave can you more, earn wantto yousimply youdon’tif or havepoints enough insurancedemotion, hunger,loss, If death. untimely an and poor management can lead to a decline in performance, job and modification, or rejuvenation require will and drop to levels production cause can Overwork pet. your supervise and visit to need will you environment, pet virtual any in As pet. your manipulate and replenish feed, to points earn must you where workplace, virtual a in place takes game manager.playera the is and worker human a is Thepet the which in game pet virtual on-line an is project the of part second The bioengineering. to organization industrial ern Frederickof applications the Taylor’sing mod- of principles deliverto material narrativedetailed and deadpan a herald - BioTaylorism utilizes the language of corporate promotional cally volatile subjectsofgeneticsandbiotechnology. in development, a two-part project that addresses the politi- currently work a discuss also will She Borges. Luis Jorgeby story short a of translation game a in literature and games ent pres- will She Internet. the and pets virtual poratesponsors, cor games, computer addresses work Bookchin’s Natalie Abstract , a hybrid art project that merges computer merges that project hybridart a TheIntruder , N atalie Bookchn Image: Street Action ontheSuperhighway. on Affiliation: Artist,CalArts, Valencia. the Superhighw Street A - ction Daniel LangloisFoundation. the Barcelona, in AndyDesign WarholFoundation, the and and Art of Center Media MECAD/the Foundation, Jerome Center/ Art Walker Time, Creative Capital, Creative from development project for grants received she 1999-2000 In as wellahandfulofbooksondigitalartandculture. Times, ArtForum,Interactive Weekly,PaisEl the , the including journals international and national in featured been have projects Her US. the and Europe in regularly lectures workand Manovich.her Lev exhibits She and Lee, Jin Bunting, Heath Shulgin, Alexei including ists art- with projects on collaborated has and RTMark lective col- the of part a been has She in Tijuana,Mèxico. ematek Cin- Laboratorio and Angeles, Los in Art Contemporary Museum of the CalArts, at workshops and lectures of series organized she 1999-2000 In the Arts. of Institute California at faculty the of member a is and Angeles Los in lives who artist an is Bookchin Natalie Bio (Asof4/16/01) ay , an eight month eight an , 4/16/01 online BBC New York

51 52 best-selling PC game in history. The game spawned multiple for signer de- original the as came date to success greatest Wright’s including SimEarthandSimAnt . titles other numerous with simulation computer of theme Wright formed with Jeff Braun, and he built upon the game’s company a Maxis, by released was game prominence. The was it but 1984 in Bay geling The first computer game Wright designed was Wright andEAareprincipalshareholders. run “Stupid Fun Club,” an entertainment think tank in which now part Maxis, of Electronic Arts. In company April 2009 he left development Electronic Arts to game the of founder co- and designer game video American an is Wright Will Bio evant tonewartforms. rel- are design non-linear and artifact from principles and describe the history of his own systems and how techniques new challenges to web designers and net artists. Wright will scapes” have enormous potential as a new artform but pose land- “possibility players.These their between interactions the on depend that environments and games interactive of Theand Sims Abstract 9/24/01 games series which, as of 2009, is the is 2009, of as which, series games Sims The are examples of the expanding genre expanding the of examples are SimCity that brought him to him brought that SimCity Compressing Possblesn Affiliation: GameDesigner, The SimsandSimCity. Raid Will Gaming Realty on Bun- Image: The Sims3. Wright copies withinthreeweeksofitsrelease. 406,000 sold advancement. game scientific The and lution evo- of model the upon gameplaybased features and 2008 his work. His latest work, sequels and expansions and Wright earned many awards for : a Bo x Spore, was released in September Abrams at the AACM School of Music, and trombone with trombone and Music, of Richard School AACMthe at Abrams Muhal with composition studied Lewis Arts, the for Endowment National the from fellowships and 1999, in the Arts an AlpertAwardin 2002, Fellowship in MacArthur University.Columbia a at of Music recipient TheAmerican of Professor Case H. Edwin the as serves Lewis E. George Bio and music. rizing in the production of new forms of computer-based art theo- future for avenues are theory.proposed race Also cal and computers, along lines suggested by contemporary criti- music art, improvisation, interactivity, ac- surrounding counts historical and discourses contemporary mediate that metaphors of set particular a analyze will talk this looked, overconsistently so whyis Asking connection obvious this visation” itselfrarely appears. “impro- word the yet improvisation, resemble strongly that practices and processes describe consistently media, new interactivity,and as suchreality production, virtual cultural computer-based surrounding narratives particular, In ness. discourses in the field tend to erase this cultural embedded - characteristics of the culture that produced them. Prevailing “universal”; interactions with these systems or inevitably “objective”reveal not are texts, any like programs, Computer Abstract

Image: “ButohGhosts,” fromInformationStationNo.1,(2000,updated2009). Interactivity Affiliation: Musician,University ofCalifornia,SanDiego. George E.Lewis The SecretLo and Impro - ve between (2009). search from the Association for Recorded Sound Collections (2009), and an Award for Excellence in Recorded Sound Re- Award Culture American in Music Society’s Musicological recipient of the American Book Awarda (2009), the is American 2008) Press, Chicago of (University Music perimental PowerA Stronger ThanItself: book, acclaimed widely His volumes. edited and journals scholarly numerous in appeared have studies cultural and art, visual video, experimental music, on articles published his and Music,” American in Figures “Major of collection in archived is history oral His recordings. 130 than more on documented is and forms, improvisative multimedia installations, text-sound works, and notated and computer-based music, computer and electronic explores interpreter and performer, improvisor, composer, as Lewis's work 1971, since (AACM) Musicians Creative of ment Advance- the for Association the of member Hey.A Dean visation The AACMEx- and American Y ale University’sale 10/15/01

53 11/19/01 Christiane Paul

Context as Moving Target: Mapping the Digital World

Image: “Apartment” (2001). Christiane Paul, Marek Walczak, Martin Wattenberg. Affiliation: Curator of New Media Art, Whitney Museum of American Art, New York.

Abstract art at the Whitney Museum (March 30 - June 10, 2001), and The networked, digital world is a multi-layered information- is responsible for the Whitney’s Artport site (http://artport. al system in constant flux that seems to defy systematic ar- whitney.org), a portal for Web-based art. rangement of its constituent elements. Digital media proved a “denatured context,” simultaneously enriching context Dr. Paul is currently working with Margot Lovejoy and Vic- and making the notion of context redundant. toria Vesna on a book titled Context Providers—Context and Meaning in Digital Art, forthcoming from MIT Press. The concepts of recycling, reproduction and continuous flow of information are key issues in networked, digital art. Digital artists face the pressing challenge of inventing new visual models that can represent this dynamic flow of data. Dr. Paul’s talk will discuss issues of mapping in relation to the fluctuating contexts of the digital world and the chal- lenges of exhibiting artworks that address these issues.

Bio (As of 11/19/01) Christiane Paul is the Adjunct Curator of New Media Arts at the Whitney Museum and the co-founder and director of Intelligent Agent, a service organization and information provider dedicated to interpreting and promoting art that uses digital technologies.

Paul received her MA and Ph.D. from the University of Düs- seldorf, Germany. She has taught at New York University and Fordham University and is currently teaching in the MFA Computer Graphics Dept. at the School of Visual Arts, NY. Dr. Paul curated “Data Dynamics,” an exhibition of net 54

1/28/02 Debra Solomon

Artist-Astronaut: What the Future Told Us

Image: “Artist Astronaut” (2003). Affiliation: Artist, Art Race in Space Ltd., Amsterdam.

Abstract Bio (As of 1/4/07) Debra Solomon’s project Artist-Astronaut was installed in Continuing with works centered around audience participa- 2000 and 2001 at Stedelijk Museum in Amsterdam and the tion, Solomon has made a radical shift in her subject matter Ferens Gallery in Hull, England. Her mission was to investi- from space exploration, through the strange marriage be- gate the effects of artist intervention into space exploration. tween cycling and feminism (Ladies Gourmet Cycling) and Solomon put out a general call to select participants. During is now focussing on food as a platform for social interac- a series of closed sessions, she selected applicants that pos- tion. sessed the Right Stuff to play the role of Artist-Astronaut. With an eclectic background that includes harpsichord stud- Her goal was to get perspectives on a mythical 50 years of ies and art, Solomon comes from a culinary family and was Artist involvement in space exploration. To achieve this, she the first sous chef of Amsterdam’s yet experimental Supper took the Artist-Astronaut participants on a mission several Club. In 2004 she began publishing her independent visual decades into the future using hypnotic techniques. In her research about food and food culture on her widely read highly suggestive ‘holodeck’ installation, participants were website culiblog.org. She has become a food domain expert guided through time to the year 2050 as they were led to with clients that include a design biennial in Newcastle, the believe that they had either witnessed or participated in, a Netherlands Architecture Institute and the design philoso- number of Artist missions. Participants were later given time phy conference, Doors of Perception. to reflect upon this experience and discuss at length their own contributions to the field with their peers. Solomon’s work since 2006 includes a series of temporary “concept” restaurants including a sprout restaurant that ex- In addition to presenting her findings, Solomon will present clusively serves micro-greens (titled “Grow Yer Own Dang audio and video from the Artist-Astronaut “future-sessions.” Food”), a Recycling Restaurant (in collaboration with archi- She will also discuss future plans and the present spin-off tect Dennis Kaspori and artist Jeanne van Heeswijk), and a of Artist-Astronaut as manifested in Art Race In Space’s Ex- restaurant for fasting cultures (in collaboration with Amster- perimental Directorate for the Arts for the European Space dam’s design hotel, the Lloyd Hotel). Agency and Industry.

56 and Physics: The Parallel Visions of Space, Parallelof Physics:TheVisions and Leonard Shlain (1937-2009) was a best-selling author of Bio literacy inBerkeley. Eco - for Center the of director founding and TaoPhysics of Shlain will be introduced by Dr. Fritjof Capra, author of gression ofinnovation inbothartandtechnology. pro- the view to which with lens powerful a him gives ics physand Shlain’s- art Heisenberg. on perspectiveand Bohr by proposed models orbital probabilistic the and chance of of Cage’sinvestigations and geometry DuchampLobachevsky, between non-Euclidean the and Expressionism stract Newman’sAb- and Pollock Ge- between Einstein’sexperiments, danken in perspectives simultaneous multiple the specroscopic Maxwell’s and imagery Braque’s and Cubist the color,between of models Kirchhoff and pointillism Seurat’s between parallels: ofsurprising a range identifies Shlain physics. quantum statistical intuitive and relativity of less models far towards motion deterministic of models awaytrajectoryparallel newtonian physicsa from tracedin resentation and realism in the late 19th century, researchers rep- literal from awaymoved Monet and Cezanne as such artists visual as that observes Shlain monograph. 1991 his of thesis compelling the present will Dr.Shlain talk, this In Abstract

P arallel Affiliation: AssociateProfessorofSurgery, UCSF. Leonard Shlain Time and Light, and Time Visons nSpace , Time, Image: by KimberlyBrooks. Art &Physics: The Art Medicine atUCSF. of Laparascopic Surgery. wasChief He was also an he Associate Professor of where at Center years Medical Pacific 37 California for surgeon renowned a also was Shlain Dr. emy of Art, andtheEuropean CouncilofMinisters. Acad- Florence Collection, Phillips TheAlamos, Los Cern, New TheHarvard,Berkeley, UC as venues such at lectured he educators, and anthro- pologists philosophers, scientists, artists, among favorite A Shaped HumanEvolution. Image, Alphabet Vs. TheGoddess: The BetweenConflict and Word and and Light e, ie Pwr Hw oas Sexuality Womans How Power: & Time Sex, Y ork Museum of Modern Art, Modern of Museum ork 2/25/02

57 3/18/02 Sara Diamond

Learning from the Animals: Code Zebra

Image: www.codezebra.net Affiliation: Artist and Curator, Banff New Media Insitute, Banff.

Abstract Sara lectures internationally and is currently co-editing sev- CodeZebra is an interactive software and performance en- eral publications about art and science. vironment engaged with current debates in art and science. It enables cross-disciplinary dialogue and exploration using visualization, language games and role play. CodeZebra is predicated on an ongoing and increasingly fertile seduction between the apparently separate, but related species of art and science. CodeZebra explores aesthetics, improvisation, emotion and analysis. It is “site evolutionary”: CodeZebra adapts the context, language, and movement grammar of its location.

Bio (As of 3/18/02) Sara Diamond is a television and new media producer/di- rector, video artist, curator, critic, and teacher. She is the Executive Producer for Television and New Media and the Artistic Director of Media and Visual Arts at the Banff Centre for the Arts. She is also Adjunct Professor of Media Design at UCLA. Her videotapes are in the collections of the Museum of Modern Art and the National Gallery of Canada.

At Banff, Diamond leads research in collaborative work and creativity, visualization tools, authoring software, music and 3D imaging. She is Principle Investigator on the Human Centered Interface Project (ASRA), Out of the Box (SSHRC) and Code Zebra (Langlois/Canada Council). 58 Wide Web and telecommunications; artificial intelligence artificial telecommunications; and Web Wide World the as such issues probe works art mediated puter com- His shows. art V2 and Electronica, SIGGRAPH, Ars NCGA, CHI, and galleries in internationally shown have been performances and installations interactive His gies. sor who explores the cultural implications of new technolo- Stephen Wilson is a San Francisco author, artist ,and profes- Bio theorists, andresearchers working intechnical fields. artists, of survey comprehensive a 2001), Press, (MIT ogy and of Information Science, Intersections Art, Arts: Technol- book, released recently Wilson’s from material from draw inquiry that call out for artist attention. scientific The and presentation will technology of areas new highlight also will It AI. and telepresence, sensing, body GPS, as such areas in artworks Wilson’sincluding own examples presents talk credited by commercial interests and academic science. The dis- or investigationsignored research,undertaking of zone believeHe independent occupyculture. an can of Art edge phen Wilson challenges the conventions that push Art to the Ste- human. be to is it what and reality of nature the about notions philosophical basic to life everyday of gizmos the from everything affecting is It foment. cultural of center hot white the at is Research technicians? to only belong tions innova- technological and research scientific should Why Abstract Affiliation: Artistand Author, SanFrancisco StateUniveristy. Art in Stephen Liberating a Techno-Scienf Era Image: “Transit TIme.” Wilson the Lab: and Art+ScienceNow (Thames &Hudson,2010). tersections of Art, Science and Technology (MIT Press, 2002) including research emerging with ing Wilson has published several books that survey artists work- of newtechnologies toeducation. relationship the investigate to projects researchFoundation Science National in investigator principal and companies other and Systems Articulate Apple, for developer a been PARCXerox at residence in ResearchNTT and has He labs. artist as selected was University.He State Francisco San at Wilson is Head of the Conceptual/Information Arts program art andseveral honorary mentions. in Ars Electronica’s international competitions for interactive Distinction of Prize the won He sensing. environmental & biological voice;and synthetic place; of sense the and GPS information; of structure the and hypermedia robotics; and Information Arts: In- Arts: Information 4/1/02

59 4/29/02 Michael Naimark

(Re)Presenting Place

Image: “Be Now Here.” Affiliation: Media Artist, San Francisco.

Abstract Bio (As of 4/29/02) Much of the history of representation has concentrated on Michael Naimark has been exploring place representation conveying sense of place. One prominent historical strand is and its consequences for 25 years. He has worked exten- from murals and landscape painting, to panoramas and cy- sively with field cinematography, interactive systems, and cloramas, to wide-screen and 3D cinema. Another strand is immersive projection, and has been a longtime member of from travel writing, to telegraph and radio, to telephone and the Society for Visual Anthropology. After receiving an un- television. These two strands are converging around the tech- dergraduate degree in cybernetic systems, Naimark spent nologies of immersive “virtual reality” and the Internet. With the late 1970s at MIT and was on the original design team our increasing understanding of psychophysics and cogni- for the Media Lab. In the 1980s he was an independent me- tion, many believe that the dictum “just like being there” dia artist making artworks for the Paris Metro, the Explor- may finally be fulfilled. But place runs deep: we “know” we atorium, the ZKM, and the Banff Centre, and consulting for are “here.” This knowledge is cultural and political as well companies including Atari, Lucasfilm, Apple, and Panavi- as technical and perceptual. It’s also deeply personal. Plac- sion. In the 1990s he held a research appointment in arts ing cameras everywhere and building 3D computer models and media at Interval Research Corporation. Last year his have their implications, and it’s no surprise that technologi- 3D interactive installation Be Now Here was exhibited as a cal enthusiasts and social critics hold differing (and often unique collaboration between the San Francisco Film Festi- uninformed) perspectives. The arts community can play an val and SFMOMA. Naimark is currently in-residence at the important role both as bridge-builder and provocateur. Institute of Advanced Media Arts and Sciences in Japan and an advisor for the Media Lab Europe in Ireland. Naimark will present his past and current projects in this context. He has “movie mapped” Aspen from the street, Par- http://www.naimark.net/bio.html is from the sidewalk, San Francisco from the air, Karlsruhe from the rail, and Banff from hiking trails, and has filmed panoramic experiments in Jerusalem, Dubrovnik, Angkor, and Timbuktu. He is currently working with webcams and the Internet. 60 Magazine ofDigital Culture. magazine media digital edge cutting the of Gathering of the Tribes. He was also the first Editor-At-Large magazine the of Canon, Steve poet downtown American periodi- co-Publisher,legendary a the African is with He along cals. other of host a and Magazine, Paper Pages, Rap in peared - ap has work written er,His NY C. in working musician and PaulD. Spooky)DJ (a.k.a. Miller writ- artist, conceptual a is Bio (Asof9/16/02) corporate propaganda. by dominated and imagery by saturated increasing world a to responses and literacy media increasing for strategies explore will panel graffiti. The digital and media structing recon- on panel a for 47 collective art media new the by joined be will Paul presentation, the of half second the In art. of the same technologies that are used for digital media and out evolved has culture dj how on focus will presentation lecture the and mix, the for material the be will itself tory audio and video using turntables and digital projectors. His- “found” remixes who artist an of viewpoint the from media audio and visual presentation of the history of digital art and Paul D. Miller’s Sound Unbound will be a “live” multi-media Abstract The Village Raygun,Voice, Artforum, Source, The Strategies forReconstructngMedia Affiliation: Musicianand Artist, New Image: Paul D. Miller(a.k.a.DJSpooky). P rbt: The Artbyte: aul D Sound Unbound: A . Miller Sonic Xenakis and Ryuichi to variety of pre-eminent musicians and composers from Iannis wide a collaborated has and Kid” Subliminal ThatSpooky Dj Said. Miller has recorded a huge volume of music as “Dj a novel Kid” forthcoming his Subliminal from character that Spooky “Dj as persona” structed “con- his of moniker the under known well most is Miller School. Graduate European the at member faculty a is He MIDEM. and Architecture,of SchoolUniversity Columbia (L.A.), Art Contemporary of Museum the Princeton, School, Law vard galleries. As a lecturer, Miller has given presentations at Har for Architecture (year 2000 and a host of other museums and to The Biennial Biennial VeniceWhitney the from contexts of variety wide a in appeared has artist an as Miller’swork and others. JackRock,Dangers, Krush, Aesop Williams, DJ Anti-Pop Consortium, Saul Singh, Talvin Sakamoto, Ryuichi London, of Sound Future Moby, including artists of array diverse a from tracks include that records mix dj are Mantra Modern Y outh. His two latest releases Y ork. Y oko Ono and Thurston Moore from Under the Influence and lw y lo the Blood My Flow 9/16/02 -

61 10/21/02 Victoria Vesna

Mind Shifting and Future Bodies: From Networks to Nanosystems

Image: “Nano” (2002). Affiliation: Artist, University of California, Los Angeles.

Abstract diameter of a hydrogen atom. This talk will look at work that Since the 1920s when ecologists began studying food addressed some of these ideas and led up to the current col- chains, recognition of networks became essential to many laborative project exploring nano dreams and nightmares. scholars in different forms. Cyberneticists in particular tried to understand the brain as a neural network and to analyze Bio (As of 10/21/02) patterns in the enormously complex structure of the brain, Victoria Vesna is an artist, professor and chair of the depart- containing about 10 billion nerve cells (neurons), which are ment of Design| Media Arts at the UCLA School of the Arts. interlinked in a vast network through 1,000 billion junc- Her work can be defined as experimental research that re- tions (synapses). The whole brain can be divided into sub- sides in between disciplines and technologies. She explores networks that communicate with each other, resulting in how communication technologies effect collective behavior intricate patterns of intertwined webs and networks nesting and how perceptions of identity shift in relation to scientific within larger networks. Comparisons of the human brain innovation. She is co-director with Katherine Hayles and Jim to the global interconnected network abound, particularly Gimzewski of SINAPSE, a center that promotes transdisci- since the boom of the Internet. plinary dialogue and collaboration. Currently she is focused on an ongoing collaborative project, zero@wavefunction: Looking at patterns and geometric forms that appear repeat- nano dreams and nightmares. edly in nature allows for some exciting possibilities for con- ceptualization of projects that actively involve audiences in social environments. For instance, hexagons appear in beehives, are used in the technological infrastructure of cel- lular phone systems and are the main shape of the struc- ture of buckyballs, the molecule that has helped launch nano-science. This new science has the potential to change everything around us and pushes the limits of our rational minds— working at the level of atoms and molecules, using the measure of a nanometer—a billionth of a meter, about 1/80,000 of the diameter of a human hair, or 10 times the 62 spaces ofourcities? a synthetic urban density that we can re-project into the real create and crowds fluctuating into motions individual tiply bynot bybut human mul- we can Or intelligence? artificial generated time, and space digital in only existing visations, impro- new create to them use we can Or to? appearance an put barely can we that movements ghostlike with filled are which memories, our trace to lenses these use we Can through new technological lenses? peering were: it as squinting, by focus into tions only vaguely when watching them? Can we force such ques- stage distract us from a more ineffable beauty that we sense on performers virtuoso the Do it? created that body the of independent own, its on all seen motion in beauty there Is eras convey? cam- these can What feeling. and charisma, intention, nal sig- that expressions the it with and vanishes, also Theface body.performing the of sweat and struggle the see cannot and flesh, and with that all sense of effort as well, since they the bodies themselves. They are blind to all vision of muscle flective markers worn by the performing bodies, and not for subtraction. re- the for Thehavecamerasonly infraredeyes and abstraction both facilitates technology Motion-capture Abstract Digtal Embodiment Affiliation: Digital Artist, New P aul Kaiser Image: “Biped”(1999). Haunted: Europe. kar, premiered at four sites in Manhattan and is now touring (2002), a public art project that he created with Shelley Esh- (2000), Walk? (1998), Spaces dance: with motion-capture combined has ie, Cunningham, Bill T. Jones, Shelley Eshkar, and Marc Down- Merce including variously work, collaborative His (2002). Projections Inkblot and (2002), Trace (1999-2001), Verge Flicker-track+ include works solo His venues. other many and Kitchen, the Centre, Barbican the Museum, the Whitney Center, Pompidou the MoCA, MASS Center, Lincoln at appeared has work whose artist digital a is Kaiser Paul Bio (Asof10/28/02) and Memory Y ork. Lifelike and (2001), Loops (1999), Ghostcatching (1999), BIPED (2002). 10/28/02 Hand-drawn Pedestrian You

63 12/2/02 Oliver Grau

Does the Experience of Immersion Drive Media Art?

Image: “Home of the Brain” (1992). Affiliation: Art Historian, Danube-University Krems, Krems an der Donau.

Abstract www.donau-uni.ac.at/dis. Going beyond technical and ahistorical views of media art, we analyze what is really new in media art by focusing on He is the author of Virtual Art: From Illusion to Immersion recent work against the backdrop of historic developments. (MIT Press, 2003), editor of Mediale Emotionen (2005) and This talk will consider the ancestors of mixed and virtual MediaArtHistories (MIT Press 2007) and founder of the pio- realities, telepresence and genetic art from the history of neering international digital art archive www.virtualart.at media of illusion and immersion. Our goal is a material and theoretical contribution to an emerging discipline: the sci- ence of the image. Where and how does the new genre of virtual art fit into the art history of the image, that is, how do historical elements continue to live on and influence this contemporary art? Immersion is undoubtedly a key to any understanding of the development of media. What part does this play in the current metamorphosis of the concepts of art and the image? One example is Mixed Reality, where a new blend of traditional media is created through combining ar- chitecture, sculpture, painting, and scenography.

The talk draws on the work of contemporary artists and groups like ART+COM, Maurice Benayoun, Charlotte Da- vies, Agnes Hegedues, Steven Schkolne, Christa Sommer- er, Michael Naimark, Simon Penny, Daniela Plewe, Jeffrey Shaw, Karl Sims and Eduardo Kac.

Bio (As of 3/13/07) Oliver Grau is Professor for Image Science and Dean of the Department for Image Science, Danube University Krems 64

3/3/03 Robert Atkins

Eye/I Witness: AIDS and Digital Art Activism

Image: Robert Atkins, by Robert Dorner. Affiliation: Writer, New York.

Abstract dissent has been demonized and civil liberties threatened. As the global, anti-war demonstrations of mid-February re- mind us, progressive political impulses are sometimes most Bio (As of 3/3/03) effectively expressed by taking to the streets. This, of course, Robert Atkins is an art historian, activist, and writer who taps into a central, electronic-era issue; that is, the efficacy splts his time between in San Francisco and Palm Springs. and desirability of embodied versus remote action. When The initiator of 911—The September 11 Project: Cultural it comes to political activism, where do artists fit in? New Intervention in Civic Society, he is also a co-founder of Vi- forms of electronic activism from pioneering groups in- sual AIDS, the creators of Day Without Art and the RedRib- cluding RTMark and Electronic Disturbance Theatres have bon. He has taught at numerous universities and art schools; proved both inspiring and problematic—and rarely contex- most recently at the Rhode Island School of Design and the tualized within the overlapping realms of mass media, art University of Michigan. The award-winning author of books and activism. including ArtSpeak: A Guide to Contemporary Ideas, Move- ments and Buzzwords and From Media to Metaphor: Art This lecture will analyze the remarkably effective role artists About AIDS, he is a former columnist for the Village Voice, played in ameliorating the AIDS crisis in the US, while ad- who has written for more than 100 publications throughout vancing innovative forms of art and strategies for distribution the world. An anthology of his work, Eye/I Witness: Art Writ- that included culture jamming, agitprop and institutional in- ing as Activism, Criticism & Reportage, is forthcoming. filtration. The author asserts that a rare confluence of histori- cal factors resulted in the production of the most influential Atkins is a Fellow at the STUDIO for Creative Inquiry at body of public and “private” art in American history. What Carnegie Mellon University, media-arts editor for The Me- lessons might be learned from artists’practices of just 10-15 dia Channel (www.mediachannel.org), and editor/producer years ago that might be applied today? Or has the Internet so of Artery: The AIDS-ArtsForum (www.artistswithaids.org/ar- profoundly altered the nature of mass media that they are al- tery). His interests in hybrid art, technology and mass media ready irrelevant? The author intends to raise crucial cultural long predate the web and resulted in exhibitions at far-flung and artistic questions that have been ignored in the rift be- venues including Between Science and Fiction, which he tween discourses separating electronic and non-electronic organized for the Sao Paulo Biennial. art, and in the cultural responses to 9/11 at a moment when 66 , appeared in 1986, and 1986, in appeared pire, 1970. c. performance, characteristicand anxieties video torical of Rosemarie hol’sTrockel’sRiot, Race rhe- the and drawings, Representations. Recent essays include studies of Andy Warof Board Editorial the of member a is she whereBerkeley, Universityof California, the History of at of Art Department the in professor a been has she 1988, Since art. century eth twenti- and 19th in address and gender of issues on cused fo- are interests whose historian art an is WagnerM. Anne Bio (Asof3/17/03) viewer areclearlyinplay. the of those and experiences artist’s the both where tions, that the body and the senses suffer via contemporary media- abuses the understands it as video early of reconsideration a offer will talk the mind, in ideas these “extension.”With terms (euphemistically) McLuhan what undergo sensorium wound and provoke numbness as the relations of the human idea that media exact a bodily toll: their transformation both dependent. progressively McLuhan’sis context this in interesting particularly is What been has civilization western whichon media transformationschoringthe to of history of Mcluhan’sconsider will change.She sensory changeas an- standing of media: in particular, his mythical under Mcluhan’snotion of social Marshall revisit will talk Wagner’sProf. Abstract Jean-Baptiste Carpeaux: Sculptor of the Second Em- Second the of Sculptor Carpeaux: Jean-Baptiste Three Artists (Three Women) (Three Artists Three Affiliation: Art Historian,University ofCalifornia,Berkeley. Anne M. Image: “Twilight,” Joan Jonas, (1975). Video as Messenger - - Wagner cation. publi- nearing is Sculpture British and Maternity Modernist book, third Her 1996. in waspublished BraveNew Womb: 3/17/03

67 4/14/03 Chip Lord a n d Constance Lewallen

Iconographic Art Making: The Legacy of Ant Farm

Image: “Media Burn,” taken by Bill Harlan. Affiliations: Lord: Artist, University of California, Santa Cruz; Lewallen: Curator, Berkeley Art Museum.

Abstract works were prescient illustrations of simulation theory and Constance Lewallen, Senior Curator for Exhibitions at the iconic spectacle demonstrating a deep understanding of BAM and curator of the upcoming exhibition “Ant Farm “the Society of the Spectacle.” 1968-1978” will begin the program with a brief historical overview of Ant Farm’s ten-year collaboration. Ant Farm Founder Chip Lord is a media artist and a Profes- sor in the department of Film & Digital Media at U.C. Santa In the second part of the program, artist Chip Lord, using Cruz. slides and video, will present Ant Farm’s Cadillac Ranch (1974) and Media Burn (1975) projects, two works that Constance Lewallen is Adjunct Curator at the University of achieved popular and wide ranging visibility when they California Berkeley Art Museum and Pacific Film Archive. As were created and then continued to extend their reach and Senior Curator at the BAM from 1998 to June of 2007, she influence as icons over the next 25 years. Lord will detail curated many major exhibitions, including Joe Brainard, A this history of appropriation, licensing, and remakes in art Retrospective, 2001; Dream of the Audience: Theresa Hak and popular media. Kyung Cha (1951-1982), 2001; Everything Matters: Paul Kos, a Retrospective, 2003; Ant Farm (1968-1978), 2004, Bio (As of 4/14/03) and, A Rose Has No Teeth: Bruce Nauman in the 1960s, The artist collective Ant Farm emerged in the late 1960’s, a 2007. All of these exhibitions toured nationally and interna- period in which collaboration went hand-in-hand with ex- tionally and were accompanied by catalogues. Her recent plorations of the alternative fringe in architecture and art. exhibition, Allen Ruppersberg: You and Me or the Art of Counter-cultural artists and architects turned away from Give and Take was presented at the Santa Monica Museum traditional institutional frameworks and created alternative of Art in fall 2009. practices that became earthworks, conceptual art, perfor- mance, video art, installation, and designer/builder archi- tecture. Ant Farm’s hybrid practice touched on all of these areas, which have since been formalized as genres of art practice. While post-structuralism and deconstruction had not yet entered the discourse of art criticism, Ant Farm’s best 68 of Chronophobia will be released by El Centro de Docu- de Centro El by released be will Chronophobia of lished by Editions Macula, Paris; a Spanish language edition of edition language 1960s the of and 2000) Press, MIT (Cambridge: The Matta-Clark Gordon stroyed: of TheWork views and catalogue essays. Her books are re- articles, journal to addition in books two published has Lee Institute, Research Getty the from fellowship doctoral post- a the of Visualrecipient a Arts, WashingtonD.C.,and in Study Advanced for Center the at fellow pre-doctoral A Moderne, GreyRoom,Parkett ,andTexte zurKunst. Aesthetics, and ogy ap- October, has in peared work her journals, other Among Program. Study New of versity sity. She also studied at the Graduate Center of the City Uni- Univer Harvard from Arts Fine of Department the in Ph.D from B.A. her received PamelaLee 2011. fall until leave sabbatical a on currently is She 1970s. and cism of late modernism with a historical focus on the 1960s University, where she specializes in the art, theory, and criti- Pamela M. Lee is a professor of Art & Art History at Stanford Bio (Cambridge: The MIT Press, 2004). A French A 2004). Press, MIT The(Cambridge: Y ork and the Whitney Museum Independent Museum the Whitney and ork Artforum, Les Cahiers du Musee National d’Arte National Musee du Cahiers Les il e pub- be will Destroyed be to Object Chronophobia: On Time in the Art the in Time On Chronophobia: On Time Assemblage, Res: Anthropol- Res: Assemblage, Y ale University and her and University ale and Technology in Object to be De- Affiliation: ArtHistorian,StanfordUniversity. Image: Chronophobia,by Pamela M.Lee. P Endless Decade: amela Lee - (CENDEAC), Murcia, Spain. Contemporáneo Arte de Avanzados Estudios y mentación the Art of the 1960s 4/28/03

69 8/25/03 Mark Hansen Listening Post: Rendering the evolving landscape of online public discourse (or, a statistician, an artist, and 200,000 complete strangers)

Image: “Moveable Type” (2007). Affiliation: Statistician, University of California, Los Angeles.

Abstract describe how his work with Rubin has evolved, starting with Listening Post, a collaboration between Mark Hansen and their early experiments with pure sonification of Web traffic. NY artist Ben Rubin, is an award winning multimedia art in- Hansen will emphasize the interplay between data analysis stallation designed to convey the magnitude and diversity of and design, between modeling and expression and end with online communication. Exhibited at the Whitney Museum their most recent project, a public art commission involving of American Art, December 2002 through March 2003, Lis- a live data feed from Google’s news service. tening Post provides a meaningful rendering of a massive data stream consisting of thousands of simultaneous Inter- Bio (As of 8/25/03) net-based conversations. The visual centerpiece of Listening Mark Hansen is currently Associate Professor of Statis- Post is a suspended, curved grid of more than two hundred tics at UCLA, where he also has an appointment in the small screens. These screens display fragments of text that Design|Media Art Department. Previously he was a mem- are continuously gathered in real time from unrestricted ber of the Technical Staff in the Statistics and Data Mining Internet chat rooms, bulletin boards and other forums. The Research Department of Bell Laboratories. work is structured as a sequence of “scenes,” each of which organizes incoming communications according to different statistical criteria. Mirroring the fluidity and dynamism of the Internet itself, topics emerge and change from day to day, hour to hour. A coordinated audio component underscores the content presented on the screens, layering algorithmi- cally generated musical compositions with the vocalization of captured messages, spoken by a text-to-speech system.

The technical challenges implied here are considerable; from “frugal” monitoring agents that continually recognize and cull new content, to statistical natural language processing and dynamic clustering schemes that allow us to track topics and extract representative phrases. In this talk, Hansen will 70 compete) by tracing their own and each others’ paths. Thisothers’ each and own their tracing by compete) the it, ated strategya In reflective practice of conditions cre- the that of artwork. networked interactive, presenting and creating of aspects performative the highlight will Rinehart and Brixey must breakthroughby assumingnewerhybrid forms. visitors easy,and at resolution, attempts frustratelinear that mutativeforcesrandom of form the in maze the roams taur sequence that will decode the maze. The ghost of the Mino- searchin delete or duplicate, read, to others for unique a of memes media of trail virtual a leavebehind to visitors lows al- that structure style mutativegame a employs project the visitors use to navigate, and decode a highly complex maze, that agent telerobotic a around Centered Project. Genome Human the by exemplified as discovery human of nature Brixey and Richard Reinhart is a meta-level discourse on the poraryresearch.genetics Thecollaboration Shawnbetween and emerging realities evolving from the frontier of contem- fantasies, anxieties the by inspired work based-telerobotic Genomics”, Human Explores Art Commissioned for the exhibition, “Gene(sis), Contemporary tors). will participate remotely from Seattle as advised by his doc- (Richard Rinehart will lead the presentation and Prof. Brixey Abstract asks visitors to collaborate (or collaborate to visitors asks ObscuraChimera Richard nehart Image: “Chimera Obscura” (2001-2003).Affiliations:Rinehart:Berkeley Art Collaboration Museum, Berkeley;Brixey: Artist, University of Washington, Seattle. is a net a is Obscura Chimera N a vigating and the ChimeraObscura d n a the Maze: ship forhispioneering work inthe field. FellowMedia - New Rockefeller 2003 a received He Japan. NY Museum, Design Hewitt Cooper TheInstitute, Art Chicago exhibited has Museum, TheArt Cranbrook Documenta, including he widely member faculty Berkeley UC former A (DXARTS). Arts Experimental and Arts Digital in program Ph.D. established Washington’snewly of University the of Director and Associate Professor is Associate Brixey Shawn digital artinordertopreserve itforthenextmillennium. of essence the distilling artists and museums of consortium national a Garde,”Avant “Archivingthe including culture, digital of area the in projects research manages and net.art creates Museum/Pacific Richard Archive. Film Art Berkeley the Berkeley campus as Director of Digital Media at the UC on appointment joint Practice’sa holds Art and program, Media of Digital Department Berkeley California, of sity Univer the in theory and studio teaches Rinehart Richard Bio (Asof9/15/03) orative practice? collab- about notions our enliven and upset that forces the are what maze; the roams that Minotaur the Like Obscura. the at intersected and to up lead that laborators col- the of paths individual the trace will presentation joint , the MIT Museum, and The Winter Olympics, Nagano, Olympics, Theand Winter Museum, MIT the , Sha wn Brixey 9/15/03 Chimera -

71 11/10/03 Jim Campbell

Formula Art: Computers as One Dimensional Translators

Image: “Fifth Avenue Cutaway #1” (2001). Affiliation: Artist, San Francisco.

Abstract why these “Art by Number” methods that are being used Tracing his work through the last 15 years, Jim Campbell have evolved naturally out of the structure of the computer. will address some of the more general issues that have come up with computer mediated art. Starting with Interactivity Bio (As of 11/10/03) and ending with what could maybe be called Data Aesthet- Jim Campbell was born in Chicago in 1956 and lives in San icsization, he suggests how some of the current directions of Francisco. He received 2 Bachelor of Science Degrees in computer based art making practices are heading towards a Mathematics and Engineering from MIT in 1978. His work formulaic approach. has been shown internationally and throughout North America in institutions such as the Whitney Museum of Art, Campbell’s work has gone through a progression from film San Francisco Museum of Modern Art; the Carpenter Center, to video to interactive installation to electronic sculpture. Harvard University; The International Center for Photogra- Thematically the work has been about human memory and phy, New York, and the Intercommunication Center in To- its relationship to time and movement from both psycho- kyo. His electronic art work is included in the collections of logical and scientific perspectives. His earlier interactive the Whitney Museum of American Art, San Francisco Mu- works often are structured as psychological mirrors, where seum of Modern Art; the University Art Museum at Berkeley. the viewer’s response to a work becomes part of the work In 1992 he created one of the first permanent public inter- itself, as in a feedback system. More recent works explore active video artworks in the U.S. in Phoenix, Arizona. He perception at the threshold of recognition of moving images, has lectured on interactive media art at many Institutions, and postulate what kinds of meaning can be expressed with including the Museum of Modern Art in NY. As an engineer extremely small amounts of information? he holds more than a dozen patents in the field of video im- age processing. Having spent the last 3 years looking at “the pixel” as one example of an atomic structure of a digital representation, Campbell will discuss how he’s come to the conclusion that the pixel as a visual element doesn’t really exist except as a media and art based contrivance to give us something to grasp onto (or to see) as “digital.” And finally he’ll discuss 72 will be on view until view Small on One be Enduranceand will of ture, Act Na- with Collaborations Uninvited dressing, Cross Animal exhibition her where Francisco, San in Gallery Clark rine New in gallery Co. and Debs with exhibits NY Brooklyn, in works and lives Katchadourian Nina Bio (Asof11/24/03) and turnitintospokenlanguage. popcorn popping of sounds the translate to program Code Morse a uses machinethat popcorn talking inventinga and sounds; bird on based systems alarm car creating cities; ent differ of streets the on found tape video and audio carded dis- loose, restoring webs; spider broken mending included engage technology, in both low tech and hi tech ways, have which Activities site. looked and construct concept, also as “nature” has to she years recent in colloquial; the in ter and sculpture. Katchadourian often locates her subject mat- video sound, photography, includes practice diverse Her and potentialmisunderstandings. seeks out places that hold the promise of minor breakdowns translationhappens seamlessly and without whereresidue, but Katchadourian place a as of thought conventionally is section, restoration, and translation. The technological realm dis- of processes her to connected strongly are waysthat in Katchadourian’sNina work,In Technologyplay into comes Abstract Gallery, andCatharineClarkGallery. Affiliation: Artist, New Nina Katcha dourian Could Be Trying Image: “Austria” (2006),courtesyoftheartist,Sara Meltzer Every Single Thing A round Y Y ork and Catha- and ork . She . to Tell Y - ment atBrown University. depart- art visual the in Professor Adjunct currently is She recently most from the Anonymous Was and a Woman Foundation. Foundation, Reed S. Peter the dation, awardsof the recipient from the been has She TiffanyFoun - for MediaArts. with piece new a developing ly Vivid,Birmingham’s Center seum, the Serpentine Gallery in London, and she is current- New in and Space Center Artists January 3, 2004. She has exhibited at PS1/Moma, Sculpture ou Something ou Y ork. Y ork, the Berkeley Mu- the Art ork, 11/24/03

73

Marie Sester is a media artist. Born in France, she began her Bio (Asof1/10/07) cards tocodenumbers,from passwords toplug-ins. bank from entry, of forms regulated demands increasingly culture wired a that fact the from emerges access, interest, third Sester’sadvertising.” of explosion the to industry star Hollywood the from century, 20th the in culture Western of secrecy.evolution promote the to linked also Visibilityis may serve to remove the visibility of these environments and transparency paradoxically visibility,but is transparency of tion and communication, control and surveillance. The goal informa- of those are values its in Included discourses. dia me- and economic, ry,political, in reappeared recently has “Transparency, a term used in architecture in the 18th centu - ing primarily on ideas of transparency, visibility, and access: focus- forms, implement societies waysthat explores Sester viduals andbroaderforces, spatialscales,andhistories. indi- between connections proposes work Her industries. surveillance and entertainment the from technologies using installations immersive creates She views. aerial and maps, city sections, elevations, plans, x-rays,architecturalground cal, archeological and artistic documents such as large-scale histori- with works Order.”WorldShe “New the and West Marie Sester’s work questions the societal perspective of the Abstract Transparency Image: “ACCESS” by MarieSester(2003),Eyebeam, New Photo by Shawn van Every. Affiliation:Artist,New P aradise underSur Marie Sester , Visblty , http://www.accessproject.net/ (2004). “50 Coolest Websites” in the the in listed was and (2004), Art Net Webbythe Awardfor received (2003), Electronica Interactivefrom Ars in Art tion Men- Honorary an received ACCESS installation 2003 Her Casino Luxembourg,Luxembourg(2006). (2005), Germany Karlsruhe, ZKM, the Paris,(2004); France New Kitchen, The San Diego, USA (2003); Ars Electronica, Linz, Austria (2003); USA (2000); San Jose Museum of Portland, Art, USA (2001); Siggraph, Art, Contemporary for Institute Portland (1999); Francisco,USA San Langton Arts, New (1998); Switzerland ing in the Kwangju Biennale, Korea (1997); Kunsthalle Bern, internationally,includ- exhibited has work installation Her tions thesocietalperspective ofthe West. our understanding of the world. Her work particularly ques- cultural values, and political ideas are intertwined and affect however, interest, shifted from how to build structures to how place, Her Strasbourg. in d’Architecture Ecole the from degree master’s her earned having architect, an as career and Netw veillance: ork A Y ork. Y Y ork. r, S (04;Vlet Numérique, Villette (2004); USA ork, ccess Time Magazine Online Edition 2/2/04

75 2/23/04 Peter Selz

Directions in Kinetic Sculpture: From George Rickey to Jean Tinguely

Image: “Homage to New York,” Jean Tinguley. Affiliation: Art Historian, University of California, Berkeley.

Abstract Professor Selz has authored many reviews and articles in- Questions of art as representation have long been challenged cluding 15 books on 20th Century Art, from German Expres- by science and technology. Laszlo Moholy-Nagy wrote in sionist Painting (1957) to The Art of Engagement (2005). “Vision of Motion” (1922), that artists must replace the static principles of classical art with dynamic principles from life. Duchamp and Gabo experimented with new visual forms based on scientific discussions of space and time, and ki- netic artists viewed movement itself as a new medium.

Bio (As of 2/23/04) Peter Selz, Professor Emeritus of Art History at UC Berke- ley, will describe his roles as professor in Moholy-Nagy’s New Bauhaus School, curator of Jean Tinguely’s momentous “Homage to New York” (1960) at New York MOMA, found- ing director of the Berkeley Art Museum, and curator of the pioneering exhibition, “Directions of Kinetic Sculpture” (1966). He will screen two rare historic films based on these exhibits and discuss problems that remain at the intersection of art, science, and technology.

After receiving his PhD from the University of Chicago and teaching at the Institute of Design, Peter Selz was appointed Chief Curator of Painting and Sculpture at MoMA, where he sponsored Tinguely’s controversial self-destroying artwork. Later, he became Founding Director of the Berkeley Art Mu- seum. 76 thetic asatechnological objectandalived experience. more materialist, but no less figural, description of the pros- metaphor,as prosthetic a (autobiographically)to turn I then the of misuse and use the around ofexistence. debates on focus I First, condition amaterial as “figured” and lived imaginatively is it as and representation through “figured” of the prosthetic both as it is imaginatively (and rhetorically) a “phenomenological tropology”—that is, a thick description displacement of the prosthetic through what might be called metaphorical this redress and critique both will talk my so, say,we shall am, I Since do to equipped” “well particularly contemporary criticaldiscourseontechnoculture. for signifier” “floating and vague a become has prosthetic’ ‘the consequence, a As premises. own its on first it living discourse always ofa located elsewhere-displacing it rather than the service in parts body “post-human” and artificial with fascination a embodies it because scandalous most is metaphor reductive.The is it than expansive imaginatively less often too is it because rather but sense facile some in phor. Not because I find such meta- metaphorical usage offensive as prosthetic” “the embrace to theorists cultural by leg. Thus, for me, there is a certain scandal in the recent rush the knee. Six months later, I was ready for my first prosthetic above high amputated wasdrag”) “a then byliterally (quite Ten years ago, as the result of a recurrent cancer, my left leg Abstract Prosthetics, Metaphor, Affiliation: Media Theorist, University ofCalifornia,Los Angeles. Vivian Sobchack Image: “ProstheticLegs”by deepchi1. A Leg to Stand On: Thoughts: EmbodimentandMoving ImageCulture. and Experience, Film of Phenomenology A Eye: the of Address TheFilm, Fiction Science American TheSpace: Culture of Quick Change. Her own books include Event TelevisionCinema, History: of Persistence and Society, & Quarterly,Body Atlantic South Representations, Quarterly, Film Obscura, Camera Video, and Film of view in appeared haveessays Her perception andthephilosophy oflanguage. technologically-mediated of phenomenology the on phasis em- an cultural with and studies, studies media and film on focuses work Her Institute. Film American the of of Directors Board the on sits now and Studies Media and Cinema She was the first woman elected president of the Society for at theUniversity ofCalifornia,Los Angeles. Associate Dean of the School of Theater, Film and Television former and Media Digital Film,Television and of partment De - the in Studies Critical of Professor is Sobchack Vivian Bio (Asof1/7/07) and Materialty History and Theory. She has edited two anthologies: eaMrhn:Vsa rnfrain n the and Transformation Visual Meta-Morphing: and Film Comment, Quarterly Re- Quarterly Comment, Film and the Modern the and 3/15/04 Screening Carnal The

77 9/20/04 Sean Kelly

Representing the Real: A Merleau-Pontean Account of Art and Experience from the Renaissance to New Media

Image: Sean Kelly with son Ben. Affiliation: Professor of Philosophy, Harvard University, Cambridge.

Abstract of California at Berkeley in 1998. The Paragone, or Comparison of the Arts, was one of the great debates of the Renaissance. It pitted the sculptors He taught in Philosophy and the Humanities at Stanford and against the painters in a competition over which was the su- in Philosophy and Neuroscience at Princeton before joining perior art. The leading question of the Paragone was whether the Harvard Faculty in 2006. His work focuses on various sculpture or painting was better at creating realistic repre- aspects of the philosophical, phenomenological, and cogni- sentations. But what exactly is a “realistic” representation? tive neuroscientific nature of human experience. This gives Looking at art from the Renaissance to contemporary New him a broad forum: recent work has addressed, for exam- Media, Kelly will trace one thread in the evolution of the ple, the experience of time, the possibility of demonstrating artistic understanding of the representation of the real. This that monkeys have blindsighted experience, and the under- evolution, Kelly argues, parallels the evolution of the philo- standing of the sacred in Homer. He has taught courses on sophical understanding of the nature of perception: it begins 20th century French and German Philosophy, Philosophy of with the Empiricist account of perception as the projection Mind, Philosophy of Cognitive Science, Philosophy of Per- of an image and builds toward the Merleau-Pontean idea of ception, Imagination and Memory, Aesthetics, and Philoso- perception as embodied engagement with the world. The phy of Literature. digital images of New Media, which are often thought of as the paradigm of disembodied, theoretical entities, are in- stead, Kelly argues, the culmination of this evolution toward an embodied understanding of perception and the represen- tation of the real.

Bio (As of 1/4/07) Sean Kelly earned an Sc.B. in Mathematics and Computer Science and an M.S. in Cognitive and Linguistic Sciences from Brown University in 1989. After several years as a graduate student in Logic and Methodology of Science, he finally received his Ph.D. in Philosophy from the University 78 how Chan/Chinois reproduces and critiques the techniques the critiques and reproduces Chan/Chinois how at looks Nguyen films). his and body physical disciplined, his Lee’s(both workBruce of bodyfrom borrowing stylistic layers the as and well cinematic as his website, of “official” and video music Chan’sguerilla on focusing by potential” “star Chinois’ JJ Nguyenof implications technological the body.examines commodity desirable a create that ditions con- material and histories social specific the upon reflect to star the of and self the of technologies explores Nguyen ture, capital,andtechnology. cul - of circuits transnational contemporary by engendered stardom for limitations) (and possibilities cultural and cal histori- commodity.the reproducible consider also will She as and performance individuated as masculinities Asian of Chan’sexamine interpretation will LynneNguyen ist Chan. JJ Chinois is the creation and alter-ego of New American andtransnational popularculture. in body commodity desirable a assembling for self, the of technologies and forms queer with concert celebrity,in lic pub- of technologies and forms digital and video of use the examines talk ThisChinois? JJ celebrity aspiring sensation, (drag) Asian own her create to Lee Bruce superstar tional interna- of styling and cinema distinctive the from borrows What happens when a Chinese American lesbian performer Abstract Bruce Lee,JJChinos Affiliation: Professorof Women’s Studies,University ofMichigan, Ann Arbor. Star Personas Image: “1:6MedicomBruceLee,” by Shaun Wong. Mimi Nguyen Y and ork City art- the Queer Technologies ofCelebrty and F magazines. popular and publications on-line collections, academic in published culture, diasporic Vietnameseand digital technologies, subcultures, punk and queer, American, Asian on essays multiple of author and (forthcoming) America Asian editor with Thuy Linh Tu of focus on fashion, citizenship and transnationality. She is will co- which project, next her with studies cultural feminist transnational within work her situate to continues She ca.” Ameri - “Vietnamese configuration transnational the within particular in nationalism) multicultural and consumption humanitarianism, commemoration, as cul- (such and projects tural political varied for refugeeness of mobilization and production thehistorical examines which book, first her completing currently is Sexuality.She Gender,and en, on WomEmphasis - Berkeley,Designated California, a with of University the at Studies Ethnic in PhD. her earned She Professor in Women’s Studies at the University of Michigan.Assistant and Studies Graduate of School Rackham the at Fellow Research Postdoctoral Mellon is Nguyen Thi Mimi Bio (Asof10/18/04) stars, fans,andwannabes. between identification and interactivity,intimacy of lusion il- the amplify forms cultural popular these which through an Fictions: Alien Encounters: Pop Culture in 10/18/04

79 11/1/04 Rirkrit Tiravanija

The Land

Image: “The Land,” Chaing Mai, Thailand. Affiliation: Artist, New York, Bangkok, Berlin.

Abstract The Land project was initiated by Rirkrit and Kamin Let- Rirkrit’s own structure, as well as that of Tobias Rehberger, chaiprasert as a self-sustaining environment emerging from was exhibited as part of the What If...Art on the Verge of Ar- the artistic community. The Land is located in the northern chitecture and Design curated by Maria Lind at the Moderna part of Thailand, near the village of Sanpathong, 20 km Museet Stockholm. southwest from the provincial city of Chiang Mai. Intended as an open space or community free from ownership, The Bio (As of 11/1/04) Land is open to the day-to-day activities of local living (i.e. Rirkrit Tiravanija was born in Buenos Aires, Argentina, in the growing of rice) and to the neighboring community. A 1961. After high school in Bangkok, Thailand, he studied at hybrid of innovation and traditionalism, the project con- the Ontario School of Art in Toronto, the Banff Center School trasts contemporary materials and technologies with ancient of Fine Arts, the School of the Art Institute of Chicago, and forms of agriculture. the Whitney Independent Studies Program in New York. He has exhibited widely, including solo shows at Kunsthalle While The Land is a rice field and a garden, freely acces- Basel, The Museum of Modern Art, New York, Los Angeles sible to all, it also supports architectural constructions that County Museum of Art; Portikus, Frankfurt; and Secession, may be utilized in variety of ways, from shelters for sleeping Vienna. For the 50th International Venice Biennale (2003), to kitchens for cooking to platforms from which to deliver he co-curated Utopia Station, which has since traveled to lectures or performances. The people who have contributed several venues, most recently opening at the Haus der Kunst, so far have come from both local and international artistic Munich. Since 1998, Tiravanija has also been working on backgrounds, with artists such as: Kamin Letchaiprasert, Mitr The Land, a large-scale collaborative and transdisciplinary Jai Inn, Tobias Rehberger, Philippe Parreno, Francois Roche, project near Chiang Mai, Thailand. Tiravanija is a finalist for Angkrit Ajchariyasophon, Prachaya Phinthong, the artist the 2004 Hugo Boss Prize and lives and works in New York, group SUPERFLEX and Tiravanija. These small constructions Bangkok, and Berlin. vary from outhouses to kitchens, to living huts, and are de- signed and built as artistic and architectural experiments. Because the land is empty of expectation, it is truly open to possibility. Emptiness as an incubator, of sorts. 80 Museum in Finland. ISEA(S), Digital Salon(s), and Siggraph and Salon(s), Digital ISEA(S), Finland. in Museum Kuopio the and Germany; Kassel, DOCUMENTA, Austria; Electronica, Ars Brazil; Paulo, Sao at presented been have works mid-1970’s.These the since installations interactive and artworks interdisciplinary and cross-cultural assisted, computer produced has artist, media new Rapoport, Sonya Bio (Asof1/12/07) a soultoanartificiallycreatedbeing,thegolem. ing and TheGene, slides, video, and her recent interactive webworks, present will Rapoport Levi-Strauss.” Claude anthropologist the and Duchamp Marcel between “mix a as work plinary interdisci- early her summarizes historian, and artist media Edgar, Robert art. net 60’sto abstract the of her paintings expressionist from starting decades, four past the through phistication, Rapoport will trace so- the evolution of technological her artwork modern with myths ancient Combining art works thataddress thesedilemmas. multimedia construct to mysticism and alchemy on draws Rapoport Sonya artist media Berkeley-based beings. ated cre- artificially of haveconstitution and the for implications gender. Thesedevelopments have controversialhighly been and reproduction, sexuality, human control and derstand un- to ability our advancedhave scientists years, recent In Abstract , in which she attributes whichshe in Kabbalah/Kabul, From Homunculus Image: “Lilithas Venus Wading inthePetri Dish.” Sonya Rapoport Affiliation: Artist,Leonardo/ISAST, Berkeley. Tracking Redeem- an Alter Av governing board. publication MIT the in appeared have critiques Her reviews. book and SonyaRapoport’s art include extensivelywritings published Mutamorphosis beingorganizedinPrague in2007. Symposium the for Committee Advisory International the on is She Outer-Space. to Earth from Golem Digitizing The autobiographical her included issue The 2006. 2 number of cover the on was Ka your to Installation Inter-Active her from reproduction Spain. A Seville, 2007, BIO4, and 2006, nial, Interactive Media Design Istanbul, Turkey; the Whitney Bien- Arte Reina Sofia, Madrid, Spain; International Symposium of de Centro Nacional Museo the Argentina; Aires, al-Buenos Kabul. Recent venues for her artwork include the Art Bienni- Intelligence) Extraterrestrial workshop for in Paris, later (Search to become the web work, SETI the at 2004 in presented was extra-terrestrials to altruisms municating com- for concept Her artworks. electronic her hosted have to Golem: atar o wih h sre o the on serves she which for Leonardo/ISAST , vol.39, Journal, Leonardo Animated Soul: Gateway Soul: Animated 12/29/04 Kabbalah/

81

(MIT Press 2004), a first-of-its- a 2004), Press (MIT Fundamentals Design co-authored Game recently Salen Katie and He dent andexperimentalgames. a writer, scholar, and a game industry advocate for indepen- is He media. of variety a for games create to LeapFrog and Y an independent game development company based in gameLab, New of CEO and co-founder the is Zimmerman Eric Bio (Asof1/24/05) everyday life.Cometotheirtalkpreparedplay! play,cial and spaces urban into interventionsas games and so- complexity,competition, emergent collaboration, tems, sys- complex design, in topics address will Eric and Katie make, they games the and processes, their ideas, their ing Discuss- spaces. urban and offices, conferences, in played Salen and Eric Zimmerman, including games designed to be Kate by created projects of range a on focus will talk This games illuminatelargersocialandcultural issues? studying and playing, making, can How games? video and computer mainstream of rules” the “break games of kinds What important? games are Why dimensions. cultural and social with practice critical a as unexplored largely remain games cultural, pop in explosion commercial their Despite Abstract r Ct ta wrs ih opne lk Mcoot PBS, Microsoft, like companies with works that City ork Eric Zimmerman&Katie Salen New Image: RulesofPlay. Affiliations:Zimmerman:GameDesigner, gameLab, Y ork; Salen: Artist &GameDesigner, Parsons School ofDesign,New Game Design Making ue o Play: of Rules and BreakingRules: as Critcal Practice is slatedforpublicationinFall 2005. design game in readings of volume second A design. game on textbook first-of-its-kind a 2004), Press (MIT damentals co-authored recently man Zimmer Eic and She productions. mememe and gameLab, Institute, Design the SIGGRAPH, including clients of range a for games designed has and Life Wakingfeature claimed ac- critically the on animator an as worked She magazine. RES for writer contributing a is and Cinema, Exploding and grams on games and culture for the Lincoln Center, the ZKM, Technology, Parsons School of Design. She has curated pro- and Design Studies, Graduate of Director the is Salen Katie in gamedesignisslatedforpublicationFall 2005. kind textbook on game design. A second volume of readings Rules of Play:of Rules Fun- Design Game Y ork. 1/24/05 -

83 2/28/05 Rachel Greene

The History of Net Art from 1995 to the Google IPO

Image: Rachel Greene. Affiliation: Curator and Author, Rhizome and New Museum of Contemporary Art, New York.

Abstract junct Curator at the New Museum of Contemporary Art Although the scope of contemporary visual art is enormous, where she has organized exhibitions including Rules of internet art is still being established as a legitimate catego- Crime (2004) and the upcoming Contagious Media. She is ry. Strong works of internet art are able to speak about the also Executive Director of Rhizome.org. worlds of informational technology, databases, over-sat- uration, hacking, etc in ways that other mediums cannot. Furthermore, internet art’s place in post-Conceptual art and avant-garde genealogies remains largely uncharted. Rachel Greene will argue that the internet may be the best medium for those interested in avant-garde and oppositional art- making.

What is internet art? Is it good? Who makes it? Who buys it? Who shows it? Who cares? Greene will address these and other questions in a talk based in part on her recent book. She will relate the storied history of internet art’s premier organization, Rhizome.org, and address the future of new media art in a context informed by Google, blogs, and the heightened trendiness of visual art.

Bio (As of 2/28/05) Rachel Greene has written for many publications including Artforum, Frieze, Contemporary, and Time Out New York. Her first book, Internet Art (2004) was a title in Thames and Hudson’s prestigious World of Art series.

She has curated exhibitions online and is currently an Ad- 84 and sharestheir values. way same the feels and thinks that society a to of belonging feeling a and contentment, happiness, to way their on are it use who people of billions Theall. to available and reach to easy is that goal a towards path a end, osophical wares are actually a means to a positive emotional and phil- PowerPointthat then, imagine, us Let soft- attendant its and grows onyou asyou usetheprogram. that acting, behaving,and and assuming being of manner a practical. and natural most the are decisions design their base they which upon assumptions the that feel simply they yourthinking; out ing straighten- and guiding of intention no have designers and engineers the that possible is It integrated. well and natural a in even or scheming way. way obnoxious The biases are an almost unintentional; they are in or way obvious an in Not task. your accomplish you helps it as think to howyou certain actionseasierandmoreconvenientothers tells than bymaking software, view. The world designed specific a were assuming PowerPoint of features and structure The to academiacharity fund-raising. business from ranging topics on presentations for standard ubiquitous the become has Corporation, Microsoft at neers engi- by developed application software the PowerPoint, Abstract Y ou are thus subtly indoctrinated into indoctrinated subtly thus are ou Image: David Byrnepresentsachart duringhis ATC Lecture.Photoby BartNagel. Affiliation: Artist andMusician,New Da Po vid Byrne I werPoint [ heart Information. is PowerPoint with done artwork of book new His medium. the of limitations the despite pieces, moving create could he realized Byrne as own its of life a on took joke a as off years.started What been has PowerPointworkingwith of number a for He medium art an as NYC. in Gallery Pace/MacGill by resented rep - is and years, 25 than more for art visual making been has the TalkingHeads, of one as known best Byrne, David Bio (Asof3/7/05) I feelmyself more ateasewitheach newpresentation.” unclear and confusing. But I have made huge advances and long. I have along way to go: my be- to presentations long are I everyone, sometimes for,like myself, software this use to “Rather than resist, I decided that I must surrender and learn ] Y ork. niinn Eoinl Epistemological Emotional Envisioning —David Byrne 3/7/05

85 3/14/05 Jane McGonigal

Why I Love Bees, or, a Massively-Scaled Ludic Worldview

Image: “Honey Bees,” by Mushi King. Affiliation: Game Designer, University of California, Berkeley.

Abstract tion comprise the avant-garde of an emerging constellation Jane McGonigal proposes that massively scaling digital of network practices that are both ludic, or game-like, and communities is not only possible, but that scaling leads to spectacular—that is, intended to generate an audience. She the emergence of important changes in our understanding calls this tactical combination of network-based play and of the network, of the possibility of digital community, and spectacle supergaming. indeed of “community” itself. The massively-scaled ludic worldview is a design imperative for all architects of digital Bio (As of 3/14/05) community: more, more, more play and players. Jane McGonigal is a game designer and games researcher, specializing in massively collaborative games played in ev- Why more? “The more the better”—players experience eryday spaces. She is a Ph.D. candidate at UC Berkeley and phenomenological pleasure in being part of a much larger, is also a creative designer for 42 Entertainment, where she co-present whole. “More is different”—unexpected things most recently served as community lead and puppetmas- happen when you scale up. “More is needed”—to become ter for the Halo 2 alternate reality game I Love Bees, which exponentially more powerful, to pass the coveted threshold won the 2005 International Game Developers Association’s to “super,” you need to connect as many individual parts as Innovation Award and was named by the New York Times’ possible. These three tenets comprise the more, more, mas- “Year in Words” one of the most influential and touchstone sively more connectivity she dreams of for playful network catchphrases of 2004. Her previous pervasive gaming and communities in today’s new media landscape. Massively collaborative play projects include Place Storming (Intel), more is a vision of digital social networks designed and the Place Storming/Wi-Fi Bedouin Mash-up (commissioned deployed to produce more pleasure, more emergence, and for the Los Angeles Museum of Contemporary Art), The Go more superpower. Game (Wink Back, Inc.), Organum (BID lab), and Tele-Twist- er (Alpha Lab). She is currently working with the MacArthur This vision flies in the face of one of social software’s fa- Foundation on an educational gaming initiative and is on vorite conventional wisdoms: digital communities don’t the Interactive City programming committee for ISEA 2006. scale well. But recent San Francisco-based cluster of per- vasive play and performance suggest otherwise. Together, these experiments in massively-scaled, public collabora- 86 rvn picpe bhn te rjc, h s.c. SION (military-civilian-military), willbediscussed indetail. the project, the behind principles driving the of one and ofa Antarctica in up facility research transnational set final and future the for plans The project. the telecommunications and tactical media initiatives related to architecture,the developmentof the as well Khlebnikov)as Velimirfuturian Russian the of work the to (connected ect proj- the of roots Utopian the discuss will Thepresentation and finally, in2007,the Antarctic. land, with future developments planned for India, Nunavut, isolated areas of Scotland, Australia, Slovenia, Italy, and Fin- X exhibition in Kassel and it has since evolved in remote and the The during 1997 in phase realized first was laborators foundthemselves. entropic societal conditions in which the author and his col- and extreme the on reflection removal,survivalcritical and Utopian for outpost an as structure research and formance per sufficient self and independent an establishing of pose the during 1994 in started (1997-2007). Theworkconceptual the on thetic, political and legal aspects of his aes- the of overview critical a present will Peljhan Marko Abstract Y ugoslav civil wars with the pur the with wars civilugoslav Affiliation: Artist,University ofCalifornia,SantaBarbara. to Netw MAKROLAB project From Utopian Determnsm project Makrolab Marko Peljhan Documenta CONVER- ork-Centric P Image: Makrolab,markII. - - Unesco DigitalMedia Art Award. the of prize second awardedwasthe lar. Makrolab 2004 In Ars Prix Nica workPotheir for Nicolai Golden - Carsten with together Electronica the 2001 in and ZKM the at prize receivedMedienkunst he special 2000, the In Biennale. ice Ven- and Museum New the , MoMA P.S.1 Artlab, Canon Transmediale, Manifesta, ZKM, Biennale, City Gwangju Seoul, Media Electronica, Ars Biennale, Johannesburg 2nd the Kassel, in X documenta as such institutions and tions exhibi- international major at presented been has work His Operations branch ofthisorganization. Flight Atol Projekt the founded he 1999, in and, SYSTEMS PACTAtol Projekt of branch technological the founded he 1995, In fields. communications and situation arts, performance, visual the in works he which of frame the in Atol Projekt organization arts the founded he 1992 In Ljubljana. of University the at directing radio and theater studied and Slovenia in Gorici pri Sempeter in 1969 born was He Atol. Projekt of director and Barbara Santa California, of versity Uni- the at Professor Assistant currently is Peljhan Marko Bio (Asof4/18/05) aradigms 4/18/05

87 9/21/05 Jaron Lanier

Can Soulful Music Survive Digital Epistemology?

Image: Jaron Lanier. Affiliation: Artist and Musician, Berkeley.

Abstract Bio (As of 9/21/05) This lecture is dedicated to the memory of Robert Moog. Jaron Lanier is a computer scientist, composer, visual artist, and author. Lanier’s name is often associated with Virtual Re- Pop music in America is in a bizarre state. This is the first ality (he is credited with coining the term). Lanier served as time since electrification that a new musical style hasn’t ap- the Lead Scientist of the National Tele-immersion Initiative, peared with a new generation. Hip Hop, weird attitude rock, a coalition of research universities studying advanced appli- and so on, are in many cases the music of the grandparents cations for Internet 2. Lanier is currently an External Fellow of today’s undergraduates. Meanwhile, the term “Soulful” at Berkeley’s International Computer Science Institute and is has been applied to music more frequently since the rise of visiting faculty at at Dartmouth, UPenn, Columbia, and at digital metaphors and computational challenges to the very the Tisch School of the Arts at New York University (where idea of “Soul.” “Soulful” music is typically pre-digital (old he is a visiting artist). blues recordings being the canonical example) while new music described as “Soulful” is usually nostalgic. As a musician, Lanier has been active in the world of new “classical” music since the late seventies. He is a pianist and Making everything fungible gradually reduces the differ- a specialist in unusual musical instruments, especially the ences between things. This is what happens when all mu- wind and string instruments of Asia. Lanier has performed sic is digitized, easily available, and remixable. Shouldn’t with artists as diverse as Philip Glass, Ornette Coleman, ideas, including musical ideas, be anti-entropic? Is remixing George Clinton, Vernon Reid, Terry Riley, Duncan Sheik, enough? Though digital objects have more explicit boundar- Pauline Oliveros, and Stanley Jordan. He also writes cham- ies than others, do we have enough self-knowledge to know ber and orchestral music, including an opera that will pre- where the boundaries of music are? Do computers confine mier in South Korea. Lanier has also pioneered the use of us to eternally re-digesting the ideas of programmers, even Virtual Reality in musical stage performance with his band when we are the programmers? Does our attitude about Chromatophoria, which has toured around the world as a “Soulfulness” matter? In addition to exploring these ques- headline act in venues such as the Montreux Jazz Festival. tions, Lanier’s talk will include brief musical examples and He plays virtual instruments and uses real instruments to performances. guide events in virtual worlds.

88 n atr. h as poue cmecal fr cinema, for commercially produces also She actors. and artists video choreographers, dance various has with She worked media. digital other and music inter electronic active in specializing performer and producer composer, African South a is OTOPLASMA, a.k.a. Tonder, van Cobi Bio (Asof9/28/05) creative exploration. further for system her use to dancers and composers invite also perspective.will political She and socio a from project nology and her personal experience of it as she presents her travel. Cobi will reflect on the contemporary impact of tech - music provide territories for the body and mind to move and Murphy,(Andrew Internet” the 2000). on dance Theof refrains headphones, in floor, dance the on literally, it creates For Deleuze and Guattari, music “both simulates space and of technology? tor, responded (or succumbed) to the politics and hegemony the media age in South Africa? How has the artist or facilita- of music the does How tem. tends it as an interface into an electronic music-making sys- ex- and dance Gumboot African South takes that strument in- artwork/musical present media hybrid a will Gumboots, Ephemeral Cobi aggression. social transform to culture for potential the illustrates dance Gumboot of history The Abstract reflect Gumboots Ephemeral Dancing Affiliation: Artist andMusician,Johannesburg. Cobi Ephemeral Gumboots: Image: “Ephemeral Gumboots.” the RhythmofChange n a v - T she isZEROONE/IDEOartist-in-residenceintheBay Area. 2005, During Africa. South of countryside Western North She was born in Pretoria and grew up in a small town in the Certificate inMusical Theatre (Technikon Pretoria). National a and (TechnikonPretoria) Music Light in ploma Di- National a ); TheOf Witwatersrand and (University Society History in Music in degree a holds Tonder van Cobi television, radio and mobilemedia. onder 9/28/05

89 10/17/05 Bruno Latour

From Object to Things: How to Represent the Parliament of Nature?

Image: Bruno Latour. Affiliation: Professor & Curator, Ecole des Mines, Paris.

Abstract Hope: Essays in the Reality of Science Studies. “Things” are controversial assemblages of entangled issues, and not simply objects sitting apart from our political pas- In a series of books in French he has been exploring the con- sions. The entanglements of things and politics engage ac- sequences of science studies on different traditional topics tivists, artists, politicians, and intellectuals. To assemble this of the social sciences. Since 1982, Latour has been profes- parliament, rhetoric is not enough and nor is eloquence; it sor at the Centre de sociologie de l’Innovation at the Ecole requires the use of all the technologies—especially infor- nationale supirieure des mines in Paris and, for various pe- mation technology—and the possibility for the arts to re- riods, visiting professor at UCSD, at the London School of present anew what are the common stakes. This talk will Economics and in the History of Science department of Har- debrief and discuss Making Things Public, a recent art show vard University. He has recently curated, with Peter Weibel, that provided a simulation of these issues. two art exhibitions at the ZKM Museum for Contemporary Art in Germany. Bio (As of 10/17/05) Bruno Latour was trained first as a philosopher and then as anthropologist. After field studies in Africa and California, he specialized in the analysis of scientists and engineers at work. In addition to work in philosophy, history, sociology and anthropology of science, he has collaborated into many studies in science policy and research management. He has written Laboratory Life: The Construction of Scientific Facts (Princeton University Press), Science in Action, and The Pas- teurization of France (both at Harvard University Press). He also published a field study on an automatic subway system, Aramis or the love of technology, and an essay on symmet- ric anthropology: We Have Never Been Modern (both with Harvard and now translated in 22 languages). With the same publisher, he also published a series of essays, Pandora’s 90 iie hs cltr, n i 16 bcm crtr f the Richmond Art Center. of curator became 1968 in and sculpture, his hibited signer,de- performed in a nightclub drawing a nude model, ex- graphic a as worked he Francisco, San in ‘60s, the In ‘61 and‘62. in Germany Ulm, in army the in murals painted He since. ever there lived has and 1959, in Francisco San to moved in born Cincinnati, Ohio, studied art at the Cincinnati Art wasAcademy, Marioni Tom artist conceptual and Sculptor Bio (Asof1/5/07) tommarioni.com. work: his present to website a organizing and as a sculptural material and his recent experience designing sound digital views he how describe will Marioni Finally, art. video and theater and performance between covered he’sphysicaltensions outline also will Marioni actions. dis- from produced is sound underlying physics the how sizing empha- music, and performance to relation and their 1976-1985 describe from works sound present to DVD’s use will Marioni sculpture. and painting to relate approaches these how describe and 1970’s the in art video of ofCalifornia schools thecontext in art conceptual of definition formulate a will Marioni Tom artist Coast West Pioneering Abstract Affiliation: Conceptual Artist/sculptor, SIA,SanFrancisco. as SculptureMaterial T http://www. Image: “OneSecondSculpture.” om Marion Digtal Sound Museum inGoldenGatePark onNovember 18,2005. de new the at premiered be painters. will Themovie and sculptors Francisco San eighteen with movie video a Point Press, 2004), and in 2005 produced Marioni wrote the ‘70s. in grants NEA three and 1981 in Fellowship Guggenheim edited he 1975-81 FromFrancisco. San in Museum Honor of Legion organized The Art Orchestra and the group performed at the he 1997 Festival.In Edinburgh the in performed that group jazz free a Ensemble, MOCA the founded Marioni 1973 In created thiswork inmany placesworldwide over theyears. re- has He Formof Art. Highest the Friendsis with Beer ing exhibition in the Oakland Museum called an made he 1970, in Also Japan. and Europe in formances KPFABerkeley,on showsin radio works, per sound and of As. For Marioni that exhibition was the beginning of a series the U.S. The first show in MOCA was titled in space art alternative first the Francisco, San in (MOCA) Art Conceptual of Museum the founded Marioni 1970 In mgzn/r junl H rcie a received He journal. magazine/art a VISION, Beer, Art and Philosophy (a memoir), (Crown A Motion Picture, The Act of Drink- Sound Sculpture 11/2/05 Y oung -

91 11/9/05 Miranda July

Ten True Things

Image: Miranda July in Me, You, and Everyone We Know. Affiliation: Artist and Filmmaker, Los Angeles.

Abstract July’s first feature-length film, Me and You and Everyone We Miranda July will present her work in film, fiction, perfor- Know (IFC Films / FilmFour) premiered in January 2005 at mance, web and audio. If you have seen her feature film, the Sundance Film Festival, where it received a special jury Me and You and Everyone We Know, and are wondering prize for originality of vision. It debuted internationally at how it came to be, this evening will give you some insight. the Cannes Film Festival where it was awarded with four Miranda also has some questions that you will perhaps be prizes, including the Camera d’Or. able to resolve for her.

Bio (As of 11/9/05) Miranda July makes movies, performances, recordings and combinations of these things. Her short movies (Haysha Royko, The Amateurist, Nest of Tens, Getting Stronger Ev- ery Day) have been screened internationally at sites such as the Museum of Modern Art and the Guggenheim Museum. Nest of Tens and a sound installation, The Drifters, were pre- sented in the 2002 Whitney Biennial. July participated in the 2004 Whitney Biennial with learningtoloveyoumore.com, created with support from the Creative Capital foundation and in collaboration with artist Harrell Fletcher. July’s multi- media performances (Love Diamond, The Swan Tool, How I Learned to Draw) have been presented at venues such as the Institute of Contemporary Art in London and The Kitchen in New York.

July’s stories can be read in The Paris Review and The Har- vard Review and her radio performances can be heard regu- larly on NPR’s The Next Big Thing. 92

2/1/06 Mark Pauline

Exploiting the Momentum of Self Righteousness

Image: “Robot Wars” from SRL. Affiliation: Artist, Survival Research Labs, San Francisco.

Abstract erated as an organization of creative technicians dedicated Pauline will present an overview of recent SRL shenanigans to re-directing the techniques, tools, and tenets of industry, using video and images, plus a few choice outrages from the science, and the military away from their typical manifesta- past. He will focus on the peculiar motivational mechanics tions in practicality, product or warfare.” which underlie and sustain the impractical activities of SRL. Depending on your perspective, Pauline’s talk will be a stark Since its beginning through the end of 2006, SRL has con- warning of the pitfalls facing anyone daring to attempt the ducted about 48 shows. Each performance consists of a genuinely original, or a celebration of the thrills in store for unique set of ritualized interactions between machines, ro- those who actually get away with it bots, and special effects devices, employed in developing themes of socio-political satire. Humans are present only as Bio audience or operators. Mark Pauline is an American performance artist and inven- tor, best known as founder and director of Survival Research In August 1990, ArtPark, a state-sponsored arts festival in Labs. Lewiston, New York, cancelled a Pauline performance when it turned out he intended “to cover a sputtering Rube Gold- Pauline founded SRL in 1978 and it is considered the premier berg spaceship with numerous Bibles” that would “serve as practitioner of “industrial performing arts,” and the forerun- thermal protective shields” and be burned to ashes in the ner of large scale machine performance. SRL is known for course of the performance producing the most dangerous shows on earth. Although ac- knowledged as a major influence on popular competitions According to Pauline, “I like to make machines that can just pitting remote-controlled robots and machines against each do their own shows... machines that can do all that ma- other, such as BattleBots and Robot Wars, Pauline shies away chines in the science fiction novels can do. I want to be from rules-bound competition preferring a more anarchic there to make those dreams real.” approach. Machines are liberated and re-configured away from the functions they were originally meant to perform.

Pauline has written of SRL, “Since its inception SRL has op- 94 eo synthesizer which usednocameras toproduceimages. Direct Video Synthesizer in 1969 - a distinct and unique vid - video art includes the invention and application of the Beck ing from a base in the Berkeley Hills. His pioneering work in work- artist media and video recognized a is Beck Stephen Bio (Asof3/1/06) patterns andcalligraphy. Eastern Middle of animations geometry analytical variant time time, real on based is which series, Orchestra Visual Videon video paintings, and early previews from his HDTV Japan,recent in and created sculptures VideoAmbient Hendrix, Jimi for video music a in fractals video analog Weavings,Video in sequencing matrix color thesizer. He'll also present studies of dynamic, magic square Direct Beck the invention, Videohis Syn- on created Music of internal bodily energies, and performances of as such compositions video of chapter Chicago from earlyelectronicneonsculptureswiththe1968charter ranging work, of body his from examples show will Beck January 30,2006, attheageof73. on sky the in raytube cathode great that to on passed who Paik,June Nam friend my to dedicated is presentation This Abstract Experiments in Art and Technologyto and , Art in Experiments Affiliation: Artist &Inventor, Berkeley; Visiting Fellow, CollegeofEngineering,UCBerkeley. Materials , an allegorical portrayalallegorical an Union, Photons, ElectronsIcons and MakingsofPre- Image: StephenBeck with Video Weaver (1976). Stephen Beck Solaris Series Solaris Illuminated NOOR www.stevebeck.tv Phosphotron, aphotonlessimaging visualtechnology. Management Energy Computer Systems for Safeway Stores, and the Enhancements, Focus for chips conversion vision tele- digital include inventions patented other his of Some ers. (Sega), ames Toys), (Galoob game talking (Colceo), dog electronic interactive the kles His high-tech toy and game inventions include Art, Tokyo, andotherinternationalpublications. Communications of Journal New YorkICC The NTT Times, have appeared in texts whose era, digital post the of writer a also Mr.is Beck CINE GoldEagleaward (1976). a and award(1978) Italia Prix the with honored was Union composition video/film His network. PBS the on nationally others. His pioneering experimental video art was broadcast amongst Paris, Center, Pompidou The to Art, American of seums from the MoMA, New mu- of collections in is and at exhibited been has work His and Post and Phonons: videogame, and many oth- many and videogame, Whales TheSave Mondo 2000 Magazine, Wired Magazine, -Digtal Art Y ir videog- micro Arcade Pocket ork, to The Whitney Museum reverse Babble 3/1/06 Talking Wrin-

95 3/15/06 Michael Rees

Monsters and Programs and Other Beautiful Fictions

Image: “Putto” (2003). Affiliation: Digital Artist and Sculptor, Rutgers University.

Abstract School of Art, Rutgers University, New Brunswick, NJ. His Michael Rees’ conceptual art defies category, combining work traverses a broad range of activities and efforts. He has sculpture, animation, performance, video, installation, and twice shown at the Whitney Museum and has had many ex- computer software programs to express his interest in the hibitions in the United States, Germany, Turkey, and Spain. body and its connection to mind and spirit. Rees’ work refer- His work has been exhibited in New York galleries and in ences surrealism and other movements in art history, as well private and public collections throughout the United States. as western analytic science and eastern metaphysics. Rees Rees has an enormous appetite for working in a broad con- is a self described “pataphysician,” a maker of imaginary tinuum of sculptural practice. solutions and an investigator of the truth of contradictions and exceptions. Rees’ first solo show in New York at 303 Gallery had a des- ultory feel built from of clay and plaster, wire, steel studs, Rees will present recent works and the conceptual frame- and other common materials. With each show, Rees’ work work surrounding his investigation of mind, body and spirit. continued to evolve consistently employing unusual manu- The “body” refers to his Monster Series and its attendant ani- facturing techniques and significant conceptual rigor. He mations. These are concerned with the manipulated body has had solo shows at Basilico Fine Arts, Gorney Bravin and and with multiple consciousness folded into an animate Lee, Universal Concepts Unlimited, and Bitforms Gallery. constructed body. The “mind” refers to his Sculptural User He is represented by Steve Sacks in New York. Recently he Interface with its parallel attendance to tendencies in con- installed a permanent public installation In Kansas City, Mis- ceptual art and computer science (the readymade, an exten- souri for the Kemper Museum of Contemporary Art. In 2004- sion of Joseph Beuys’ notion of social sculpture and open 2005 he has exhibited major pieces at the Aldrich Museum source software as a “ready made made ready.”) And finally of Contemporary Art in Ridgefield, CT (curated by Richard the “spirit”: Rees’ Ajna Series is a conflation of western ana- Klein); the MARTa Museum in Herford, Germany (curated lytic science and eastern metaphysics with a special blend by Jan Hoet); and the Decordova Museum in Lincoln, Ma of surrealism from Bataille’s Visions of Excess. (curated by George Fifield).

Bio (As of 3/15/06) Michael Rees is professor of Sculpture at the Mason Gross 96 Art 1900tothe present. of their permanent collection: Art Museum, is now featured in a newly curated installation work Her arts. of Art. She received the 2003 Bay Area Murphy Award in fine the 2004 California Biennial in the Orange County Museum in inclusion for selected been (Tel-Aviv).has Art Shirley of lery (Cinncinnatti), RAM (Rotterdam), and Herzliya Museum lery (San Francisco), Ars Electronica (Linz), Carl Solway Gal- Gallery,CamerWorkPaule Francisco),SF Gal- (San Anglim include shows ally.Recent internation - and nationally exhibited been has Shor’swork Bio (Asof4/5/06) and identity. language, conflict, suchas concepts for metaphors become that shapes and movements with reforming merging, and collapsing, expanding, motion, fluid of perpetual fields in animated are – color territory the and code the between synthesis a are landscapes the and works, Shor’s spatial In temporal. the engage that installations and animations work,of creation computer-generatedreal-time makes Shor the in engaged be can computers how redefining are who artists new-media of generation emerging an of Part light. de- and seduce that artworks creates Shor Shirley palette, Withdynamichypnotic forms, luminous movements,a and Abstract , purchased by the Berkeley the by purchased 2004, Landslide Y erba Buena Center for the Arts the for Center Buena erba A Measure of Time: American Affiliation: NewMedia Artist, SanFrancisco. Shirley hor Dynamic Landscapes Image: “Sangrilla”(2003). from SanFrancisco StateUniversity. Tel-Aviv University, and MFA in Conceptual Information Art Shor received her BA in Art History and Philosophy from the 4/5/06

97 4/26/06 Marina Grzinic

Representing Time in the Absence of Space

Image: Marina Grzinic. Affiliation: Artist and Writer, Lubiljana.

Abstract losophy at the ZRC SAZU (Scientific and Research Center of Territory as a pure geopolitical, physical, and material space the Slovenian Academy of Science and Art) in Ljubljana. She is gone. Territory is now a much broader concept. Our intel- is Professor at the Academy of Fine Arts in Vienna. She also lectual concepts, our books, our works, and above all, our works as freelance media theorist, art critic and curator. archives, are the new territories. Giving, contributing con- cepts, is, therefore, a gesture of expanding and broadening Marina Grzinic has been involved with video art since 1982. the concept of territory itself. In the first period of capitalism In collaboration with Aina Smid, Grzinic produced more (if we think of the Fredric Jameson conceptualization) the than 40 video art projects, a short film, numerous video and question of territory was connected with its geographical as- media installations, several websites, and an interactive CD- pect; it was bound to colonial ventures. Today surplus value ROM (ZKM, Karlsruhe, Germany). can be produced in dematerialized territory: this is the case with the Internet. Internet space is the new territory. Her two most recent books are: Une fiction reconstruite. Eu- rope de l’Est, post-socialisme et rÈtro-avant-garde [Fiction Today, instead of talking about the production of space, Reconstructed. Eastern Europe, Postsocialism and Retro- which was connected with the modernistic venture and the avantgarde], L’Harmattan, collection Ouverture philoso- colonial mind, we must talk about the production of time phique, Paris, 2005, and Situated Contemporary Art Practic- in relation to territory and space. Space is gaining a new es, Art, Theory and Activism from (the East of) Europe, ZRC dematerialized form, and it is all bound to time. Access to SAZU, Ljubljana and Revolver, Frankfurt am Main, 2004. such space is inherently connected to questions of time, to the speed of modems, as there is no longer a question of the conquest of a physical territory, but of converting time into accessible zones.

Bio (As of 4/26/06) Dr. Marina Grzinic is a philosopher, artist, and theoretician. She lives in Ljubljana, Slovenia and works in Ljubljana and Vienna. Marina Grzinic is researcher at the Institute of Phi- 98 Biennales. Shanghai and Sharjah, Istanbul, Cairo, the and Ramallah; Photography Infinity for Awards; Center Young International Palestinian Artist Prize; Award, Carnegie Barcelona; Press, FotoMuseum; Guggenheim Prize, Boss Hugo Biennale; ice He has served on the jury of the Carnegie International, Ven- Bienal Internacionalde Arte Contemporaneo inSeville. of Director Artistic currently is and (1996-1997) Biennale Johannesburg 2nd the and (1998-2002) Germany Kassel, 11, Documenta of Director Artistic was Enwezor Sweden. Umea, of University the and Illinois, of Universityversity, sor in Art History at University of Pittsburgh, Columbia Uni- Profes- Visitingbeen has He Institute. Art Francisco San at of Dean is Enwezor Academic Okwui Nigerian-born Affairs Bio (Asof5/3/06) darity inContemporary Art. Soli- and Resistance Dissent, Critique, Technologiesand of Photographyand African , ects: proj- exhibition are Two Modernity. African and tography PostcolonialPho- Archive,Present: The the of Archaeology Permanentand Transitions of , State a in Art Contemporary progress. books: Twoin are works four from draw will presentation Enwezor’s Okwui Abstract np uget: eet oiin i Contemporary in Positions Recent Judgments: Snap On Governmentality: On Techniques The Postcolonial Constellation: PostcolonialThe Image: From theseriesParadigm Shift: African Stories , (1997). Affiliation: Curator andDean, Art InstituteofSanFrancisco. Okwui Enezor Contemporary fricanA Photography was alsotheco-curator ofEchigo-Tsumari. raphers, 1940-Present; David Goldblatt: Fifty One Years. He Photog- African In/Sight: Edge; Mirror's 1945-1994; Africa, MovementsLiberationin and Independence Century: Short and Engage, Censorship, on Index Literatures, African in Research nal, Jour Frieze,Art Parkett, Artforum, Street, Grand Kunst, zur books, and magazines such as: catalogues, journals, in appeared have writings versity.His Uni- Cornell Center, Study Africana the by published Art journal art critical the of editor and founder is He journals. and anthologies, catalogues, exhibition to contributor regular a is Enwezor ern Art, New ern Art, Mod- of Museum the the and Modern, Tate as the Guggenheim, such museums in world the throughout appeared Enwezor has curated major museum exhibitions which have Documenta 11(HatjeCantz, Verlag, Stuttgart). of publication volume four the and Munich), Verlag,Fink (WilhelmForm a Transnational Global of Antinomies tions: London), INIVA, and Cambridge Press, (MIT Contemporary: African from Art, TheoryMarketplace the to and Film Y mn hs ok are books his Among Atlantica. ork and countless others. others. Theseinclude countless and ork k: ora o Cneprr African Contemporary of Journal Nka: Third Text, Documents, Texte 5/3/06 Mega Exhibi- Mega edn the Reading The -

99 9/11/06 Pamela Z

Making Faces: Theatrical Materiality and Technological Embodiment

Image: Pamela Z, courtesy of Ars Electronica, Linz Austria. Affiliation: Performance Artist, San Francisco.

Abstract Her work has also been presented at the San Jose Museum All artists are influenced by their tools. For contemporary of Art, El Museo del Barrio in New York, and La Biennale di performance artists, digital technologies are evolving so rap- Venezia in Italy. She has toured throughout the US, Europe, idly that their influence on artistic decisions can be greatly and Japan in concerts and festivals including Bang on a Can, magnified. When the artwork, the tools, and the artist fuse Japan Interlink, and Other Minds. Her multi-media perfor- into a single inseparable entity, can art maintain its strength mance works have been presented at Theater Artaud and and integrity or is it reduced to being a mere product of a ODC in San Francisco, and at the Kitchen in New York. Her culture seduced by new technology? multi-media opera Wunderkabinet—based on the Museum of Jurassic Technology will be presented at the REDCAT in Pamela Z will explore this question in the context of her ex- LA in fall 2006. Her awards include a Guggenheim Fellow- tensive experience with tools she considers to be extensions ship, the Creative Capital Fund, the CalArts Alpert Award, of herself. These include her gesture controllers—which by the ASCAP Award, and the NEA/JUSFC Fellowship. association make the body itself become the instrument, her two Powerbooks, “Callas” and “Cage”, and the vocal instru- ment—an extremely high-tech tool in and of itself.

Bio (As of 9/11/06) Pamela Z is a composer/performer who makes solo works combining a wide range of vocal techniques processed through MAX MSP software, sampled sounds, and MIDI controllers including The BodySynth and various light con- trollers. She has also composed scores for dance, film, and new music chamber ensembles. She has had audio installa- tion works included in exhibitions at the Whitney Museum of American Art in New York, the Erzbischöfliches Diöze- sanmuseum in Cologne, and the Dakar Biennale in Sénégal. 100 theater/music event with David Byrne and Fatboy Slim titled new a on work at currently is Marianne addition, In others. International Festival,Melbourne Arts the and manyamong Bogota, de Iberoamericano Festival the Festival, maeuropa Ro- Centre, London’sBarbican Festival, Arts Singapore the sented at venues including The Brooklyn Academy of Music, whichprojects havetheater large-scale pre - ten been on ed with a growing circle of artists, the company has collaborat- 1994, Since productions. their of all directed has and tion, Marianne Weems is artistic director of The Builders Associa - Bio (Asof9/25/06) instrument ofcontrol,transgression, andnarrative. an as staged be can stories its and technology how discuss excerpts from past Builders Association productions, we will viewing Throughembrace? technology’s about talk to ogy technol- use we can how presence? And human on nology and tech - of impact the stage performance one can How technologies? ‘live’ ‘live’ between relationship frictive the exploring for arena an be theater can how performance, of ogies to extend the boundaries of theater. Given the ‘liveness’ dia company exploits the richness of contemporary technol- OBIE award-winning New Marianne Weems,of this direction the Under artists. media new and softwaredesigners with practitioners theater bines com- which group eclectic an is Association Builders The Abstract Y ork-based performance and me- Affiliation: ArtisticDirector, The Builders Association, New New Technology forOld T heater Marianne Mediatic Performance: Image: “SuperVision.” Changed America (NYUPress2001.) of co-author the is She Sontag, Susan with Thematurg others. and WoosterdraGroup, - a as worked also she past, distant the In Inc. Matters and Performance at UCLA, and is the board president of Art committee of the Center for Research in Engineering, Media Per of and Presenters, Association Arts forming the of board the on serves Marianne ney Imagineering. workshop with Disney Creative Entertainment and Walt Dis- multimedia a completed recently also she Love, Lies Here Weems Y ork. Art Matters: How WarsCulture The Matters: Art Y addo, she is on the advisory the on is she addo, 9/25/06 -

101 10/16/06 Cory Arcangel

Recent Experiments in Modern Composition, Software, and Stand-Up Comedy

Image: “Kitty” courtesy of Cory Arcangel. Affiliation: Artist, New York.

Abstract a senior fellow at Eyebeam Atelier in Manhattan. He is a Lets say for a second you are an artist. And just for the sake member of the artist groups, BEIGE, + R.S.G. His work has of argument, that you make work which deals with the mov- shown recently in the Whitney Museum of American Art, ing image…maybe,…Video. So you are a video artist. And The Guggenheim Museum, New York, the MOMA, New yeah, its 2006,…and your videos are short, like 2-3 minutes York, Space1026, Philly, the Migros Museum, Zurich, Team long. So what do you do with them? Do you screen them Gallery, New York, and Thaddaeus Ropac Gallery, Paris. on public access? Do you upload them to YouTube? Do you Aside from gallery installations, most of his projects can be sell them in limited editions in a gallery? Do you make mu- downloaded with source code from his Internet web log sic videos for bands? Do you enter in them in underground http://www.beigerecords.com/cory/ video/film festivals? How can you make sense of it all???? And that’s just for video, imagine what a headache you’d have if you made other forms of media art as well…

This lecture proposes different ways artists (not just video artists), can make sense of the internet and the explosion of low cost distribution opportunities that are available to- day. Given that there is no easy solution, and that distribu- tion interest is often tied in with content—Internet memes, comedy, the “Avant Guarde,” “hacking,” open source code, MySpace, and Kurt Cobain, will all be discussed in no par- ticular order, with Cory’s work serving as the underpinning structure.

Bio (As of 10/16/06) Cory Arcangel is a computer artist, performer, and curator who lives and works in Brooklyn. His work centers on his love of personal computers and the Internet. He is currently 102 Magnes Museum, the San Francisco Arts Commission, and Commission, FranciscoArts San the Museum, Magnes L. Judah the including venues at presented been have ects proj- art His novelist. and critic, artist, an is Keats Jonathon Bio (Asof10/27/06) others inhisinterdisciplinary investigation. enlist to off—and left philosophy natural where up take to try, and physics (as well as law and economics), Keats strives biology,practicesborrowedfrom misapply orously chemis - Thinking of his projects as ‘thought experiments’, which rig- system and to apply string theory to real estate development. exchange of art, as well as his efforts to customize the metric intergalactic the facilitate to and dish petri a in God gineer ative process. He will discuss his attempts to genetically en- cre- his research in scientific of role the describing by tions ques- these address will Keats Jonathon artist Conceptual tury? Cen- 21st the in meaningful remain to is either if another one need science and art do Or mash-up? of breed another in the widening wake of postmodernism? Are we seeing just ical aesthetics. Have these two disciplines lost their bearings experiment, often formulates reality according to mathemat- plausible any of ahead years working physicist, theoretical laboratory,genetics a the whilemaybe studio the practice, artistic contemporary In art? an science Is science? a art Is Abstract Extraterrestrial Aesthetics, DivineGenet and O Jonathon K eats Image: “Intergalactic”by Jonathon Keats. ther Thought Experiments Affiliation: Artist, SanFrancisco. columnist for both for columnist a as and FranciscoMagazine San for critic art the as serves Colony. MacDowell the and Arizona, of University the Foundation, lowships by New in Bar Ending py the UC San Francisco Department of Neurology to the Hap- from ranging spaces in lectured has He monographs. and essays catalogue museum as well as novels, two of author to the to Chronicle from ranging periodicals in as well as been documented by KQED-TV and the BBC World Service, whichModernism, and havehim—and represents currently Refusalon including galleries as well as Exploratorium, the Y addo, the Ucross Foundation, the MacNamara to Globe Boston and Artweek Y ork City,awardedork fel- been has and . He is the is He Magazine. Wired Keats also Keats Scientist. New h Sn Francisco San The 10/27/06

103 11/13/06 Rudolf Frieling

Stop Making Sense: Contextualizing Media Art

Image: Rudolf Frieling. Affiliation: Curator of Media Art, SFMOMA, San Francisco.

Abstract al VideoFest Berlin (today transmediale) and from 1994 to The Google generation now expects to find everything it 2006 curator and researcher at the Center for Art and Media ever wanted to know online. Undoubtedly, our knowledge (ZKM) in Karlsruhe, Germany, where he was until 2001 the society is offering completely new perspectives of learning Head of the Video Collection; he has lectured internation- and connecting, but black holes spoil the overall picture in ally on media and art at the University of Art and Design Zu- a dramatic way. 404 Not Found has become a keyword for rich and at the Academy of Art Berlin, and he was professor those searching online. But even the material that is found at the media faculty, University of Applied Sciences, Mainz; has to be questioned seriously. Given the lack of a sustained from 2001 to 2005 he headed the Internet project Media critical scientific discourse for new media, the found ma- Art Net at ZKM, and from 2004 to 2006 the restoration and terial is often a mere replication of uncritical praise of art exhibition project 40yearsvideoart.de, funded by the Ger- works. The present is getting richer and richer, yet more and man Federal Cultural Foundation; other projects as curator more detached from any notion of context in terms of con- include the Biennale Sao Paulo 2002 (Net Art section) and tinuity or disruption. Theories and blogs are mushrooming: Sound-Image, Laboratoria Arte Alameda, Mexico City 2003; but what do we learn about the history of media art? he has published and co-edited with Dieter Daniels for Springer Vienna/New York a series of multimedia and book This talk will exemplify the difficulties and ambiguities in publications on the history and current context of media art: “making sense” of one’s findings, and it will discuss artis- Media Art Action (1997), Media Art Interaction (2000) and tic but also art historical ways of coping with this dilemma. Media Art Net 1/2 (2004/2005). Curatorial as well as artistic strategies concerning the collec- tion, sorting, linking and distribution of data will be exam- ined within the context of the portal site “Media Art Net.”

Bio (As of 11/13/06) Rudolf Frieling is Curator of Media Arts at SFMOMA, San Francisco. He studied Humanities at the Free Univer- sity of Berlin and received a Ph.D. from the University of Hildesheim; 1988 to 1994 he was curator of the Internation- 104

1/22/07 Pierre Huyghe

Time Score and Timing

Image: Pierre Huyghe. Affiliation: Artist, Paris and New York.

Abstract Since 1994 he has mounted solo exhibitions at institutions Beginning with an introduction to the Association of Freed including the Tate Modern, London; Musée d’Art Moderne Time, this talk by Pierre Huyghe will focus on time based de la Ville de Paris/ARC, Paris; Carpenter Center, Cambridge; projects and exhibitions, scripted situations, and the con- Dia Center for the Arts, New York; Solomon R. Guggenheim struction of scenarios. While presenting his work, Huyghe Museum, New York; 49th Venice Biennial (Pavillon Fran- will discuss a variety of methodologies, taking into consid- çais), Musée d’art contemporain, Montréal; CentreGeorges eration the exhibition as a form, the formats of representa- Pompidou, Paris; Museum of Contemporary Art, Chicago; tion as exhibition venues (theater, cinema, books, newspa- Kunsthalle,Zurich; Museum of Art, Santa Monica; Wiener pers, parks...), placement and timing, the ‘becoming image’ Secession, Vienna. He also contributed to Whitney Biennial of things, the exhibition versus the show, the principle of 2006, Documenta 11 2002, 48th Venice Biennial 1999, equivalence. Representation as a performative means, the Manifesta 2, European Biennial ofContemporary Art 1998, activation of space, the rules of the game. Comedy, the re- and to many other group exhibitions and festivals. Awards: cent mainstream attraction, celebration and celebrity. Hugo Boss Prize, 2002, Special Award, Venice Biennial 2001, DAAD, Berlin, 1999-2000. Bio (As of 1/22/07) Pierre Huyghe, born in Paris in 1962, lives in New-York and Paris. Huyghe explores the territory of reality and fiction, creating a site of convergence for interpretation, represen- tation, and transformation. His work incorporates film, ob- jects, and staged events such as celebrations, puppet shows, and musicals to address how we construct and translate ex- perience. Although the final artwork often takes the form of a projected image, Huyghe’s primary interest lies in the production of situations. Since founding the Association of Freed Time in 1995, Pierre Huyghe has sought to introduce new paradigms to the art exhibition by extending its tempo- ral mode. 106 ted by many others. In their recordings and live performanc- Matmos isM.C. Schmidt andDrewDaniel, aidedandabet- Bio (Asof2/12/07) chat. inclusive more and and looser far presentation a into formal dissolve a entropically as commence likely will this tendency,our is As moment. this of possibilities and risks, optional. limits, We’dbecome the objects about talk to like which in moment, cultural re-dematerialized seemingly a entering is music end, reception the on downloading and the filesharing of practice widespread on the and end, production modelling acoustic and synths” “soft of adoption widespread the through “dematerialization”: of phase ond through which music is realized conditions have recently the entered a indicates, sec- title our As outcome. music pop hybrid construction halfway between conceptual origin and a creating process the in allegiance, conceptual a by tated dic- or selected objects with engagement and an towardsmove aconcept from start we flow: of direction its reverse particular,to in and tradition, this re-consider to attempted have we Matmos as work own our In ideas. of semination towardsdis- and conceptual objects the of construction rial mate- the from away art-making in drift radical a charted the Art Object from 1966 to 1972 art historian Lucy Lippard anthology 1973 her In Abstract i er:Te eaeilzto of Dematerialization Years:Six The Affiliation: MusiciansandSound Artists, SanFrancisco. The Re-Dematerialzat ion Image: “Matmos”astakenby Bill T. Miller. of Matmos the Art Object frozen stream thawing in the sun, a five gallon bucket of oatmeal. bucket gallon five a sun, the in thawing stream frozen a of sound the silver, solid of bars on spinning coins gold solid underfoot, crunching salt rock skin, human through current electrical conducting detector point acupuncture dice,an of roll the by and chosen records systems blankets, inflatable support life aloud, reading people barking, aspirin tablets hitting a drum kit from across the room, dogs rhinestones on a dinner plate, Polish trains, insects, ukelele, clothing, fetish gery,latex balloons, and cushions whoopee sur eye laser by generated interference electrical in sewer, a recorded guitar steel a aids, hearing defective for tests frequencytubs, response conversationshot of in recordings field shuffling, cards tubas, horns, peck cellos, skulls, man hu- violas, helium, of tanks cages, rat violins, hair, human on microphones contact surgery, implant chin VCRs, and cameras surgery, liposuction guitar, electric $5.00 a cord, re- vinyl a grooveof runout the plates, copper hitting water a bowed five string banjo, slowed down whistles and kisses, turning, bibles of pages the tissue, nerve crayfish amplified es over the last nine years, Matmos have used the sounds of: 2/12/07 -

107 3/12/07 Kaja Silverman

The Twilight of Posterity

Image: Kaja Silverman. Affiliation: Professor of Rhetoric and Film, University of California, Berkeley.

Abstract Bio (As of 3/12/07) In the summer of 2003, the Louvre mounted a large exhibi- Kaja Silverman is Class of l940 Professor of Rhetoric and tion of Leonardo da Vinci’s vast ouvre. Within this exhibi- Film, and the author of seven books: James Coleman (Hatje tion were several curious objects: four pairs of video editing Cantz, 2002); World Spectators (Stanford University Press, monitors and a large-screen projection of digital images of 2000); Speaking About Godard (New York University Press, The Last Supper. These objects constituted an “intervention” l998; with Harun Farocki); The Threshold of the Visual World by Irish artist James Coleman. (Routledge, l996); Male Subjectivity at the Margins (Rout- ledge, 1992); The Acoustic Mirror: The Female Voice in Psy- In “The Twilight of Posterity,” Kaja Silverman argues that choanalysis and Cinema (Indiana University Press, l988); and Coleman’s intervention “transmits” da Vinci’s work through The Subject of Semiotics (Oxford University Press, l982). a radical reconfiguration of artistic posterity: Coleman ceded pride of place and his own agency to the numerical projec- Her writing and teaching are concentrated at the moment tion; he refused to step into the position of author or sym- primarily on phenomenology, psychoanalysis, photography, bolic “father;” he built decay and expiration into the work and time-based visual art, but she continues to write about of art even during the tenure of its existence, and protected and teach courses on cinema, and has a developing inter- his images from posthumous entification by making the hu- est in painting. She maintains a continuing commitment to man psyche the only possible agency of their memorializa- feminist theory, post-structuralist theory, queer studies, mas- tion. Drawing upon the work of Sigmund Freud, Jacques La- culinity, and theories of “race.” She is currently working on can, Maurice Merleau-Ponty and the writings of Leonardo two new books, Flesh of My Flesh (which is almost com- da Vinci, Silverman stages her own intervention into our plete), and The Miracle of Analogy. commonly held notions of artistic legacy, authorship, and immortality, to re-imagine the artist not just as a “transmit- ter” but as a “receiver” of images that hinge upon affective, reversible, potentially transformative correspondences and analogies between objects in the world.

108 n, i 2007 his end, stories told across reinterpreted physical architecture. To this open-ended of mazes intricate create films Quasi-narrative mirrors. automated reflective infinitely of sculpture moving complex a to photograph simple a from vary can work the of scale Thesubject’squalities. the articulates visually and amplifies that combination or medium the artworks, chooses Aitken his of each In installation. video channel multi photography, sculpture, architecture, sound installation, and mediums— artistic studio post of number a employs Aitken and uniquemodelsofcontemporary experience. frenetic together edits he studio, his as world the Treating sound, moving images and the rhythms of our surroundings. between connection a deconstructing by way unique a in tural unconscious allowing the viewer to experience cinema Aitken’s work effortlessly slips into our media-saturated cul- are fluidconcepts. memory and space, time, where world a into us leads eye lizing a wide array of media and artistic approaches, Aitken’s Aitken is at the frontier of 21st century communication. Uti- Widely known for his innovative fine art installations, Doug Bio (Asof4/16/07) ¨Let´s makeit,breakanditnewagain¨. Abstract ntlain t h Msu of Museum the at installation Sleepwalkers Image: “Sleepwalkers” projectedonMoMA. Doug Aitken Affiliation: Artist,Los Angeles. C an Y 2007? ou Say dou CenterinParis. Pompi- the and Art Modern of Museum the Art, American hibited work in institutions such as the Whitney Museum of installation acclaimed his for Prize International the won he where 1999 Biennale, Venicethe ings, solo and group exhibitions around the world including into our daily experience. Aitken has had numerous screen- folded are movements and travel where existence, madic no- modern a with work his inform and explorations extensive non-stop His Angeles. Los in works and lives Aitken Y New in events “happening” two inspired project Thetive. narra- linear of limits the pushing artists 26 with interviews produced also Aitken Recently, walls and façade as a screen onto which a film is projected. Modern New in Art ork andLos Angeles. ... Y ork re-imagines the museum’sthe re-imagines ork outdoor a ok of book a Screen, Broken He’s ex- He’s earth. electric 4/16/07

109 9/17/07 Trevor Paglen

Blank Spots on a Map: State Secrecy and the Geography of Nowhere

Image: VORTEX 3 in Sextans (Inactive Signals Intelligence Spacecraft). Affiliation: Artist and Geographer, University of California, Berkeley.

Abstract ous other arts venues, universities, conferences, and public Geographer and artist Trevor Paglen takes us on a road trip spaces. Artforum called Paglen’s visual work “as emblem- through the world of hidden budgets, state secrets, covert atic of our era as that of the naked Vietnamese girl scorched military bases, and disappeared people: through a land- by napalm was of its.” The New York Times called it “the real scape that military and intelligence insiders call the “black thing... and not on the evening news.” world.” Over the course of his talk, Paglen leads us from “non-existent” Air Force and CIA installations in the Nevada Paglen’s first book, Torture Taxi: On the Trail of the CIA’s desert to secret prisons in Afghanistan and to a collection of Rendition Flights (co-authored with AC Thompson; Melville even more obscure “black sites” startlingly close to home. House, 2006) was the first book to systematically describe Using hundreds of images he has produced and collected the CIA’s “extraordinary rendition” program. His second over the course of his work, Paglen shows how the black book, I Could Tell You But Then You Would Have to be De- world’s internal contradictions give rise to a peculiar visual, stroyed by Me (Melville House, 2007) an examination of aesthetic, and epistemological grammar with which to think the visual culture of “black” military programs, will be pub- about the contemporary moment. lished in November 2007. He is currently completing his third book, entitled Blank Spots on a Map, which will be Bio (As of 9/17/07) published by Dutton/NAL/Penguin. Trevor Paglen is an artist, writer, and experimental geogra- pher. His work involves deliberately blurring the lines be- Paglen has received grants and commissions from Rhizome. tween social science, contemporary art, and a host of even org, the LEF Foundation, and the Eyebeam Center for Art and more obscure disciplines in order to construct unfamiliar, Technology. In 2005, he was a Vectors Journal Fellow at the yet meticulously researched ways to interpret the world University of Southern California. around us. Paglen holds a BA from UC Berkeley, an MFA from the Paglen’s visual work has been shown in galleries and mu- School of the Art Institute of Chicago, and is currently com- seums including MASSMOCA (2006), the Warhol Museum pleting a PhD in the Department of Geography at the Uni- (2007), Diverse Works (2005), in journals and magazines versity of California at Berkeley. from Wired to The New York Review of Books, and at numer- 110 sound sculpture projectsfrom1976tothepresent. of series a with documentated phenomena, environmental an as sound of simultaneity the explore will talk time. This of perception our of deconstruction the and light, of speed the to sound of speed the of relationship the see, as can one far as hearing (sound), invisible the by (retinal) visible the of transformation memory,total acoustic the havebeen strategies conceptual Some site). (sculpture point reception selected listening points and the site-specific qualities of the the between relationships the determining links conceptual the are process this in significant is What point. reception gies that connect multiple sound retrieval points to a central technolotransmission- of networks. hybridmix a Theseuse listening live creating of idea the explore that works of ber works sound these sculptures. Fontana called has produced a large has num- he 1976, Since site). (sculpture zone ing points that relay real time acoustic data to a common listen- ology has been to create networks of simultaneous listening constantly.method- on His going is that process a as terns, pat- sound coherent of sense the in music, views He tion. informa- musical of source living a as environment natural and/or human the use sculptures sound His settings. tural architec- and visual of perceptions our transform and interact with to medium sculptural a as sound use that lations Bill Fontana has worked for the past 30 years creating instal- Abstract and Image: “Speedsof Time” (2004),London. A Bill Fontana coustic Simultaneity the Sculptureofound Affiliation: Artist,SanFrancisco. land, Ohio,helives inSanFrancisco, CA. France and the Austrian State Radio. Born in 1947 in Cleve- the BBC, West German Radio (WDR), Swedish Radio, KQED,Radio NPR, Corporation, Broadcasting Australian the projects for art sound radio major done has His Cologne. in KolumbaMuseum Kyotonew Modern Art the Museum and of Gallery National the National the VictoriaMelbourne, in Vienna, the Tate Modern London, the 48th Venice Biennale, in Museums History Natural and History Art the Frankfurt, Postthe in Cologne, Ludwig,Museum Museum ern the Art, Mod- of FranciscoMuseum San the Art, American of seum Mu- Whitney the at exhibited been has work His England. of Council Arts the and DAAD, the of Programm K|nstler Berliner the Arts, the for Endowment National the dation, Foun- Guggenheim the from fellowships received has He for museums and broadcast organizations around the world. art unique projects radio and his sculptures sound realized has and developing form, in 60’s late the since worked New in Research Social phi- for School New studied the at He music and losophy medium. sculptural a as sound in work experimental his for known internationally is Fontana Bill Bio (Asof10/1/07) Y ork and the Cleveland Institute of Music. He has He Music. of Institute Cleveland the and ork 10/1/07

111 10/29/07 Geert Lovink

New Media Art: In Search of the Cool Obscure

Image: In Search of the Cool Obscure. Affiliation: Associate Professor of New Media, University of Amsterdam, Netherlands.

Abstract Digital City, Nettime, Fibreculture and Incommunicado. He The emerging new media arts genre is in a crisis. Not that is founder and director of the Institute of Network Cultures, “new media” are on their way out. What we’re talking about professor at Interactive Media (Hogeschool van Amsterdam) here is a “luxury” problem: in what direction to grow fu- and associate professor at the Media & Culture department, ther. After an initial period in which time and again the University of Amsterdam. In 2005-2006 he was a fellow at question “what is new media?” was raised, we have now the Berlin Institute for Advanced Study. moved to a second phase, in which large parts of the popu- lation have become familiar with multimedia, cell phones http://laudanum.net/geert/ and the Internet. However, new media arts still operate in a self-referential ghetto, dominated by techno-fetishism. In the meanwhile, the world at large has moved from utopian promises about virtual reality and cyberspace to a culture of massive use. Taking this ‘democratization’ of new technolo- gies in mind, what are the implications of this shift for the ‘electronic arts’ branch? Should new media artists and their (few) institutions seek collaboration and integration with the museum and gallery art? Should new media remain a sepa- rate category, with its own festivals and exhibitions, or be integrated into the broader ‘contemporary arts’? Or should we rather further institutionalize the new media discipline?

Bio (As of 10/29/07) Geert Lovink (NL/AUS) is a media theorist and activist, Inter- net critic and author of Dark Fiber, Uncanny Networks, and My First Recession. He worked on various media projects in Eastern Europe and India. He is a member of the Adilkno collective and co-founder of Internet projects such as The 112 who searches for a lost treasure in a fictional parallel parallel world fictional a in treasure lost whoa searchesfor traveler ungendered an of diary a of form the takes Aweof travel,between memory, technology.and storytelling, called space story a developing been has she 1995, of Since traveler’s genre tale. the ancient the update that projects of series a ated Y Bio (Asof11/5/07) formalistic toolsofconfiguration, shape,andshadow. gallery, where a dynamic physical space is constructed with bitforms the at exhibited Fields, Warm installation her and Desire, accessible through the Jewish Museum in New projects, including her most recent net art project, Object art of net winning award her of several present will Kanarek ternet. in- the on space of question the ereignty,explores Kanarek sov- and territory cultural defining by space shape guages lan- that Recognizing language. and space, land, of issues charged explore and through move visitors Online Arabic. media forms with multiple languages including Hebrew and multiple combine that spaces” “story networked complex generates Kanarek performance. and sculpture, hypertext, photography,graphics, combine that interfaces networked Y Abstract ael Kanarek is a 1995 Renew Media Fellow who has cre - has whoFellow Media Renew 1995 a is Kanarek ael artistic of vocabulary unique a developed has Kanarek ael that explores connections explores that Aweof World courtesy ofbitformsgallerynyc. Affiliation:Artist,New Image: “Attached” (2004),lambdaprint,editionof6, Y ael Kanarek Both T Wold Y And I w ork, ongues ter, second her commissioned 2002, SFMOMA In Recordings. Innova by 2005 in released Cell by album collaborative a developed Kanarek called Sunset/Sunrise. http://www.worldofawe.net an honorary seniorfellow atEyebeam. of gatherings concerning art, technology and culture, and is Kanarek is the founder of Upgrade! International, a network Argos inFrance. Prix Carroll Lewis CNRS/UNESCO the to addition in prize Web - Netizens the of recipient the and Museum ternative the Jerome Foundation, Foundation for the Arts, and The Al- from grants received has Kanarek Biennial, Whitney 2002 missioned as . In 2003 In Mending. & Destruction an interactive net.dance. Selected for the for Selected net.dance. interactive an Portal, Y ork. com- Turbulence.org chap- Awe of World i b Bt Cell Bit, by Bit 11/5/07

113 12/3/07 Kristin Lucas

If Lost Then Found

Image: “Travel Advisory” (2004), duratrans photograph, lightbox. Affiliation: Artist, San Francisco.

Abstract Lucas’ work has been exhibited in the 1997 Whitney Bien- A paradoxical and insubstantial explanation of the inherent nial, New York, and in group exhibitions at the Museum of problem of simplifying a complex set of relevant concerns Modern Art and Artists Space, New York; San Jose Museum related to the phenomenon of over-identification with an of Art, San Jose; ZKM; Karlsruhe, and at festivals in Amster- inanimate object and its consequent animations and mani- dam, Berlin, Mexico City, Montreal, Toronto, New York and festations. A lecture that unfolds into a coming of age story San Francisco. She has had solo exhibitions at Postmasters about the largely undocumented and unfinished work of Gallery, New York; Or Gallery, Vancouver; JEMA, a location the artist Kristin Lucas, including documentation of an at- variable museum; Windows, Brussels; O.K Center for Con- tempt to embody the digital medium by reversing the popu- temporary Art, Linz; Foundation for Art and Creative Tech- lar notion of infusing humanity into machines, and instead nologies, Liverpool; [Plug in], Basel; and Insitute for Con- applying familiar strategies of electronic media to her own temporary Art, Philadelphia. She is the recipient of several life––told by the most current version of herself. The lec- awards, including the Colbert Foundation Award for Media ture will include the screening and possible live restaging of Arts; Rema Hort Mann Foundation Grant for Video and Per- fragments of video, performance, and difficult to categorize formance; Urban Visionaries Award for Emerging Talent. Her works, such as: Whatever Your Mind Can Conceive (2007) single channel videos are distributed by Electronic Arts In- and Refresh (2007). termix, New York.

Bio (As of 12/3/07) Kristin Lucas lives in Oakland and New York, and recently Weimar, Germany where she was a participant of the 13th International Studio Program of ACC the City of Weimar. Lu- cas is an artist working in the realms of digital art, video, performance, intervention, sculpture, and installation. She investigates visions of future, the effects of an accumulation of rapid spread, flash-in-the-pan technology, and the impact of the digital medium on perceptions of time and space. 114

2/4/08 Greg Lynn

Giant Robot Architecture

Image: Greg Lynn: Giant Robot Architecture. Affiliation: Architect, UCLA and Angewandte, LA/Vienna.

Abstract and MoMA and has been exhibited at the Pompidou, Beyel- Robots. In my office, my staff keeps asking for more new er, Cooper Hewitt, MAK, MoCA, NAI, Carnegie, ICA and machines, and every time I get a new machine, I fire two or Secession museums among others. In addition to his archi- three people. By extrapolation, in the next few years I will tectural work, his Alessi “Supple” Mocha Cups and his Vitra be sitting in an office by myself with a bunch of robots. We “Ravioli” Chair are in production and have been inducted have is a very large CNC (computer numerically controlled) into the Museum of Modern Art’s Permanent Collection. He cutting machine, a laser cutter, a 3d printer, and soon we received the American Academy of Arts & Letters Architec- will have a robotic articulated arm. All of these things let us ture Award in 2003. do studies of models, which are very important to architects, but what they also let us do is learn machine language. We In 2002, he left his position as the Professor of Spatial Con- spend more and more time talking to machines; speaking ception and Exploration at the ETHZ (Swiss Federal Institute their language. It is very easy for us to go to any country of Technology Zurich) and became an Ordentlicher Univer- that has an automobile industry or an aircraft industry and sity Professor at the University of Applied Arts in Vienna. He give their machines instructions and do things with these is studio professor of Architecture at UCLA and the Daven- large machines at an architectural scale that is very perfunc- port Visiting Professor at Yale University. Greg Lynn holds tory and affordable. The spread of machine language and degrees in architecture and philosophy and received an programming is more significant than the Anglicization of Honorary Doctorate degree from the Academy of Fine Arts the world. Learning to talk to robots is very important to my & Design in Bratislava. field of design. In 2001, Time Magazine named him one of 100 of the most Bio (As of 2/4/08) innovative people in the world for the 21st century. In 2005, Greg Lynn is a leading pioneer at the intersection of com- Forbes Magazine named him one of the ten most influential puting, design, and architecture. His architectural designs living architects. have been exhibited in both architecture and art museums including the 2000 Venice Biennale of Architecture where he represented the United States in the American Pavilion. His work is in the permanent collections of CCA, SFMOMA, 116 and visual experiences. The Recombinant Media Labs con- Labs experiences. Media Thevisual Recombinant and audio between bridges build to environments extreme and mobilization audience of range wide a with experimented collective known as “Careen Ajar.” For several decades, he’s “Rhythm & Noise” and is about to debut a new cross-media cinema. Naut performed with the experimental music group nological boundaries of immersive installation and surround tech- and aesthetic expand that performativeprocesses and methodologies radical cultivates Labs Media Recombinant Austria. in Festival Electronica ARS annual the of portions select and AVfor curatorRecords, RML, Asphodel for tions opera- international of director the been has Humon Naut Bio (Asof2/25/08) ley Art Museumin2004. footage of the Survival Research Labs private show at Berke- unseen rare, with conclude will theme. dialogue TheADD real time requisite visual distractions in accordance with the live perform will Hoberman Perry artist guest Special ries. histo- blending edge errant and polyphonies Frankenstein temporality, disembodied meta-language, cinesonics, ing, transcod- synthesis, media artificial spatial panorama, simulations, shuffle-culture, catastrophism, engineering, tial experien- overload, information ADD, include forms. will Topics media of variety a using conversation optical oral and V.an Humon present Naut will Valelegends BayArea Abstract Professor, USCSchool ofCinematic Arts, Interactive MediaDivision; Vale: Publisher, RE/Search Publications. Affiliations: Humon: Musician,RecombinantMediaLabs;Hoberman:Installation Artist, Assoc. Research Perry Hoberman, A ttention DepctDsorders N aut Humon, Gristle. a and Ballard, and Gysin, J.G. Brion ThrobbingBurroughs, on S. Williambook author visionary U.K. on books four Handbook, Culture Industrial Pranks, Destroy, and Search Women, Incredibly Strange Music, Incredibly Strange Films, include books His 1977. since Francisco publisher of counterculture magazines and books San non-grant-funded, independent, an been has V.Vale Foundation Media Art Fellow. Rockefeller a and Fellow Foundation Guggenheim a both was 2002 in and awards, and grants numerous of recipient Center for New Media in Karlsruhe. Hoberman has been the ZKM the at retrospective a including Europe, and USA the throughout shows major with decades, for internationally exhibited has He LA. in Arts Cinematic of School USC the of Division Media Interactive the at Professor Research ate Associ- an currently is he and Anderson Laurie with stints tensively with machines and media. His career has included Perry Hoberman is an installation artist who has worked ex- take ittothestreets. to ready is and frames these beyond out emerged has cept d n a

V . Vale oen rmtvs Angry Primitives, Modern 2/25/08

117 3/2/08 Ray Beldner

Flickr, Flarfing and Babelfish: The Internet and Art Practice

Image: “Michael 03.01.10” (2010). Affiliation: Aritist, San Francisco.

Abstract everyday life: clothing, cash, stolen items, porn. The work “The fact that everything is possible on the Internet reveals takes the form of sculpture, installation, digital media, text- mankind’s true essence, the aspiration towards freedom.” based work, and applied arts. It is frequently derived from Pierre Lévy, “Collective Intelligence: A Civilization” conceptual ideas that deconstruct hierarchical systems: “high art” versus “low art,” “intrinsic value” versus “com- The ubiquity of computers and access to the Internet has put mercial value,” and so on with ironic humor. the greatest libraries, image databases, and interactive tools at the fingertips of most artists working today. As a result, Born in San Francisco, Beldner received a BFA from the traditional artistic practice is exploding as artists explore the San Francisco Art Institute and an MFA from Mills College. potential of these new technologies and incorporate them He has participated in numerous solo and group exhibi- into their working methodologies. tions both nationally and internationally and his work can be found in many public and private collections including In his talk, sculptor Ray Beldner will describe the vital role the Federal Reserve Board, Washington D.C., the Scottsdale the Internet plays in his own creative process. He will pres- Museum of Contemporary Art, Arizona, the Fine Arts Muse- ent examples of work in which he has mined porn websites ums of San Francisco, the Oakland Museum of California, looking for “fine art,” and used online language translation and the San Jose Museum of Art. programs—like a game of telephone—to remake some of JFK’s greatest speeches to hilarious and ironic effect. He has Most recently, Beldner had a solo exhibit at the Catharine even dabbled in the poetry of Google searches to create Clark Gallery, San Francisco and was included in the shows: ”Flarf” verse, which he will read. These everyday uses of The Western Front, Charles James Gallery, Los Angeles and the Internet are only a few examples of how the web has Greetings From the American Dream, Riverside Art Museum, liberated artists’ understanding of “found” materials and is Riverside, CA. Forthcoming exhibits include Inventing Mar- leading to the greatest expansion and democratization of cel Duchamp: The Dynamics of Portraiture¸ National Por- creative practice in our history. trait Gallery, Washington D. C., and Redesign: Transforming the Ordinary, Nevada Museum of Art, Reno, Nevada. Bio (As of 3/2/08) Like many artists, Ray Beldner makes art from the stuff of 118 xrsie en, hog smltd ys ht a return can that eyes simulated through means, expressive new looking—and are we where know to ability ities—the capac- perceptive new with artworks responsive endowing bybygaze: uncannystructured interactions and engrossing with a presentation of Levin’s most recent attempts to create concludes talk practice. The art of mode a as visualization alities beyond language; and more generally, to information re- to viewers connect to abstraction audiovisual for tential experience sustained creative feedback to with reactive systems; people to the po- enable that conditions the to given consideration with response,” of “medium the into search Levin’sGolan re- of surveypersonal a present will Thistalk respond iftheycouldlookback atus? looking at them? And, given this knowledge, how might they active artworks. What if artworks could know how we were inter to granted never display,almost dynamic are of form a as eyes, of affordances expressive its powerful the eyes—yet into look we animal, an understand behavior—to cial fa- mammalian of notions in grounded are interactivity for models richest our of many Likewise, directed. actually is attention visual participants’ their where about information fundamental lacked have date to artworks interactive most constituted. become artworks which by force the is er ample, Reader-response criticism) that the gaze of the view- ex- for (in, idea the to given been has consideration Much Abstract Affiliation: Artist, Associate ProfessorofElectronic Art, CarnegieMellonUniversity. Image: “Opto-IsolatorII”(2010),courtesy Victoria & Albert Museum,London. Golan Levin Looking Looking Y et - at Looking negie MellonUniversity. teractivity. He is Associate Professor of Electronic Art at Car in- and communication abstract of intersection the explore and other, each with interacting of ways our visible make machines, with relationship our highlight that technologies digital to creativetwists applies Levin environments, virtual and artifacts, digital performances, Throughsystems. netic cyber in protocols communications nonverbal of and ity, interactiv- of languages formal into inquiry general more a of part as sound, and image simultaneous of performance and manipulation creation, the for systems of design the on reactiveworkof focuses His modes expression. new of tion explora- the in interested artist/engineer an is Levin Golan Bio (Asof3/10/08) and meetourown. at 3/10/08 - -

119 4/7/08 Kota Ezawa

Text, Slides, and Videotapes

Image: “Hand Vote” (2008), painted wood sculpture. Affiliation: Artist, California College of the Arts, San Francisco.

Abstract Warhol Museum, and Musee d’Art Moderne de la Ville de Since its commercial emergence in the 1930s, animation Paris. His animations were included in the 2005 Shanghai in the United States was treated as a category of cartoons. Biennale and will be presented in the upcoming Sao Paulo Even animation that found its audience outside of the main- Biennial. He received a Tiffany Foundation Award in 2003 stream made use of stereotypical cartoon attributes such and the SECA Art Award in 2006. Ezawa is Assistant Profes- as narrativity and caricature. American artists Robert Breer sor of Media Arts at the California College of the Arts. and Lawrence Jordan were exceptions, producing bodies of work that investigate animation as a visual language outside the cartoon tradition. Today, thanks to consumer video and animation software, a growing number of artists in the US and elsewhere are reimagining animation as an art form on par with other contemporary art practices.

Kota Ezawa has produced his own animations since 2000. Coming out of studies in Fine Art programs in Europe and the US, his animations deal with abstraction and mediated perceptions of reality through reconstructions of existing films and videos. In this lecture, Ezawa will present his work in the context of 20th Century avant-garde animation.

Bio (As of 4/7/08) Ezawa’s work has been shown in solo exhibitions at the Hayward Gallery in London, Artpace in San Antonio, The Wadsworth Atheneum Museum of Art, Murray Guy Gallery in New York, and Haines Gallery in San Francisco. He par- ticipated in exhibitions at Museum of Modern Art in New York, Whitney Museum of American Art, SFMOMA, Andy 120 the Contemporary Museum, and other plans are forming to forming are plans other and Museum, Contemporary the at Baltimore in installation an mounted we in 2010 and January break quick a take to decided we happened it As the audience… What next? projects, in keeping to our collaborative recent process, we our will ask of some and history our of presentation a After Maybe weneedanewdirective. Maybe we’re done. we need a new 5 year plan. Perhaps we need a 1 year plan. cess of the Whitney Biennial we are at a crossroads. Perhaps suc- the After concern. ecological an with bending circuit and building, transmitter television on workshops included members and their airwaves. Some recent experiments have board their to Radio Public National of critique original the bring to managed recently most and BayArea, the in dium perimented very publicly with transmission as an artistic me- the world, taught people to build their own transmitters, ex- we have developed programming with communities around 2004 of January in broadcast first that Since States. United a critique of the limited public radio options available in the plan. In that time we were dedicated to access in excess and year 5 first it’s completed has Radio Public Neighborhood Dark Transmission Arts 1/4 watt of pure power: Neighborhood Public Radio and the Abstract Conversing, onsiderdensonjur: Neighborhood Public Radio Affiliation: NeighborhoodPublicRadio,SanFrancisco. 7 Years ofCollaboration Image: “EarlyNew cago’s Chi- at Francisco, San in galleries and many in including far wide broadcasts thematic hosted have personnel NPR world. have2004, they developed programming of with communities around the in January broadcast first the Since casters. broad- guerrilla Michael of travelingband a Trigilio, as acts media artists and educators Lee Montgomery, Jon Brumit and Neighborhood Public Radio (NPR), founded 2004 by multi- Bio (Asof4/27/08) sands oftheelectromagneticspectrum. ever-shiftingthe transmissionin of space public the explore by Station” Radio Local Super “Best named been has Radio lic Francisco’sGallery.Pub- Exposure Neighborhood Southern titled projects of series a in collaborated NPR Grant, CreativeFund Work organization media with NPR worked Artslink, CEC from grant a by funded where, Serbia in was these of One Europe. in projects as well as (2006), Chicago Reader. magazine, Planet and has been featured in featured been has and Magazine Francisco San Y ork.” Version 5 Festival (2005) and San Jose’s n atesi wt San with partnership in Cartography Radio , and the and Daily, Women’sWearArtforum, Eald y a by Enabled kuda.org. 4/27/08 Zero1 Festival Punk

121 9/18/08 Steve Kurtz

Art and Discipline

Image: “Molecular Invasion” (2002). Affiliation: Artist, Critical Art Ensemble, Buffalo, NY.

Abstract Bio (As of 9/18/08) In May 2004, artist Steve Kurtz was detained by the FBI Steven Kurtz is a Professor of Visual Studies at SUNY Buf- and subject to a four year federal investigation for alleged falo and a founding member of Critical Art Ensemble (CAE). links to bioterrorism, an ordeal widely covered in the press CAE is a collective of tactical media practitioners of various and the subject of a documentary film by Lynn Hershman specializations, including computer graphics and web de- Leeson. This will be his first west coast public lecture since sign, wetware, film/video, text art, book art, and interven- his acquittal in May. tionist performance. Formed in 1987, CAE’s focus has been on the exploration of the intersections between art, critical “My lecture will be built upon the following premises: First, theory, technology, and political activism. The collective has any action within the cultural landscape performed from a performed and produced a wide variety of projects for at minoritarian political position will be perceived by authority diverse venues ranging from the street to the museum to the as a ‘contestational’ act. Second, once challenged, any or all Internet. Critical Art Ensemble has also written six books on of a variety of disciplinary agents will be sent to re-stabilize various aspects of cultural resistance. Its writings have been the discourses of the status-quo through the managing or translated into 18 languages. silencing of resistant cultural production.

Over the past two decades, Critical Art Ensemble has en- countered many of these agents. Police, FBI, Department of Justice prosecutors, corporate lawyers, politicians, and church officials have attacked, threatened, or denounced CAE for acting against the authoritarian tendencies of West- ern societies. This lecture chronicles the reasons why our work has elicited such responses, and how and why the vio- lence against cultural resistance has escalated and intensi- fied over the past five years.”

—Steve Kurtz, Critical Art Ensemble 122 was invited to speak about his work at the Tate Modern, Ein- recently Elahi Biennale. Venicethe at and Hermitage, The Kulturbahnhof, Kassel Festival, Film Sundance Pompidou, numerous exhibitions at venues such as the Centre Georges sys- tems, borders, and transport frontiers. His work has been presented time, in simulated surveillance, of issues ines exam- workwhose artist interdisciplinary an is Elahi Hasan Bio (Asof10/13/08) the event offutureaccusations. in Elahi for “alibi” ongoing an providestive techniquesand contemporaryinvestigaof critique - a is surveillanceproject his data. personal other Thisand activities,self- location, exact presents publicly and constantly that system tracking TransienceTracking ( conceived Elahi experience, harrowing this After picions. sus - of cleared was he tests, lie-detector nine and rogations inter of months undergoing After FBI. the by investigation 9-11 post intensive an to subjected was Elahi 2002, in ties authori- enforcementlaw into called tip erroneous an After ogy, andCultureColloquium. Orwell Project,” part of UC Berkeley’s ongoing Art, “TrackingTranscience:TheTechnol lecture, - public a in project art subsequent his and interrogation FBI with experiences his describe will Elahi Hasan artist 13, October Monday, On Abstract , self- a http://trackingtransience.net), Tracking Transience: Hasan Elahi The Or Affiliation: Artist,SJSU,SanJose. Image: “Altitude: V2.” well Project - versity. Country/Spain. Uni- State Basque José Currently,San at an Professor is Assistant he the in Sebastián Donostia-San in the BerrikuntzaraAsociación and Artetik Morris, tion/Philip FoundaFord- Foundation, Capital Creative the from grants significant with supported been has work His Intelligence. Artificial of Association American the at and Forum, stein 10/13/08

123 10/25/08 Laurie Anderson

IN ConversatioN with Ken Goldberg

Image: Laurie Anderson at the Lincoln Center for the Performing Arts. Affiliation: Artist, New York.

Abstract Recognized worldwide as a groundbreaking leader in the Ken Goldberg hosts a conversation and audience Q&A with use of technology in the arts, Anderson collaborated with acclaimed multi-media artist Laurie Anderson on topics Interval Research Corporation, a research and development ranging from privacy and politics to art and technology. This laboratory founded by Paul Allen and David Liddle, in the event is planned in conjunction with Anderson’s newest per- exploration of new creative tools, including the Talking formance, “Homeland,” which includes songs and stories Stick—a six-foot-long batonlike MIDI controller that can ac- that create a poetic and political portrait of contemporary cess and replicate different sounds. She also created a tape- American culture. Conceived as one long piece of music, bow violin that uses recorded magnetic tape on the bow Homeland moves through many worlds, from Greek tragedy instead of horsehair and a magnetic tape head in the bridge. to American business models, addressing the current obses- In 2002, Anderson was appointed the first artist-in-residence sion with fear, violence, and security. of NASA.

Bio On April 12, 2008, Anderson married longtime companion “The reigning performance artist of her time” (Boston Globe), Lou Reed. Laurie Anderson is known internationally for her multime- dia presentations in which she performs in roles as varied as visual artist, composer, poet, photographer, filmmaker, electronics whiz, vocalist, and instrumentalist.

Initially trained as a sculptor, Anderson did her first perfor- mance-art piece in the late 1960s. Throughout the 1970s, Anderson did a variety of different performance-art activi- ties. She became widely known outside the art world in 1981 when her single “O Superman” reached number two on the UK pop charts. She also starred in and directed the 1986 concert film Home of the Brave. 124 explores the temporal, verbal, and visual structures of cul- of structures visual and verbal, temporal, the explores who performer and artist, composer, a is DuBois Luke R. Bio (Asof11/3/08) day... inotherwords, thethingsartistshave always done. transcoding, and interpreting what goes on around us every- mapping, filtering, about all is improvisation, and intimacy romance, mediatized and fabrics urban architecture, and music sound, and sight art, and data linking metaphors the finding messages; charged subjectively of interaction the upon gaze to is life modern at look Toinformation. by ed on our cultural capital in a world in which we are bombard- comments that art making of practice the at looks talk This the toolsnecessarytograsp thedatathatsurroundsus. matics behind our cultural discourse, and take command of infor the with preoccupied themselves find artists age tion informa - an in it’sthat then surprise hearing, no and seeing waysnew of of evolution an as historically practice sitional compo- and artistic define we If generis. the sui be to finds freedom artist the and are, truly they prisons conceptual the as themselves reveal etc, performance, interactive tion, composi- algorithmic art, computer media, then new day,of every genres enough yourself to this repeat you If art. the maximum level of technology available to them to make utilize to strive will who culture every in people are There Abstract R. LukeDubois Affiliation: Composer/Artist,New and InfluencePeople Ho Image: “Hindsight.” w to Type F - City. New in gallery bitforms by represented is artwork His Music. Cantaloupe and C74, Sky, Liquid Caipirinha/Sire, on available are records His Institute. Polytechnic NYU’s at Center Media Experimental Brooklyn the at teaches He New in years fifteen last City.the York for lived has DuBois Ostrowski. Matthew and LaytonZach with trio a FairUse, in and gan, Flani- Lesley vocalist with duo a Bioluminescence, of part group The Freight Elevator Quartet. He currently performs as electronic avant-garde the of part as and individually both tion of matrix data. He appears on nearly twenty-five albums of author An active visual and musical collaborator, DuBois is the co- Orchestra forits2007season. Laptop Princeton the of director the was Harvestworks, and LEMUR, Engine27, and Can, a on Bang Gordon, Mi- chael Sharp, Elliott Grey, Joaquin Michael Reynolds, Todd Ritchie, Matthew Dove, Toni including organizations and artists many with work production music and installation, interactiveperformance, on collaborated has He formance. per video and sound interactive on worldwide taught and lectured has and University, Columbia from composition tural and personal ephemera. He holds a doctorate in music ast , a software suite for the real-time manipula - real-time the for suite software a Jitter, Y ork. 11/3/08 Y ork -

125 11/24/08 Anne Pasternak

Public Art and Media: From Spectacle to Political

Image: Anne Pasternak. Affiliation: Artistic Director, Creative Time, New York.

Abstract the public realm. Creative Time has been commissioning For the past 14 years, Anne Pasternak has been President and presenting innovative art in New York City since 1972, and artistic Director of Creative Time, the New York City arts introducing millions of people every year to contempo- organization that creates unconventional opportunities for rary art while making sure it plays an active role in public artists to activate and engage urban spaces. Recent new me- life. Under Pasternak’s direction, renowned projects range dia projects include screenings of Mark Tribe’s Port Huron from exhibitions and performances in the historic Brooklyn Project in Times Square, David Byrne’s Playing the Building, Bridge Anchorage, sculptural installations in Grand Central and Jenny Holzer’s For the City light projections at Rock- Station’s Vanderbilt Hall, sign paintings in Coney Island and efeller Center. skywriting over Manhattan to the Tribute in Light, the twin beacons of light that illuminated the former World Trade Other Creative Time projects have included exhibitions and Center site six months after 9/11. Pasternak has been com- performances in the historic Brooklyn Bridge Anchorage, mitted to initiating projects that give artists opportunities to sculptural installations at Grand Central Station, sign paint- innovate their practice, preserve public space as a place of ings on Coney Island, skywriting over Manhattan, as well as creative expression, and respond to timely issues. the twin beacons of light that illuminated the former World Trade Center site six months after 9/11. Over the past de- In addition to her work at Creative Time, Pasternak curates cade, Pasternak has also worked closely with artists Chris- independent exhibitions, consults on urban planning initia- to and Jean-Claude, Doug Aitken, Laurie Anderson, Gary tives, and contributes essays to cultural publications. She Hume, Vik Muniz, Takashi Murakami, Shirin Neshat, Steve lectures extensively throughout the United States and Eu- Powers, and Cai Guo Qiang. Pasternak will describe current rope, and she served as a guest critic at Yale University and trends in public art practice and Creative Time’s curatorial continues to teach at the School of Visual Arts. strategies. She currently lives in New York City with her husband, artist Bio (As of 11/24/08) Mike Starn, and daughter, Paris Starn. Anne Pasternak, the President and Artistic Director of Cre- ative Time, joined the organization in the fall of 1994, with the goal of presenting some of the most adventurous art in 126

2/8/09 Joseph Delappe

You’ll Never Walk Alone: Protest, Memory, and Reenactment

Image: DeLappe with Gandhi installation. Affiliation: Artist, Reno, NV.

Abstract and activism as realized in both virtual and real territories In 2001 media artist Joseph DeLappe began a series of pro- through the discussion of dead-in-iraq and other recent tests, interventions, and reenactments—hacktivist perfor- works that creatively engage our contemporary geopolitical mances within computer games and online communities. and technological context through interventionist strategies, Included in these is the controversial project dead-in-iraq including projects such as iraqimemorial.org, The Salt Satya- which he created to intervene in the highly popular, tax- graha Online: Gandhi’s March to Dandi in Second Life and payer funded First Person Shooter game produced by the Americasdiplomat.org which was developed as part of the Defense Department as a recruiting and marketing tool. faux end-of-the-war edition of the New York Times. DeLappe enters the America’s Army game with the moni- ker “dead-in-iraq,” drops his weapon, and in the ensuing Bio (As of 2/8/09) virtual mayhem, is killed; hovering over his dead avatar he Joseph DeLappe is an Associate Professor of the Department proceeds to type the name, age, service branch and date of of Art at the University of Nevada where he runs the Digital death of each American military casualty from the war in Media Program. Working with electronic and new media Iraq. In this ongoing act of “memorial and protest” he has, since 1983, his work in online gaming performance, elec- to date, logged in over 4,000 names of the 4,221 reported tromechanical installation and real-time web-based video killed. The project has garnered both intense support and transmission have been shown throughout the United States criticism from dedicated gamers, veterans, soldiers’ rela- and abroad. tives, and others, while also receiving a level of media scru- tiny that has propelled the ideas behind the project into the His works have been included in Art in America, Wired.com, popular imagination. Salon.com, The New York Times, and featured on CNN do- mestic and international, NPR (National Public Radio), CBC Does this type of artistic intervention affect change? How (Canadian Broadcast Company), and The Sydney Morning does one creatively navigate the inherent conflicts between Herald. He is a native of San Francisco born in 1963. art and activism? How do creative individuals who seek to dissent, demonstrate or otherwise participate in opposition- al actions choose to function in our present media saturated environment? DeLappe will present his ideas regarding art 128 uin cret ietos n rlvne f 1t . female C. 21st of relevance and directions current lution, evo- the topics, other among on, discussion lively a voke pro- will it hope I history. and process scientific on cuses fo- workwhoseGail Diane Wight,others Raaf, Willow and Sabrina Piccinnini, PatriciaMayeri, Rachel Katchadourian, Nina High, Kathy as such artists of practices the vestigate in- will talk this thesis, essentialist an advancing not While perimental mediaintheseinvestigations. ex- of uses their and sciences, biological the to approaches their by intrigued particularly I’m science. and technology in assumptions established and politics gender structures, patriarchal of critiques powerful yet subtle often into cerns con- feminist traditional of morphing their and aesthetics,” “relational of interpretations their humor, and interactivity and issues is fascinating to me. I’m intrigued by their uses of themes scientific explore to technology electronic and tal The ways in which contemporary female artists employ digi- approaches tothestudy ofliving organismsandsystems. in differences sexual are there whether and processes, tific scien- other and biological of descriptions dominated has language male-gendered how include Discussions tigation. the 1960’s, while offering new possibilities for artistic inves- discourse around scientific history, the practice expanded and theory since have culture scientific of critiques Feminist Abstract Women Artists, Scence Image: “The MeaningofMinuscule”takenby Gail Wight. Affiliation: IndependentCurator / Writer, Berkeley. Marcia T Where the Girls Are: the Judah MagnesMuseum,Berkeley, California. of Committee Collections the chairs and Sciences, and Arts the for Society LEONARDO/International of Board the of member a is She publications. stretcher.orother icle, and g, the News, Rhizome Magazine, LIMN Leonardo, Art, Flash Cabinet, Artweek, Ltd., Art ArtNews, in appeared have art essays,Tanner’s on writings cisco. catalog and articles reviews, Thenumerous of author Fran - San Arts, Langton New LifeLike, and Speed of stasies Catharine Clark Gallery, San Francisco; and ICA;Jose San Art Museum (1996); Museum Art UCLA Wight Art Gallery (1994); stein include exhibitions previous Her 2008. in Museum Art College Mills Interrupt WeYourat Program stitute of Contemporary Art, Tanner most recently organized In- Jose San the of director Former California. Berkeley, in based writer and curator independent an TannerMarciais Bio sciences especially—andnewmedia. perspectives and feminist art practice in science—biological anner and Technology at the San Jose Museum of Art (2005); of Art Museum Jose San the at Lineaments of Gratified Desire, Gratified of Lineaments and AuralSex and Play Shadow We Look and See, Berkeley San FranciscoChron- San Location, Location, Location, Brides of Franken- of Brides Dromology: Ec- Bad Girls West,Bad 3/30/09 Art+Text,

129 4/12/09 Jennifer a n d Kevin McCoy

I’ll Replace You: Outsourcing Everyday Life

Image: “Kiss.” Affiliation: Artists, New York.

Abstract include Museum of Modern Art in New York, BFI (British We’ve been thinking a lot about social roles, stereotypes, Film Institute) Southbank in London, Hanover Kunstverein, typecasting, categorization, and genres. We wonder how The Beall Center in Irvine, CA, pkm Gallery in Beijing, The meaning is put together at all and how memories are formed San Jose Museum of Art, Palazzo della Papesse, The Addison in the first place. We collaborate, but mostly to figure out Museum of American Art, The Nevada Museum of Art, and what it means to speak together, two as one. We think that Artists Space in New York. Their work can be seen in the we’re always operating within at-hand, prescribed catego- collections of the Museum of Modern Art, The Metropolitan ries, but that these categories are fundamentally unable to Museum of Art, the Milwaukee Art Museum, and the Speed accommodate the experiences they are meant to frame. As Museum. They were the 2005 recipients of the Wired Rave our own lives become more and more fragmented, each Award for Art. role is fulfilled by an increasingly abstract approximation. Soon there may be nothing there at all. We’ve gotten to this point after trying many different strategies: exhaustive cate- gorization, recreation and reenactment, automation, minia- turization, and most recently full outsourcing and personal replacement. What follows is a report on our progress.

Bio (As of 4/12/09) Jennifer and Kevin McCoy’s multimedia artworks examine the genres and conventions of filmmaking, memory and language. They are well known for constructing subjec- tive databases of existing material and making fragmentary miniature film sets with lights, video cameras, and moving sculptural elements to create live cinematic events. Recently they have begun to include autobiographical references in their projects. The McCoys’ work have been widely exhib- ited in the US and internationally—their most recent shows 130 Most famousfor gettingsuedfortheir“U2” single,Negativ- Bio 1980. since doing been has Negativland that jamming” “culture and pranks hoaxes, projects, creative many the illustrate to stories and films uses that presentation this in yourself for unwashedmany? Decide corporate few? the for nuisance A the for inspiration jammers? An Culture Filmmakers? cians? Musi- Activists? hoaxers? Media “band”? a Negativland Is your timeandattention. to find this funny and thought provoking presentation worth you’reissues these sure of any in interested are you if land, way back in 1984).... even if you’ve never heard of Negativ - Negativlandby coined term (a jamming” “culture so-called culture, and media mass of critiques funny and artistic age, digital a in law issues, and ownership and art property of notions evolving intellectual sharing, file world, national saturatedmulti- creativemedia collage, a activismvisual in and audio of art literacy,the media hoaxes, media Pranks, in themakingofthisevent. harmed follow.were lawyersto No A and Q with ativland, film presentation by Mark Hosler, founding member of and Neg- storytelling 90-minute a is Art” Illegal In “Adventures Abstract CREATIVE MEDIARESISTANCE AND NEGAT IVLAND ADVENTURES INLLEGAL ART: Mark Hosler Affiliation: Negativland. Image: MarkHosler. about art,creativity, andcopyright law. lobbyist citizen a as DC Washington visit occasionally to based intellectual property advocacy group. Mark continues progressivea of Washingtonadvisoryboard DC- the joined invited to were they 2008 in and websites, and filmmakers, is now in widespread use by many artists, writers, musicians, that copyrights existing Commons to alternative an License, CreativeSampling the write to Commons Creative with film feature fringement and became the subject of Craig Baldwin’s 1995 in- copyright for twice sued been have Negativland ology that they never intended things to. In doing this suggest kind of cultural archae - and say them make to pieces and bits found these re-arranges Negativland them, around world the and culture mass owned corporately from taken things with music original and materials original Mixing text. and image sound, appropriated using performance live and dio ra- books, art, fine video, CDs, records, creating havebeen the corporate media and entertainment biz. Since 1980 they land have had many years of fun being a thorn in the side of I 20 Ngtvad worked Negativland 2004 In Outlaws. Sonic

9/14/09

131 10/5/09 Camille Utterback

Luscious Complexity: Transcending the Doohickey

Image: “Abundance” as taken by Lane Hartwell. Affiliation: Artists, San Francisco.

Abstract Award (2005), a Rockefeller Foundation New Media Fel- How can an interactive artwork incorporate complexity lowship (2002), and a US Patent (2004). Her work is in the without incurring frustration in participants? How can it collections of the Whitney Museum, Hewlett Packard, and be both clear enough to engage participants, and complex La Caixa Foundation, among others. enough to reward continued interaction? Where is the sweet spot where complexity doesn’t confuse but enthralls? Final- Utterback holds a BA in Art from Williams College, and a ly, why create interactive art anyway? Is the whole field of Masters degree from The Interactive Telecommunications interactive art just an exploration of the doohickey? Or, is Program at New York University’s Tisch School of the Arts. there something richly satisfying and culturally relevant to She lives and works in San Francisco. be found here?

Artist Camille Utterback will explore these questions as she discusses the evolution of her own interactive art practice.

Bio (As of 10/5/09) Camille Utterback is a pioneering digital artist whose in- teractive installations and reactive sculptures engage par- ticipants in a dynamic process of kinesthetic discovery and play. Utterback’s work explores the aesthetic and experien- tial possibilities of linking computational systems to human movement and gesture in layered and often humorous ways. Her work focuses attention on the continued relevance and richness of the body in our increasingly mediated world.

Her exhibit history cites more than fifty shows on four con- tinents. Awards include an IBM Innovation Merit Award (2007), a Transmediale International Media Art Festival 132 Studio Programme and ran the Palaisthe ran and Programmede Studio Tokyo’sPavillonLe She has participated in the Whitney Museum’s Independent (NYC). University Columbia and Chicago of University the (Johannesburg), Witwatersrand the of University the degrees from holds She Berlin. in based currently is and 1972 in Africa South Johannesburg, in born was Breitz Candice Bio (Asof10/19/09) about particularworks thattheywould liketodiscuss. format will allow participants to steer Breitz towards talking stallations that she has made over the last decade. The open in- the of most from hand on footage video have will artist of her work at the San Francisco Museum of Modern Art. The tions that are currently on view in a monographic exhibition John Lennon) and including works, recent about and speak questions such field will Breitz Candice bythe technological display formats? mediated settings in studio herself films she those or footage found as kidnaps she that subjects the with ship gies legitimate or objectionable? How is the artist’s relation- strate - copyleft Are entertainment? mainstream of structure the commodity undermine or affirm life screen of rations explo- Do content? cultural popular to up themselves open that art of works of suspicious be audience art an Should Abstract Mother, Working Class Hero (A Portrait of Portrait (A Hero Class Working two multi-channel video installa- Affiliation: Artist,University ofFine Arts inBraunschweig. C andice Breitz Image: “Factum Tremblay” (2009). and B From A ack A Kingdom. United the the Tateat in Liverpooland Sweden in Biennial experienced on group exhibitions including the be Gothenburg currently can work her Additionally, 2009. November New in Biennale Performa the in participate Breitz will Art. Modern of Museum Francisco San the at be seen currently can Mother) and Lennon John of Portrait (A installations multi-channelshowcasing work her of exhibition Wagner.An Anne by scholar Berkeley essay an contains exhibition the to parallel published catalogue The2009. late until Torontoin Plant Power The at running currently is work her of survey museum-scale A Foundation in Vienna. Cube in London, Humlebæk, White in Modern Art of Museum Louisiana the Avignon,in Lambert Collection Turin,in the Rivoli di tello Cas- Stockholm,the in Museet Moderna in the Amsterdam, rary Art in Newcastle, the Palais de Tokyo in Paris, De Appel ed by the Kunsthalle Berlin, the Baltic Centre for Contempo- In recent years solo exhibitions of her work have been host- Fine Arts inBraunschweig since2007. Fineof Professor tenured a been Universityhas the at Art of residency as a visiting artist during the year 2005-2006. She to B gain Yvon Lambert in New Y Working Class Hero WorkingClass ork, and the Bawag 10/19/09 Y r in ork

133 11/2/09 Ben Rubin

What’s that Ticking Sound

Image: “San Jose Semaphore” (2006), courtesy of Ben Rubin. Affiliation: Artist, EAR Studio, New York.

Abstract 2006. Rubin’s work has been shown at the Whitney Mu- Long established forms of writing (and reading) are being seum of American Art, the Reina Sofia Museum in Madrid, radically transformed. The economics of transmission and the Fondation Cartier in Paris, Aarhus Art Museum in Den- distribution that have constrained and shaped journalism, mark, the MIT List Visual Arts Center, the Skirball Center in fiction, and letters home from camp are being rescaled and Los Angeles (in a show organized by the Getty Museum), inverted, recasting the role of text in our lives. Ben Rubin’s the Brooklyn Academy of Music, and the San Jose Museum work inserts itself between authors and readers, obsessively of Art. pulverizing and re-synthesizing all manner of texts (inter- net chat, The New York Times, novels, application source He has collaborated with artists and performers including code, cosmic background noise, Shakespeare) to form new Laurie Anderson, Diller+Scofidio, Ann Hamilton, Arto Lind- messages. Rubin will present current and recent projects, say, Steve Reich, and Beryl Korot. Rubin’s installation Listen- including Shakespeare Machine, Moveable Type, Listening ing Post (2002, with statistician Mark Hansen) won the 2004 Post, Dark Source, Terre Natale, and San Jose Semephore. Golden Nica Prize from Ars Electronica as well as a Webby He will also present his latest project, a theatrical perfor- award in 2003. mance in collaboration with statistician Mark Hansen and Elevator Repair Service, a New York theater company. Mr. Rubin received a B.A. from Brown University in 1987 and an M.S. in visual studies from the MIT Media Lab in Bio 1989. Mr. Rubin has taught at the NYU School of Film & Ben Rubin is a media artist based in New York City. He is Television, the Bard MFA program, the Yale School of Art, the co-creator of Moveable Type (2007), a large-scale public and currently teaches at NYU’s Interactive Telecommunica- artwork in the lobby of the New York Times headquarters tions Program. building. He is currently developing a site-specific sculpture called Shakespeare Machine for the Public Theater in New York and a luminous rooftop beacon for a new museum in Philadelphia. Other recent public artworks include San Jose Semaphore for the city of San Jose, California, and Four Sto- ries for the Minneapolis Public Library, both completed in 134 missioning more than 650 new worksnew 650 than more missioning arrangementsand for com- and recordings, 45 than more releasing worldwide, concerts of thousands performing time, our of ensembles influential and celebrated most the of one become has nos Kro- process, the In quartet. string the of context and range the expanding to commitment a with exploration fearless of spirit a combining vision, artistic singular a pursued has years 35 than more for which Quartet, Francisco’sKronos David Harrington is the Artistic Director and founder of San Bio (Asof12/7/09) band from Timbuktu. a Tuaregto Antarctica in seals Weddellof sounds the from ranged have Harrington’sselections presentations previous tensive recording collection ex- amassed over three decades. In his from drawn recordings of selection diverse a play string quartet can sound. For the ATC series, Harrington will recording projects that challenge established ideas of how a of what astringquartetperformance canbe,andassembles do, develops concert experiences that expand the definition to able is quartet string a what re-envision who composers from works commissions Kronos music. classical Western of repertoire quartet string the into influences sonic and cal musi- of array wide a imported has He music. temporary con- on impact major a had has DavidHarrington Quartet, Kronos the with work of decades three than more Through Abstract An Exploration ofEclectc Affiliation: ArtisticDirector, KronosQuartet,SanFrancisco. Da Image: “Kronos”takenby Michael Wilson. vid Harrington Sonic Immers: and UnusualSouns http://www.kronosquartet.org/ cians ofthe my for Best Chamber Music Performance (2004) and “Musi- Kronos’ work has garnered many awards, including a Gram- band Taraf de Haïdouks; and Inuit throat singer Tanya gypsy Romanian Tagaq. the Tacuba; Café rockers Mexican shaw; Up- Dawn soprano American renowned the Bhosle; Asha tuoso BollywoodWulegendary “playbackthe Man; vir singer” pipa Chinese included have collaborators Additional Poland’sand Argentina’sGórecki, Henryk Golijov.Osvaldo Ali-Zadeh; Franghiz Azerbaijan’s Reich; Steve and Glass, foremost composers, including Americans Terry Riley, world’sPhilip the of many with collaborations in-depth running, long- of series a is work Kronos’ to Integral quartet. string Y ear” (2003)fromMusical America. and Musics 12/7/09 -

135 1/21/10 Joe McKay

Something Besides Super Monkey Ball

Image: “Avoid.” Affiliation: Artist, SUNY Purchase.

Abstract Joe works in several different mediums: photo, video, pro- This talk will feature artworks that question our culture’s graming, performance, websites, games, sculpture and he love affair with technology. Central to this will be a presen- enjoys the flexibility this grants him. Joe is disproportion- tation of BigTime, a new time keeping system that uses an ately proud of how incredibly Googleable he is. iPhone app and a website to reconnect us with the planet and the true nature of time. Far from a productivity tool, liv- ing by BigTime can be an annoying pain in the butt, yet, (like a booster shot) it’s an important one. BigTime is currently hosted by the Berkeley Art Museum (http://netart.bampfa. berkeley.edu).

This talk will also feature talking robots, video games, mis- behaving progress bars, Streetview mashups, and Gmail hacks.

Bio (As of 1/21/10) Joe McKay is Assistant Professor of New Media at Purchase College. He has an undergraduate degree from the Nova Scotia College of Art and Design, and a MFA from UC Berkeley.

In 2000 McKay participated in the Whitney Independent study program. He has exhibited his work at VertexList, the New Museum, Berkeley Art Museum, ICA (San Jose), The Neuberger Museum, Postmasters Gallery, La Casa Encendi- da, and the National Gallery of Canada. In the fall of 2010 Joe will have a solo show at Pari Nadimi Gallery in Toronto. 136 Queer Nations? What Is A Line? and the feature documentary, Sexuality,of Demonstration Cosmic A Charmed, & Strange including films, award-winning independent own her ating New in WNET and WNYC for and Boston in affiliate CBS the for television produced has who maker film - a is Frilot Shari Program, Study Independent Museum An alumna of Harvard/Radcliffe University, and the Whitney Bio (Asof2/18/10) ever expansive digitalmediaculture. cin- an with engage chooseto they will how and image, ematic the to relationship their about thinking of ways new consider might they that so audiences festival of inations the art of seduction is used to pave new roads into the imag- how and presentation cinematic in Sundance’sexperiment of strategies curatorial about talk will Frilot, Frontier,Shari dance Film Festival Senior programmer, and curator of New Sun- expression. creative independent and art for claim a staking in interest an with environment cinematic evolving our with engages Sundance at Frontier New culture. and art over security and commerce serves primarily vironment en- media this because “installation” an it call really can’t you installation—except media immersive fully walking a like through is experience day every our bodies, our ing watchand - following constantly cameras and screens With Abstract Curatorial Strategies Image: “Atmosphere ofNewFrontier” takenby WireImage House. Affiliation: Filmmaker, SundanceInstitute,SaltLakeCity. Y The Po ork before cre- before ork Black Nations/ Shari Frlot wer of at Sund the Erotic: intersections ofart,film,and newmediatechnology. the at created being work cinematic on focuses that tiative Frontier,New behind ini- commissioning and exhibition an force creative driving and curator the is She Festival. Film Sundance the for Programmer Senior a as year 11th her in festival.the to performance and installation presently is She performance cinematic introduced which section Platinum the founded she (1998-2001), OUTFEST for Programming of Co-Director As festivals. film MÉXICO MIX and BRASIL MIX festivals, film American Latin gay first the co-founded New in festival MIX the of Director Festivalthe As environments. cinematic immersive of ment on the curatorial vanguard through her pioneering develop- in festival programming, occupying a distinguished position acareer maintains also Shari filmmaking, with tandem In company, DulyNotedInc. Brown’s production Effie producer with supply water in sis cri- the about project film feature a on working presently is Foundation and the Rockefeller Ford Media Arts Foundation. She the including grants, multiple of recipient the is She ance’s NewFrontier Y ork (1992-1996) she (1992-1996) ork 2/18/10

137 3/15/10 Leo Villareal

Complex Simplicity: Investigating the Medium of Light

Image: “Multiverse” by Leo Villareal, National Gallery of Art. Affiliation: Aritist, New York.

Abstract Contemporary Art, Los Angeles. Villareal’s work is part of Leo Villareal will discuss the unique journey that has tak- the permanent collection of major museums, including the en him from a childhood in West Texas, to frankenstinean Museum of Modern Art, New York and the Albright Knox experiments in the industrial wastelands of late 80’s New Art Gallery in Buffalo. The San Jose Museum is currently Haven, to work in virtual reality at NYU’s Interactive Tele- organizing a traveling survey exhibition and catalog to be communications Program. A summer internship at Interval presented in 2010. Research in Palo Alto in 1994 brought Villareal to the west coast and introduced him to pioneers in the fields of tech- Villareal has exhibited his work in Europe and Asia, includ- nology and art. Experiences in the Black Rock Desert shifted ing London, Madrid, Istanbul, Seoul, Kagawa and Taipei. his practice completely, revealing to the artist the power The artist has created many large scale, site-specific instal- and potency of small amounts of information and introduc- lations with renowned architects such as Skidmore, Owings ing him to his primary medium, sequenced light. Villareal & Merrill and in architecturally significant buildings like I. continues to bring the inanimate to life and find beauty in M. Pei’s East Building of the National Gallery of Art, Wash- simple things. ington DC. He has been commissioned by both Federal and State agencies to create public works in locations such as a In this talk, Villareal questions the constant race for more courthouse in El Paso, Texas and a New York City subway megapixels and higher resolution we find ourselves in, ask- station. Corporations including The Related Companies, ing: Is more better? What strategies can be used to repurpose Time Warner, Somerset Partners and Kirkpatrick, Lockhart & media technologies? What happens when you add compu- Gates have acquired Villareal’s work. tation to minimalism and abstraction?

Bio (As of 3/15/10) Leo Villareal’s light sculpture and installations have been presented at museums and institutions in the United States and abroad. His work was included in Visual Music, an important historical survey exhibition organized by the Hirshorn Museum in Washington DC and the Museum of 138 and art history. From 2004-2007, they produced works from ect proj- their 2005, to From2001 installations. sound and cds audio paper,games, on video works video, sculpture, duce name the under Archive.worktogether often ists, Theypro- Chris Kubick and Anne Walsh, both Oakland, CA-based art- Bio ( History Lessons]. called be could which but untitled yet as is which project new [the and Library, Sound TheDeath, After Art years: 7 past the over created projects three from examples present we’ll lecture, our In work. our of subject and substance the are collide. collisions Theseunderstanding and knowing of systems different when arise which questions the ticularly par translation, in interested are Wekinds. all of museums and libraries craftspeople, eccentric believers, true nesses, wit- unreliable voice, human recorded the word, spoken the of love shared a from begins practice art Our sculptors. andballoon designers effects sound film librarians, cians, magi- psychics, cameras, are So involved. sometimes are Computers sound. and pictures, employlanguage, nologies tech - these always, not but Often, work. art our in employ we ways and means the of some are these Conjuring: and Conversing, Confounding, Contemplating, Contaminating, Conflating, Considering, Condensing, Concatenating, Abstract Art After Death centered on the overlaps of metaphysics As of4/5/10) Conversing, onsiderdensonjur: Anne Walsh Image: “Study forthe Triumph of Life”(2010). 7 Years ofCollaboration Affiliation: Artists, SanFrancisco. d n a - Services. Removal Language of director and founder the also is He Berkeley. UC at art sound and media new in lecturer and designer sound a Berkeley.Kubickis UC Chris at Art of sor Profes - is Associate and SFMOMA, for blogger a Quarterly, in peared ap- have publication for Works Corporation. Australian Broadcasting Radio, Public Munich (UK), Radio Resonance programs, (US) Radio Public National in- multiple on been cluded has work sound Archive’s venues. others many amongst program, exhibition travelling (London) Gallery’s Hayward the of part as and exhibition), Biennial (2002 Art American of Museum Whitney the (Munich), 13 Lothringer Artists Space (New erawork, the Rosenbach Museum and Library (Philadelphia), FranciscoSan at Cam- haveexhibited projects been Recent monuments. on the residue of fantasy left behind at “historical” sites and its work with specialist performers and craftspeople to focus continues Archive projects, video recent In archives. tural cul- complex these of dimensions sculptural and rhetorical the exploring library, effects sound commercial massive a Anne Walsh is a contributing editor of (Houston, TX), andCamerawork.

Chris Kubck Cabinet Y (NYC), ork City), Royal College of Art (London), Leonardo Music Journal, Music Leonardo X-Tra Art and 4/5/10 Culture ArtLies

139 4/26/10 Eugene Thacker

Darklife: Philosophy and the Problem of Life Itself

Image: The Global Genome, by Eugene Thacker. Affiliation: Theorist, Georgia Tech, Atlanta.

Abstract phenomenology, and a third, under-considered approach of Events at both the macro-scale and the micro-scale con- the “dark” or meontological concept of nothingness. tinually remind us of the radically unhuman aspects of life. Natural disasters, global pandemics, the ongoing effects in Bio (As of 4/26/10) climate change, and advances in biotech and nanotech, are Eugene Thacker is a writer and theorist whose works exam- just some of the ways in which life expresses itself in ways ine the philosophical aspects of science and technology. His that are at once “above” and “below” the scale of the hu- most recent book is entitled After Life and will be published man being. Life, it seems, is expressed “in itself” as much as by the University of Chicago Press. He is also the author of it is determined to exist “for us.” Nowhere is this awareness the books The Exploit: A Theory of Networks (co-authored more acutely registered than in contemporary culture, from with Alexander Galloway), The Global Genome: Biotech- popular disaster films to the contentious practices of bio art, nology, Politics, and Culture, and Biomedia. tactical or interventionist art, and ecomedia. Thacker is Associate Professor in the School of Literature, But what exactly do we mean when we evoke the concept Communication & Culture at the Georgia Institute of Tech- of life itself? Is there really a concept of life that is common nology. to all the manifestations of the living? Is a concept of life itself necessary for thinking about all the different forms of the living? Are the twin concepts of life and the living always determined within the framework of “generosity”—that is, as becoming, process, and flow? Or are there alternatives to thinking about life as defined neither in terms of being nor in terms of becoming? What inroads might contemporary art make into rethinking the concept of life itself?

In this talk we will explore the twists and turns of the idea of life itself as a key philosophical problematic in modernity, focusing on three main philosophical traditions: vitalism, 140 Acknowledgements

In addition to the speakers, the series would not be possible without the support and encouragement of many friends, colleagues, sponsors, advisors, and institutional partners, including:

Laura Abrams, Ilan Adler, Alice Agogino, Charlie Altieri, Theo Armour, David Bates, Barbara Bersche, George Breslauer, Shawn Brixey, John Canny, Alenda Chang, Alexandra Chang, Irene Chien, Carol Christ, Catharine Clark, Kevin Clarke, Kevin Consey, Nicholas de Monchaux, Steve Dietz, David Dornfeld, Hubert Dreyfus, Kris Fallon, Siamak Faridani, Harrison Fraker, Rudolf Frieling, Sherry Goodman, Paul Gray, Michael Joachim Grey, Yael Kanarek, Dee Levister, Constance Lewallen, Dennis Love, Peter Lunenfeld, Roger Malina, Susan Miller, Paul Miller, Rich Newton, Greg Niemeyer, JoAnne Northrup, Randall Packer, Christos Papadimitriou, Tom Parsons, Christiane Paul, Eric Paulos, Kris Paulson, Data Plautz, Kevin Radley, Sonya Rappaport, Rhonda Righter, Larry Rinder, Larry Rinder, Rick Rinehart, Rick Rinehart, Shankar Sastry, Carlo Sequin, Tiffany Shlain, Leonard Shlain, Kaja Silverman, Gerfried Stocker, Therese Tierney, Hal Varian, Anne Wagner, Linda Williams, Connie Wolf, Paul Wright, Heidi Zuckerman- Jacobson.

Berkeley Center for New Media, Berkeley Art Museum / Pacific Film Archive, Cal Performances, California College of Art, Center for Information Technology Research in the Interest of Society, Center for New Music and Audio Technologies, CITRIS, College of Engineering Interdisciplinary Studies, Contemporary Jewish Museum, Department of Art Practice, IEOR Dept, San Francisco Art Institute, San Francisco Museum of Art, San Jose Museum of Art, Townsend Center for the Humanities.

Book designer Barbara Bersche and PhD student Kris Fallon played an essential role in preparing this catalog. http://atc.berkeley.edu