Educations Key Accomplishments Teaching
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Abstract the Proposal Mini Manifesto History
THE INTER-SOCIETY FOR THE the second symposium, with words, scientifically) approach the representatives of SIGGRAPH, the artistic potentials of our new age. ELECTRONIC ARTS REVIVED? Computer Music Association, Ars Electronica, ISAST/Leonardo, ANAT, History Wim van der Plas, Languages of Design and others, the The idea to start ISEA was conceived by ISEA International Foundation discussion was reasonably civilised, but Theo Hesper, currently a resident of Clazina Kouwenbergzoom 107 behind the scenes tempers flared, as Indonesia. Theo was founder and board 3065 KC Rotterdam nobody wanted to lose autonomy. member of the Dutch Foundation for The Netherlands Looking at ISEA2013’s theme and Creative Computer Applications [email protected] sub-themes, this is the time to put co- (SCCA), of which I was the director. operation on the table! To quote from the The SCCA partnered with the Utrecht Abstract ISEA2013 site: Art School to organise the first ISEA This is an edited version of an introduction written for the panel session with the same name of June symposium in Utrecht. The Utrecht Art 13, 2013. The editing took place after the session -Resistance is Futile: Electronic Art now School made a commitment during the was held. Both the introduction and the panel lies embedded in the heart of our first symposium to organise the next one session are seen as the beginning of a discussion contemporary cultures. too, in two years’ time. that should help to give direction to the future of ISEA. However, less than a year later, I This article was edited by ISEA International -Histories and Futures of Electronic Art: received an e-mail message from Roger board member Bonnie Mitchell, and received input ISEA2013 offers a platform to explore Malina, who had participated in the from the panellists as well as from Wolfgang where electronic art has come from, historic meeting in Utrecht. -
The Dutch Foundation for Creative Computer
The Dutch Foundation for Creative Computer Applications (in Dutch: the SCCA) had been active in the 80ties in introducing the computer into the curriculum of Dutch art schools. Then it decided to broaden its vision: it wanted to bring together the different traditional art disciplines, because the computer would be helpful in bringing about unique co-operations and unique new art forms. Secondly it decided to go international. Trigger behind these activities was the notion that art and science should compliment each other and that the gap between the two was a threat to our future. The field of electronic technology seemed the place were artists couldn’t do without the scientists, so co-operation was inevitable. The founders of the SCCA, Theodor Hesper (computer scientist) and Wim van der Plas (sociologist), started to work on an “International Conference on Electronic Art”, to take place in 1986. It was too optimistic and the starting year soon became 1988. Besides, ‘Conference’ was changed into ‘Symposium’, because it sounded better. The Rotterdam based SCCA started a co-operation with the Utrecht School of Arts and the symposium (FISEA, First International Symposium on Electronic Art) took place in Utrecht in September 1988. There were a few hundred people, mainly from Europe, the USA and Australia. Many of them came either from the world of computer graphics or from the world of computer music. At this first ISEA they learned from each other they were experimenting with the same software (for example fractals), without knowing of each other’s work. Remember that there was no WWW at that time and internet only in use at universities. -
PROGRAM SESSIONS Madison Suite, 2Nd Floor, Hilton New York Chairs: Karen K
Wednesday the Afterlife of Cubism PROGrAM SeSSIONS Madison Suite, 2nd Floor, Hilton New York Chairs: Karen K. Butler, Mildred Lane Kemper Art Museum, Wednesday, February 9 Washington University in St. Louis; Paul Galvez, University of Texas, Dallas 7:30–9:00 AM European Cubism and Parisian Exceptionalism: The Cubist Art Historians Interested in Pedagogy and Technology Epoch Revisited business Meeting David Cottington, Kingston University, London Gibson Room, 2nd Floor Reading Juan Gris Harry Cooper, National Gallery of Art Wednesday, February 9 At War with Abstraction: Léger’s Cubism in the 1920s Megan Heuer, Princeton University 9:30 AM–12:00 PM Sonia Delaunay-Terk and the Culture of Cubism exhibiting the renaissance, 1850–1950 Alexandra Schwartz, Montclair Art Museum Clinton Suite, 2nd Floor, Hilton New York The Beholder before the Picture: Miró after Cubism Chairs: Cristelle Baskins, Tufts University; Alan Chong, Asian Charles Palermo, College of William and Mary Civilizations Museum World’s Fairs and the Renaissance Revival in Furniture, 1851–1878 Series and Sequence: the fine Art print folio and David Raizman, Drexel University Artist’s book as Sites of inquiry Exhibiting Spain at the Chicago Columbian Exposition of 1893 Petit Trianon, 3rd Floor, Hilton New York M. Elizabeth Boone, University of Alberta Chair: Paul Coldwell, University of the Arts London The Rétrospective and the Renaissance: Changing Views of the Past Reading and Repetition in Henri Matisse’s Livres d’artiste at the Paris Expositions Universelles Kathryn Brown, Tilburg University Virginia Brilliant, John and Mable Ringling Museum of Art Hey There, Kitty-Cat: Thinking through Seriality in Warhol’s Early The Italian Exhibition at Burlington House Artist’s Books Andrée Hayum, Fordham University Emerita Lucy Mulroney, University of Rochester Falling Apart: Fred Sandback at the Kunstraum Munich Edward A. -
SCOTT HESSELS [email protected] Scotthessels.Com
SCOTT HESSELS [email protected] scotthessels.com Education 2005 M.F.A. Design Media Arts, University of California at Los Angeles (UCLA) 2003 B.S. Business Management, University of Phoenix, Pasadena, CA Professional Experience: Academic 2010- present Associate Professor (with tenure), School of Creative Media, City Unversity of Hong Kong 2012-present Executive Producer Extreme Environments Program (see ‘Expeditions’) Skunkworks: Design with Smart Materials Program 2005-2009 Associate Professor (with tenure), School of Art, Design and Media, Nanyang Technological University Singapore 2001-2005 Lecturer Design | Media Arts, University of California at Los Angeles (UCLA) USA 2000-2001 Lecturer Environmental Design, Otis College of Art and Design, Los Angeles, USA Professional Experience: Industry 2018-present Exhibitions Producer Gay Games Hong Kong 2022 2000-present New Media Artist, Sculptor and Filmmaker Multiple artworks and films produced (see ‘Creative Works’) 2006-present Executive Producer Multiple Film and Photo documentaries (see ‘Creative Works’) 1986-2003 Writer, Director and Executive Producer Damaged Californians Productions, Los Angeles 1985-2002 Director of Information Technology Fox Television Network (KTTV Fox 11, KCOP UPN 13, Fox Sports West) Los Angeles 1981-1985 Manager of Operations KDVR Television, Denver, Colorado 1978-1981 Writer and Producer KPPL/KLAK Radio, Denver, Colorado 2 Creative Works (see selected exhibition record following) 2021 Below Victory Concept, Design, Ground Penetrating Radar Scans Augmented -
David Glen Smith
David Glen Smith Fonts of Influence My intentions are to merge a thick poster font with a thinner sans serif in order to produce a Charlesworth {Charlemagne} modern letter. I hope to shift a traditional-based SPHINX OF BLACK QUARTZ JUDGE MY VOW. character into a more fluid, rounded form. (THERE ARE NO LOWERCASE CHARACTERS) The curved letters would be influenced by leaf shapes: curves, barbs, angles all which appear Poster Bodini in nature with radical variation on a simple SPHINX OF BLACK QUARTZ JUDGE MY VOW form. Which will leave room for improvisation as the font progresses. the quick brown fox jumped over the lazy dog Likewise I want to incorporate an sense of hand Helvetica Neue drawn images to allow more creative energy and individualism. SPHINX OF BLACK QUARTZ JUDGE MY VOW the quick brown fox jumped over the lazy dog In the end I would like to use the new version for headers on a developing web site promoting tradional art in diverse manner. Gill Sans SPHINX OF BLACK QUARTZ JUDGE MY VOW the quick brown fox jumped over the lazy dog Font History • Gill Sans • Charlemagne Designer: Eric Gill of United Kingdom The Charlemagne font was designed by Carol Twombly and inspired Born: Brighton, 1882 Died: Uxbridge, 1940 by the 10th century Carolingian manuscripts. Charlemagne has a strong stress and extended serifs that give the capital letters of the Eric Gill studied under the renowned calligrapher, Edward John- font a distinctive charm which can be successfully exploited in adver- son, the designer of the London Underground sans serif typeface. -
ANAT Annual Report 2000
0 o Australian Network for Art and Technology ABOUT ANAT SERVICES AND ACTIVITIES ANAT is Australia's peak network and advocacy body for ANAT undertakes a wide range of activities, including: artists working with technology. running Australia's most prestigious art and technology The role of ANAT is to advocate, support and promote the training programs, National Schools for New Media arts and artists in the interaction between art, technology artists and curators and science, nationally and internationally. Identifying new and challenging opportunities for specialised training and professional development such Since its inception in 1985 ANAT has been at the forefront of as Indigenous Summer Schools the movement to position artists as active participants in administering the Quick Response Conference and the'information age'. The organisation's infrastructure is Workshop Fund principally funded through the Australia Council. ANAT researching opportunities for artists maintains a database and artists files of artists working developing programs which formulate relationships with technology throughout Australia, and acts as an between artists, organisations and institutions advocacy and networking organisation for artists working organising events which encourage critical debate, in these areas assisting artists to develop their art practice, diversity and innovation within art, science and technology to forge links with science and industry, and developing and disseminating information about the art and technology promoting opportunities for Australian artists to exhibit sector their work nationally and internationally. Information is providing resources and information to our national and disseminated though our newsletters and on our world international membership base wide web site. GOALS ANAT's goals for 2000 Goal 1: Promote Australian artists working with science and technology. -
Cynthia Beth Rubin
CYNTHIA BETH RUBIN HTTP://CBRUBIN.NET SELECTED RECENT PROJECTS Antarctica Underwater: Collaborations with Oceanographers, Menden-Deuer lab http://cbrubin.net/antarctica.html Exhibitions & Screenings 2018 Creative Tech Week, Main Space, Brooklyn NY (upcoming) http://cbrubin.net/ocean-life.html Art/Science Collaborations on the High Seas, e-Gallery: http://oceanscience.art 2017 Science Inspires Art:OCEAN, NY Hall of Science, New York, NY Video and still images derived from raw Maniac Episode 5, Ely Center of Contempory Art, New Haven CT footage shot in Antarctica by University 2016 Video on ICC Building, OPEN SKY GALLERY ISEA2016 Hong Kong May of Rhode Island researchers Governor’s Island Art Kibbutz, New York, NY Still images include Augmented Reality Presentations videos and sources 2016 Artist Talk, ISEA 2016 Hong Kong EPSCoR Project Presentations URI History, Heritage, and the Lower East Side: Cynthia Beth Rubin and Yona Verwer http://history-heritage-lowereastside.blogspot.com Digital and Acrylic Paint on Canvas Exhibitions with Augmented Reality videos 2016 Meditations on Place The Koslowe Gallery, Westchester Jewish Center, June 2014 - present - ongoing project Augmented Reality and Jewish Art Art Kibbutz, Governors Island New York NY September 2015 New York / New Work, Jerusalem Biennale 2015 & the Mishkan Museum of Art, includes historic narratives by Elissa Jerusalem and Ein Harod, Israel September & November Sampson, music by Bob Gluck, Yiddish 2015 Shmita Festival Art Kibbutz, Governors Island New York NY August music and photographs from family 2015 Hidden Links: Exploring Jewish Identity: The Work of Cynthia Beth Rubin and Yona Verwer archives produced by Mizel Museum, & Center for the Arts Evergreen, Denver area, CO. -
Viral and Bacterial Diseases of Atlantic Cod Gadus Morhua, Their Prophylaxis and Treatment: a Review
DISEASES OF AQUATIC ORGANISMS Vol. 71: 239–254, 2006 Published August 30 Dis Aquat Org OPENPEN ACCESSCCESS REVIEW Viral and bacterial diseases of Atlantic cod Gadus morhua, their prophylaxis and treatment: a review Ole B. Samuelsen1,*, Audun H. Nerland1, Trond Jørgensen2, Merete Bjørgan Schrøder2, Terje Svåsand1, Øivind Bergh1 1Institute of Marine Research, PO Box 1870, Nordnes, 5817 Bergen, Norway 2Department of Marine Biotechnology, NFH, University of Tromsø, 9037 Tromsø, Norway ABSTRACT: This review summarises the state of knowledge of both viral and bacterial diseases of Atlantic cod Gadus morhua, and their diagnosis, prophylaxis and treatment. The most important losses have been at the larval and juvenile stages, and vibriosis has long been the most important bacterial disease in cod, with Listonella (Vibrio) anguillarum dominant among pathogenic isolates. Vaccination of cod against pathogens such as L. anguillarum and Aeromonas salmonicida clearly demonstrates that the cod immune system possesses an effective memory and appropriate mecha- nisms sufficient for protection, at least against some diseases. Well-known viruses such as the nodavirus that causes viral encephalopathy and retinopathy (VER), infectious pancreatic necrosis virus (IPNV) and viral haemorrhagic septicaemia virus (VHSV) have been isolated from Atlantic cod and can be a potential problem under intensive rearing conditions. No commercial vaccines against nodavirus are currently available, whereas vaccines against IPNV infections based upon inactivated virus as well -
Education 1990 1984 1983 Teaching / Visiting Faculty Positions / Endowed Chair and Center Leadership Teaching Visiting Critic
curriculum vitae Andrea Wollensak Professor of Art Associate Fellow, Ammerman Center for Arts & Technology Connecticut College, 270 Mohegan Avenue, New London, CT 06320 [email protected] https://www.andreawollensak.com Andrea Wollensak is an artist, designer and educator. Her work spans multi-media from traditional forms/processes and digital fabrication, to generative-interactive systems and includes collaborations with community partners, computer programmers, musicians, poets, and scientists. Themes in her work explore place-based narratives on environment and community. At Connecticut College, she is on the faculty in the Art Department, and is an Associate Fellow in the Ammerman Center for Arts and Technology where served as Director from 2014-2020. Education 1990 Yale University, New Haven, Connecticut – MFA 1984 Yale University, Summer program in Design, Brissago, Switzerland 1983 University of Michigan, Ann Arbor, Michigan – BFA Teaching / Visiting Faculty Positions / Endowed Chair and Center Leadership Teaching 2007- Professor of Art, Connecticut College 00-07 Associate Professor of Art, Connecticut College 93-99 Assistant Professor of Art, Connecticut College 90-93 Assistant Professor, Concordia University, Faculty of Fine Arts, Montréal, Quebec 87-88 Full-time Adjunct Lecturer, SUNY Purchase, Visual Arts, Purchase, New York Visiting Critic / Graduate Seminar Lecturer / Graduate Thesis Advisor 2019 Rhode Island School of Design, Department of Design, Guest Critic 2017 University of Massachusetts at Dartmouth, Design Program, -
Victoria Vesna Is an Artist, Professor and Chair of the Departm
VICTORIA VESNA University of California, Los Angeles Professor, Department of Design | Media Arts Director, Art | Science Center Visiting Professor, Director of Research, Parsons the New School for Design http://vv.arts.ucla.edu [email protected] tel: 310.794.2118 DOB: 6.9.59, Washington D.C. EDUCATION 2000 Ph.D. CAiiA - Centre for Advanced Studies in Interactive Arts, University of Wales, UK Thesis: ―Networked Public Spaces: An Investigation into Virtual Embodiment‖ 1984 Fine Arts Diploma -Faculty of Fine Arts, University of Belgrade, Yugoslavia 1976 HS of Art & Design, New York. PRINCIPAL FIELDS OF INTERESTS Practice | Theory of: Art + Science, Nano_Biotech + Art, Sonification, Corporate Culture + Technology, Social Networks + Education, Database Aesthetics, Context, Human Networks + Natural systems, Installations, Performance ACADEMIC POSITIONS 1992 – 95, Assistant Professor, UC Santa Barbara 1995 – 99, Associate Professor, UC Santa Barbara 2000 – present, Professor, UCLA 2009 – present, Visiting Professor, Director of Research, Parsons the New School for Design, NY 2005 – 07, Director, UC Digital Arts Network 2006 – 08, Director, D|MA Summer Institute, UCLA 2006 – 09, Director, Sci Art Summer Institute, UCLA 2005 – present, Director, Art | Sci Center + Lab, Art & Architecture / California Nanosystems Institute SOLO / COLLABORATIVE EXHIBITIONS & PERFORMANCES 2010 ―Blue Morph.‖ Installation. In collaboration with James Gimzewski. Theater DoZ, Santa Ynez, CA, Mar 20. 2009 ―Water Bowls.‖ Microwave International New Media Arts Festival, Hong Kong, Nov 13-22. ―The Katrina Project: NO-LA.‖ Information Aesthetics Showcase, Siggraph, New Orleans, Aug 3 – 7. ―The Hox Zodiac.‖ Installation. INDAF, Incheon International Digital Art Festival, Incheon, Korea, Aug 7. ―Blue Morph.‖ Installation. In collaboration with James Gimzewski. Integratron, Joshua Tree, CA, Jan 1. -
Educations Key Accomplishments Yeohyun
YEOHYUN AHN 4200 University Ave #103, Madison, Wisconsin, 53705 [email protected], 703-475-6291 http://www.yeohyunahn.com http://www.typeandcode.com EDUCATIONS 2007 Maryland Institute College of Art, Baltimore, MD, M.F.A in Graphic Design Specialized in Interactive Media 2001 Ewha Womans University, Seoul, South Korea, M.F.A in Information Design Specialized in Graphic Art 1997 Chungbuk National Universtiy, Cheongju, South Korea, B.S in Computer Science KEY ACCOMPLISHMENTS 2021 Guest Artist Talk, “TYPE+CODE Series,” and Workshop, “Floral Typography+ CODE,”, Visual Communication Design, School of Art Institute of Chicago, Chicago, IL Presented, “TYPE+CODE Series,” Design and the Environment Session, C.A.A. (College Art Association Conference), N.Y.C., NY Panel Co-chair, “Social Exclusion in New Media Art/Design,” CAA Annual Conference: Services to Artists Media Lounge, N.Y.C., NY Organizer, Moderator, and Panelist, ”Crossing Boundaries”, AIGA DEC (Design Educator’s Community) Panel, Virtual Organizer, Moderator, and Panelist, “Transdisciplinary Graphic Design and Art Research and Practices,” DEL in Between, N.Y.C., NY Presented, “Developing a Generative Typography System for Typography Education,” Atypi Technology Forum, Virtual, Solo Exhibition, “O Antiphons + CODE,” Komechak Art Gallery, www.virtualkomechak.org,Benedictine University, Lisle, IL Solo Exhibition and Artist Talk, “TYPE PORTRAIT,” Brooks Steven Gallery, Milwaukee Art Institute of Art & Design, Milwaukee, WI Solo Exhibition, “TYPE + CODE Series,” Transpace Gallery, Woonsook Kim School of Art, Illinois State University Guest Artist Talk, “TYPE PORTRAIT,” Brooks Steven Gallery, Milwaukee Art Institute of Art & Design, Milwaukee, WI Guest Artist Talk and Workshop, “Floral Typography + CODE”, Art Department, University of Georgia, Athens, Georgia Guest Artist Talk, Workshop, Senior Portfolio Review and Juror for Student Annual Competition, Graphic Design Program, School of Art, Illinois State University Plenary Talk, “Social Homelessness on U.S. -
Maraya: Sisyphean Cart M
MARAYA: SISYPHEAN CART M. Simon Levin, Brian McBay Henry Tsang, Glen Lowry MARAYA: SISYPHEAN CART Performance, exhibition (2015) Maraya: Sisyphean Cart is a mobile ‘sousveil- planned urban landscape that in turn ref ects the lance’ cart that conducts a site-specif c partici- design and desire of lifestyle and capital that is so patory spatial investigation of Vancouver’s False f uid and mobile in today’s globalized economies. The project is presented at 221A’s exhibition Creek and the Dubai Marina. It premiered at the The cart itself, and signif cantly the pulling of it, room located in Chinatown, Vancouver, where it 20th International Symposium on Electronic Art invokes the spectre of labour – purposeful walk- is undergoing intensive neighbourhood gentrif - (ISEA) in Dubai in November 2014, and completes ing as a form of resistance to readily consumed cation and experiencing crude orientalist market- its second leg for ISEA 2015 in Vancouver. This images of idealized leisure – and the Sisyphean ing campaigns that add to the ongoing crisis of custom-designed hand-drawn cart is mounted weight of this vision. affordability and cultural homogenization. with an automated pan-tilt-zoom (PTZ) camera Meaning mirror or ref ection in Arabic, 221A gratefully acknowledges the support and pulled along the both waterfront seawall Maraya focuses on the re-appearance of of the City of Vancouver, British Columbia Arts paths. Imagery produced by the skyscraper-fac- Vancouver’s False Creek in the Arabian desert Council, the Canada Council for the Arts and our ing camera will provide alternative perspectives as the Dubai Marina.