Sabbatical Leave Report 2019 – 2020

James MacDevitt, M.A. Associate Professor of Art History and Visual & Cultural Studies Director, Cerritos College Art Gallery Department of Art and Design Fine Arts and Communications Division Cerritos College

January 2021

Table of Contents

Title Page i

Table of Contents ii

Sabbatical Leave Application iii

Statement of Purpose 35

Objectives and Outcomes 36

OER Textbook: Disciplinary Entanglements 36

Getty PST Art x Science x LA Research Grant Application 37

Conference Presentation: Just Futures 38

Academic Publication: Algorithmic Culture 38

Service and Practical Application 39

Concluding Statement 40

Appendix List (A-E) 41

A. Disciplinary Entanglements | Table of Contents 42

B. Disciplinary Entanglements | Screenshots 70

C. Getty PST Art x Science x LA | Research Grant Application 78

D. Algorithmic Culture | Book and Chapter Details 101

E. Just Futures | Conference and Presentation Details 103

2 SABBATICAL LEAVE APPLICATION

TO: Dr. Rick Miranda, Jr., Vice President of Academic Affairs

FROM: James MacDevitt, Associate Professor of Visual & Cultural Studies

DATE: October 30, 2018

SUBJECT: Request for Sabbatical Leave for the 2019-20 School Year

I. REQUEST FOR SABBATICAL LEAVE.

I am requesting a 100% sabbatical leave for the 2019-2020 academic year. Employed as a fulltime faculty member at Cerritos College since August 2005, I have never requested sabbatical leave during the past thirteen years of service.

II. PURPOSE OF LEAVE

Scientific advancements and technological capabilities, most notably within the last few decades, have evolved at ever-accelerating rates. Artists, like everyone else, now live in a contemporary world completely restructured by recent phenomena such as satellite imagery, augmented reality, digital surveillance, mass extinctions, artificial intelligence, prosthetic limbs, climate change, big data, genetic modification, drone warfare, biometrics, computer viruses, and social media (and that’s by no means meant to be an all-inclusive list). Artists and humanities scholars alike have had to grapple with these new developments, many producing important interdisciplinary research publications and creative projects exploring their cultural significance. During this leave, I will review recent academic publications and visit notable academic institutions that explore the emerging intersections between art, science, and technology. This research will allow me to prepare an Open Educational Resource (OER) textbook for use in the recently established Art, Science, and Technology course (Art 113), part of the new Visual and Cultural Studies Program, as well as to curate future interdisciplinary exhibitions for the Cerritos College Art Gallery as a compliment to the existing science and technology-based curriculum at the college.

III. SPECIFIC OBJECTIVES

A. In order to better understand the issues surrounding the complex relationships between art, science, and technology, I will first conduct a self-directed study into recent and relevant academic research. a. I will review recent academic publications that confront the numerous intersections between art, science, and technology (see Appendix I for preliminary bibliography).

3 b. I will visit institutions that research and exhibit artwork dealing with the intersections of art, science, and technology (see Appendix II for relevant institutions). c. I will attend talks, conferences, and symposiums examining the intersections of art, science, and technology (see Appendix III for relevant events). B. Using the information gleaned from the primary sources I review, the institutional spaces I visit, and the academic conferences I attend, I will develop and produce a free OER textbook built around key thematic foci and then integrate this material into the existing Art, Science, and Technology course (Art 113). a. Because of the interdisciplinary nature of this course, finding a single comprehensive textbook is effectively impossible and the book that most closely meets the curriculum, Information Arts: Intersections of Art, Science, and Technology by Stephen Wilson, is itself fifteen years old (which might as well be a hundred years old, considering how quickly this material has changed). Having an OER textbook would not only save students money on the purchase of their course reading, it would also allow for the regular and frequent updating of material in order to better evolve with the topic of study. As an OER textbook, it will also be available free on the Internet for any Cerritos faculty that might wish to integrate relevant modules into their existing courses. b. Thematic foci will include, but may not be limited to: The ‘Two Cultures’ of Art and Science, Cabinets of Curiosity, the Scientist as Subject, Artistic Interventions in the Laboratory, Techniques of the Observer, Envisioning the Cosmos, The Machine Aesthetic, Experiments in Art and Technology, Video Art, Imagining the Future, Science Fictions, Speculative Design, Animal Studies, Ecological Art, the Anthropocene, Medical Imaging, the Cyborg and Post-Humanism, Robotics, Artificial Intelligence, Algorithmic Art, Data Visualization, Social Media, (Dis)Information, Surveillance Studies, Net Art, Video Games, Virtual and Augmented Reality, Digital Humanities, Software Studies, Media Archaeologies, and Media Infrastructures. C. The bibliographic list of recent academic publications that I use as primary sources for my own research in developing this OER, along with any new resources I encounter during the research, will also serve as a booklist that I will submit to the Cerritos College Library for purchase and/or acquisition. a. This will ensure that the Cerritos College library contains the most current and important texts in these key areas of focus, which, because of its interdisciplinary nature, will benefit students from across the disciplinary spectrum. b. Visual and Cultural Studies majors who transfer to four-year universities are expected to conduct their own research in primary sources and to successfully integrate those sources into their research papers. All courses in the Visual and Cultural Studies program include an independent research project that relies heavily on students having access to current academic research in the topics they choose to investigate. Having the most up-to-date academic texts in the library for our students’ independent research projects will better prepare them for this challenge.

4 D. As the Director/Curator of the Cerritos College Art Gallery, I have committed myself to presenting exhibitions that cut across disciplines and which are cutting-edge in terms of their thematic foci. I will build upon this record and the research I conduct during the sabbatical leave to produce multiple exhibitions at the gallery during the 2020-2021 annual exhibitionary cycle that will provide direct and immediate access to art projects that operate within these interdisciplinary areas.

IV. PREPARATION

A. Curriculum Development a. Along with my colleagues in the Art History program, I oversaw the creation and approval of a new AA degree in Visual and Cultural Studies. Cerritos College is the first, and currently the only, community college to have this advanced interdisciplinary degree approved by the Chancellor’s Office. Visual and Cultural Studies draws from a number of disciplines to explore the meanings, practices, and processes of looking and imaging across historical periods and diverse cultures. It is inclusive and broad ranging both in its methods and approaches and in its objects of inquiry, which include digital technologies, photography, film, painting, television, performance, sculpture, video games, exhibitionary display, sound, the built environment, and many other elements of popular culture. Numerous four- year institutions have recently expanded their curriculum beyond traditional Art History programs by creating Visual and Cultural Studies departments, including UC Riverside’s undergraduate program in Media and Cultural Studies, UC Irvine’s doctoral program in Visual Studies, and USC’s Visual Studies Research Institute. Our students are well placed to successfully transfer to these programs because of the early adoption of this new curriculum here at Cerritos College. b. As part of the new Visual and Cultural Studies degree, I wrote and passed through the curriculum approval process (locally and at the Chancellor’s Office) a new interdisciplinary course in “Art, Science, and Technology” (Art 113). This course is an overview of the intersections between art, science, and technology, as well as their broader impact on, and interaction with, visual and material culture. Areas of focus include the social impact of scientific innovations, technology-driven art, and art/science collaborative projects, including discussions of code-based and algorithmic art, data visualization, robotic and interactive art, machine aesthetics, body modification and cyborg experiments, ecological and environmental art, conceptual Internet projects, culture jamming and hacktivist art, game art and virtual reality, surveillance art, and tele-presence and locative media. Art 113 has so far only been taught once in the Spring 2018 semester and it will again be offered in Spring 2019. These initial offerings have been (and will be, in the case of Spring 2019) insightful, in particular in identifying the lacunas in the currently approved textbook. The experience I gained from developing and now teaching this course will be instrumental in ensuring the OER textbook will be ideally suited for this curriculum.

5 B. Professional History a. My own professional and academic interests have long existed at this intersection of disciplines, in particular so-called new media and digital humanities. Before being hired as a full-time faculty member at Cerritos College, I worked as the Digital Media Associate at the UCR/California Museum of Photography where I digitally archived their world-class stereographic photography collection (The Keystone-Mast Collection). This included creating and maintaining the SQL database that stored the records and writing the code for the online retrieval tool that accessed that database. As part of this NEA-funded project, I also participated in the establishment of the Museums and the Online Archive of California (MOAC) Initiative, based out of UC Berkeley’s Bancroft Library and the Berkeley Art Museum. Initially including only eight founding academic museums, the Online Archive of California has since blossomed into housing the digitized collections of over 200 archiving institutions across the state. b. In 2007, prior to the widespread adoption of online learning management software like Sakai and Canvas, I gave a presentation at the Online Learning Conference about the development of my own interactive online course management program that I created using open-source coding languages and applications, like PHP and MySQL. This site, which is still in use today and has been accessed by well over ten thousand students in the last decade, allows students with zero coding ability to create online curation projects supported by their own independent research. c. In 2017, I organized the large-scale FAR Bazaar, which transformed the old Fine Arts building into temporary exhibition spaces for local art collectives and MFA programs, and which featured numerous multimedia installations, including a giant floating head, a virtual reality simulator, the ghostly hologram of Steve Jobs, and so much more. d. That same year, in no small part due to the prominence and success of the FAR Bazaar event, I was named Cerritos College’s Most Outstanding Faculty Member. e. In 2018, LA Weekly named Cerritos College Art Gallery as one of the best college art galleries in Southern California, stating “Associate Professor of Art History James MacDevitt is the Director and Curator of the Cerritos College Art Gallery, so you know the exhibitions are legit.” C. Publication History a. In 2007, I presented a paper at the annual Computers and the History of Art (CHArt) Conference at Birkbeck College in London, England. The theme of the conference that year was Digital Archive Fever. An updated version of the paper that I presented there was then selected for publication as a chapter in the book Revisualizing Visual Culture, published in 2010 by King’s College and Ashgate Books. My chapter, “The User-Archivist and Collective (In)Voluntary Memory: Read/Writing the Networked Digital Archive” explored the seemingly innocuous recording of user activity in a museum’s online archives and how that meta/data could conceivably be

6 activated by collecting institutions to counteract decades of colonial activity and structural racism present within the collection itself. b. In 2011, I was invited to write the keynote essay for an exhibition catalogue produced by Cal State Fullerton’s Begovitch Gallery for the exhibition Meta/Data/Phile: The Collapse of Visual Information. My essay was titled “The Ties that Un/Bind: On the Enigmatic Appeal of Meta/Data” and theoretically explored the Mobius-like exchange that occurs between data and metadata (data about data). c. In 2013, I wrote an essay for the publication We Come in Peace, a monograph by the artist Daino (Dan Torres) about his experimental art project in which he trained ants in his backyard to carry miniature protest signs. My essay analyzing and deconstructing this unusual artistic practice and the nature of cross-species interactions was titled “We Come in Piece(s): Alien(ated) Phenomenologies and Cultural Resistance in the Biopolitics of a Human-Insect Assemblage.” D. Curatorial History a. Since taking over as the Director/Curator of the Cerritos College Art Gallery in 2009, I have curated well over thirty exhibitions and published associated catalogs (generally with a thoroughly-researched curatorial essay), including numerous thematically organized group exhibitions, many of which specifically deal with the intersection of art, science, and technology. In fact, the very first show I put together was titled “Over/Flow: Horror Vacui in the Age of Information Abundance.” Dealing with the tendency to feel overwhelmed by the availability of information, this show included a stereographic video headset, a screen simultaneously displaying multiple gameplay recordings of the same video game, and an interactive data visualization that allowed visitors to dance with their own shadow. b. In 2010, I curated the exhibition “Object-Orientation: Bodies and/as Things,” which explored the post-humanist expansion of the body into a cyborgian extension, as well as the animist liveliness of everyday objects. c. In 2014, modeled after the famous 1970s-era Experiments in Art and Technology project in New York and the Art+Tech program at LACMA, I founded an annual interdisciplinary Art+Tech Artist-in-Residence program at Cerritos College in which a professional artist is embedded in the facilities of one of the Technology division departments. The first year, the resident Jeff Cain worked on 3D printing with Engineering Design, resulting in the exhibition “Natural History.” The following year Beatriz Cortez worked on metal shaping with Autobody Repair, resulting in the exhibition “Your Life Work.” The next year, Stephanie Deumer used a CNC router with the Woodworking program, resulting in the exhibition “Features of the Same Face.” Most recently, Sonja Schenk was embedded in the Welding department, resulting in the exhibition “The Box.” The next resident, Kim Morris, is currently working with Cosmetology, to develop a project that uses appropriated hair to make Creole-inspired Mardi Gras masks that will interrogate the complex relationship between hair and racial identities.

7 d. In 2015, I curated two linked exhibitions, one at Cerritos College and the other at South Bay Contemporary in San Pedro, CA. At Cerritos, the exhibition was titled “Abstracted Visions: Information Mapping from Mystic Diagrams to Data Visualizations” and included a painting of subatomic decay patterns, textiles representing meteorological data, a sculpture made from sonic recordings of the ocean floor, and a perfume bottle containing scents to best communicate with non-lingual alien life forms. At South Bay Contemporary, the exhibition was titled “Via Negativa: The Transcendence of the unReal” and included an obsidian rock surrounded by welded 3D nurb renderings, a broom that danced in a circle by itself, a table made of speakers pierced by needles quietly clacking together, and a video showing observatory equipment measuring dark matter. e. Opening in August 2018, the latest exhibition I created for the Cerritos College Art Gallery to touch upon the intersection of art, science, and technology, titled “Geo-Ontological: Artists Contemplating Deep Time,” looked at artists exploring geological strata and rupture, as well as envisioning the futuristic state of the earth after the era of the Anthropocene. E. Preliminary Travel a. In preparation for research on the cultural phenomenon of Cabinets of Curiosity, which, as a precursor to museological archiving, historically represent the impulse to collect, organize, and display both cultural objects and natural specimens, I recently visited the eclectic Zymoglyphic Museum in Portland, Oregon and the fantastical Cryptozoology Museum in Portland, Maine. b. During Summer 2018, I traveled to Boston to visit the campus of the Massachusetts Institute of Technology and, in particular, visited the MIT Museum, which was hosting a 50-year retrospective exhibition highlighting the art-science collaborative research conducted by the fellows at the influential Center for Advanced Visual Studies at MIT. Other relevant exhibitions at the Museum included the Kinetic sculptures of Arthur Ganson, the drawings of brain dissections by Santiago Ramon y Cajal, the experimental photographs of Gyorgy Kepes, and an exhibit highlighting landmarks in the history of robotics and artificial intelligence. c. During the same trip in Summer 2018, I visited the Massachusetts Museum of Contemporary Art, which is renowned for its experimental exhibitions and collections, including Julianne Swartz’s Tonal Walkway, Natalie Jeremijenko’s Tree Logic, James Turrell’s Light Space, Liz Glynn’s Archaeology of Another Possible Future, Michael Oatman’s All Utopias Fell, and Laurie Anderson’s virtual reality installation, the Chalkroom. F. Academic Research a. As referenced above, my own personal academic interests have drawn me to interdisciplinary concerns and I have spent much of the last decade acquiring relevant publications from academic publishers that specialize in producing texts at the intersection of art, science, and technology, including the MIT Press, University of Minnesota Press, Duke University Press,

8 Princeton University Press, and the University of Chicago Press. The prior bibliographic research I conducted and book acquisitions I have made serve as the backbone for the books listed in Appendix I, which I will read and review during my sabbatical leave, in order to develop the intended OER textbook. b. During Fall 2016, I curated a rare solo exhibition at the Cerritos College Art Gallery of the work of painter Christina McPhee. In addition to being a respected artist, McPhee was a founding editor of the twenty-five year old internationally recognized Empyre listserv, one of the oldest Internet-based forums for engaging with academic issues at the intersections of art, science, and technology, now based out of the Rose Goldsen Archive of New Media Art at Cornell University. Through McPhee, I was introduced to the archive and have reviewed many of the historic dialogues in which academics from across the globe have engaged. I also wrote a chapter for McPhee’s recently published retrospective monograph, Christina McPhee: A Commonplace Book, published by Punctum Press, which also included essays by professors from UC Riverside, Leeds Metropolitan University, Columbia College Chicago, Central European University, Smith College, and the University of Oslo. My essay was titled “Pattern Discognition: Uncommon Conjunctions (and Conjugations) in the Recent Work of Christina McPhee.” c. In February 2018, I attended the 106th Annual College Art Association Conference, a four-day conference bringing together art historians from across the country. While there, I participated in numerous scholarly sessions dealing with the intersection of art, science, and technology. Some examples include “Against Algorithms (Or the Arts of Resistance in the Age of Quantification),” “Site Specific, Collaborative, and Interactive Platforms within Locative Media,” “Aesthetics and Control: Artists Respond to the Surveillance Apparatus,” “Art/Data,” “The Call to the Virtual: Virtual Reality as Artform, Discourse, Intervention,” “Data Publics: Art in the Age of Platforms,” “Alternative Beginnings: Towards an-Other History of Immersive Arts and Technologies,” “Energy and Photography,” “Naturally Hypernatural: Debates about Nature in Contemporary Art and Theory in the Age of Metamodernism,” “Spaces and Places for Artistic Interdisciplinary Collaboration in Science, Engineering, Arts, Technology, and Design,” “Irrational Identities: Art, Science, and Selves,” “Climate Aesthetics in the Anthropocene,” “Cultural Literacy and Ecological Crisis,” “Digital Surrogates: The Reproduction and (re)Presentation of Art and Cultural Heritage,” “A Critical Conversation on Affect Theory, Neuroscience, and Art-Science Collaborations,” “Art on the Nature of Data about Nature,” “A System of Systems: Cybernetics and Play in Postwar Art,” “Evasive Articulations in the Age of ‘Fake News’: Thinking about the Relationship between Art and Truth,” “Experiments with Technology in Latin American Art: From the 1960s to the 1980s,” “From Avant-Garde to Afrofuturism: Return to Identity.” a. In July of 2017, I attended the symposium Free Radicals: Evolving Perspectives on the Convergence of Art & Science at Art Center College of

9 Art and Design, a two-day program of artist talks, performances, and presentations focusing on an array of diverse viewpoints and approaches to the intersection of art and science, including cybernetics, space research, Earth sciences, media archeology, and museology. b. In June 2017, I attended the two-day event Knowledges at Mount Wilson Observatory, in which ten artists created site-specific art-science collaborative installations on the location of the century old Observatory at the top of Mount Wilson, including Scott Benzel’s Mathesis and Mathematikoi, a movement/performance/sound piece performed on the rotating interior deck of the dome of the 100-inch Hooker Telescope c. In September 2017, I attended the Mundos Alternos exhibition at UCR/ArtsBlock, a wide-ranging survey exhibition that brought together contemporary artists from across the Americas who have tapped into science fiction’s capacity to imagine new realities, both utopian and dystopian. That same month, I also attended the exhibition Kinesthesia at the Palm Springs Art Museum, the first in-depth survey exhibition exploring the pioneering role played by South American artists in the international Kinetic Art movement of the 1950s and 1960s.

V. PLANNING ITINERARY

August (3 weeks) The sabbatical project will begin with research on the ‘Two Cultures’ and Cabinets of Curiosity. During the first week, I will read and review the texts from the appropriate sections of the bibliography (see Appendix I). I will also visit the Museum of Jurassic Technology. During the second and third week, I will write the chapter of the OER textbook dealing with the themes listed above.

September (4 weeks) The focus of this month will be the Scientist as Subject and Artistic Interventions in the Laboratory. During the first and second week, I will read the texts from the appropriate sections of the bibliography (see Appendix I). I will also visit the Art|Sci program at UCLA and CALIT2 at UC San Diego. During the third and fourth week, I will write the chapter of the OER textbook dealing with the themes listed above.

October (4 weeks) This month’s research will be Techniques of the Observer and Envisioning the Cosmos. During the first and second week, I will read the texts from the appropriate sections of the bibliography (see Appendix I). I will also visit the Open Studio at the Jet Propulsion Lab. During the third and fourth week, I will write the chapter of the OER textbook dealing with the themes listed above.

November (4 weeks) This month will begin the research on the Machine Aesthetic, Art+Technology, and Video Art. During the first and second week, I will read the texts from the appropriate

10 sections of the bibliography (see Appendix I). I will also visit the Beall Center for Art and Technology at UC Irvine and the Art+Tech Lab at LACMA. During the third and fourth week, I will write the chapter of the OER textbook dealing with the themes listed above.

December (3 weeks) This month’s research will focus on Imagining the Future, Science Fictions, and Speculative Design. During the first week, I will read the texts from the appropriate sections of the bibliography (see Appendix I). I will also visit the Eaton Science Fiction Collection at UC Riverside and the Speculative Design program at UC San Diego. During the second and third week, I will write the chapter of the OER textbook dealing with the themes listed above.

January (3 weeks) This month’s research will focus on Animal Studies, Ecological Art, and the Anthropocene. During the second week, I will read the texts from the appropriate sections of the bibliography (see Appendix I). I will also visit the animal dioramas at La Sierra’s Natural History Museum and travel to famous Land art projects like Robert Smithson’s Spiral Jetty and Michael Heizer’s Double Negative in the deserts of the Western United States. During the third and fourth week, I will write the chapter of the OER textbook dealing with the themes listed above.

February (4 weeks) This month will begin research on Medical Imaging, the Post-Human Cyborg, Robotics, and Artificial Intelligence. During the first and second week, I will read the texts from the appropriate sections of the bibliography (see Appendix I). I will also visit the Center for Autonomous Systems and Technologies at CalTECH. During the third and fourth week, I will write the chapter of the OER textbook dealing with the themes listed above.

March (3 weeks) This month’s readings will focus on Algorithmic Art, Data Visualization, Social Media, and Surveillance Studies. During the first and second week, I will read the texts from the appropriate sections of the bibliography (see Appendix I). I will also visit USC’s Visual Studies Research Institute and UCR’s Media and Cultural Studies program. During the fourth week, I will write the chapter of the OER textbook dealing with the themes listed above.

April (4 weeks) This month will focus on Net Art, Video Games, and Virtual/Augmented Reality. During the first and second week, I will read the texts from the appropriate sections of the bibliography (see Appendix I). I will also visit CAL ARTs’ Art and Technology Program and USC’s Game Lab. During the third and fourth week, I will write the chapter of the OER textbook dealing with the themes listed above. I will also submit the final bibliography to the Cerritos College library for purchase and/or acquisition of available texts.

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May (4 weeks) This month’s research will focus on Digital Humanities and Media Archaeologies. During the first week, I will read the texts from the appropriate sections of the bibliography (see Appendix I). I will also visit the Center for Digital Humanities at UCLA and the Media Archaeology collection at UCLA. During the second and third weeks, I will write the chapter of the OER textbook dealing with the themes listed above. During the fourth week, I will finalize the OER textbook and make any necessary edits and/or tweaks to ensure narrative flow and technical/formatting compatibility.

VI. SERVICE AND PRACTICAL APPLICATION

At the conclusion of my sabbatical, I will have created an OER textbook for use in Art 113: Art, Science, and Technology, generated a large booklist dealing with the intersections of art, science, and technology for purchase and acquisition by the Cerritos College Library, and laid the groundwork for curating a number of exhibitions for the Cerritos College Art Gallery. Each of these sabbatical objectives will serve to benefit the Art and Design department, the Fine Arts and Communications division, and the broader campus community, as identified by various aspects of the Cerritos College Education Master Plan (EMP), including items A1.5 (Continue and expand efforts to support student acquisition of instructional materials such as the purchase of textbooks), A1.6 (Engage in pedagogical practices that use social capital), A3.3 (Identify and address multiple learning styles (e.g., auditory, visual) among students in both classroom instruction and tutoring), A7.3 (Create a new narrative shared by faculty, staff and all members of the college community that Cerritos College is not only a successful transfer college but has become the preferred stepping stone for many four-year schools), and B1.5 (Investigate the potential of developing new and/or expanding programs based upon current labor market needs).

Service to Cerritos College Students: Students will benefit from the inclusion of new material, ideas, and perspectives introduced into Art 113: Art, Science, and Technology (EMP A1.5, A1.6, A3.3, B1.5). The publications reviewed, institutions visited, and events attended will certainly impact the other courses that I teach as well, including Art 100: World Art, Art 103: Modern and Contemporary Art, Art 105B: Latin American and Caribbean Art, Art/Hum125: Introduction to Visual and Cultural Studies, Art/Hum 200: Special Topics in Visual and Cultural Studies, and Photo 160: History of Photography (EMP A1.5, A1.6, A3.3, B1.5). Individual sections/modules from the free and open online textbook will also be useful reference material for many other courses in the Visual and Cultural Studies program, as well as a number of courses in science and technology that might want to add a cultural component (EMP A1.5 A3.3).

Service to Cerritos College Students and Faculty: New titles in the Cerritos College Library on the intersection of art, science, and technology will expand on current material in the area of Visual and Cultural Studies, offering students

12 and faculty campus-wide access to current and seminal texts that debate and critique interdisciplinary cultural understanding and production (EMP A1.5).

Service to the Department, Division, and Students: During the 2020-2021 school year, I will curate multiple exhibitions at the Cerritos College Art Gallery that will provide students and faculty in the Fine Arts with direct and immediate access to contemporary art projects that operate at the intersections of art, science, and technology (EMP A7.3).

Service to the Cerritos College Community: Each exhibition at the Cerritos College Art Gallery is attended by members of the local community and the broader Southern California art community, in addition to Cerritos students, faculty, and staff. These events introduce students and the college community to local artists, scholars and other cultural producers, including many professors from neighboring universities. The exhibitions that I curate in 2020-2021 (after I return from this period of sabbatical research) will benefit the regular visitors to the Cerritos College Art Gallery and will hopefully expand the disciplinary demographics of the visitors to include more students and community members interested and invested in the crossover of art, science, and technology (EMP A7.3).

VII. REPORT ON SABBATICAL LEAVE

A written report verifying that the objectives of the sabbatical leave have been met will be submitted to the Vice President of Academic Affairs by the end of fall semester 2020.

APPENDIX I: BIBLIOGRAPHY

The “Two Cultures” | Cabinets of Curiosity

Christine Davenne, Cabinets of Wonder (New York: Abrams Press, 2012).

Arthur I. Miller, Colliding Worlds: How Cutting-Edge Science is Redefining Contemporary Art (New York: Norton, 2014).

Charles Percy Snow, The Two Cultures: And a Second Look: An Expanded Version of The Two Cultures and the Scientific Revolution (Cambridge: Cambridge University Press, 1963).

Barbara Maria Stafford, Visual Analogy: Consciousness as the Art of Connecting (Cambridge: The MIT Press, 2001).

Elaine Strosberg, Art and Science (New York: Abbeville Press, 2001).

Lynne Tillman and Marina Warner, Blur of the Otherworldly: Contemporary Art, Technology, and the Paranormal (Baltimore: CADV/UMBC, 2006).

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Variantology 1: On Deep Time Relations of Arts, Sciences and Technologies, eds. Siegfried Zielinski and Silvia Wagnermaier (Koln: Walther Konig, 2007).

Lawrence Weschler, Mr. Wilson's Cabinet of Wonder: Pronged Ants, Horned Humans, Mice on Toast, and Other Marvels of Jurassic Technology (New York: Vintage, 1995).

Scientist as Subject | Artistic Interventions in the Laboratory

Mark Allen and Charlotte Cotton, Machine Project: The Platinum Collection (Munich: Prestel, 2017).

Art and Innovation: The Xerox PARC Artist-in-Residence Program, ed. Craig Harris (Cambridge: The MIT Press, 1999).

Karen Barad, Meeting the Universe Halfway: Quantum Physics and the Entanglement of Matter and Meaning (Durham: Duke University Press, 2007).

Stewart Brand, The Media Lab: Inventing the Future at MIT (New York: Viking, 1987).

Beatriz da Costa, Tactical Biopolitics: Art, Activism, and Technoscience (Cambridge: The MIT Press, 2014).

Lorraine Daston and Peter Galison, Objectivity (London: Zone Books, 2010).

Figuring It Out: Science, Gender, and Visual Culture, eds. Ann Shteir, Bernard Lightman, and Bernard Lightman (Hanover: Dartmouth College Press, 2006).

Sander L. Gilman, Seeing the Insane (Lincoln: University of Nebraska Press, 1996).

Brian Holmes, Critical Art Ensemble: Disturbances (London: Four Corners Books, 2012).

Caroline Jones and Peter Galison, Picturing Science, Producing Art (London: Routledge, 1998).

Bruno Latour and Steve Wollgar, Laboratory Life: The Construction of Scientific Fact (Princeton: Princeton University Press, 1986).

Steven Shapin and Simon Schaffer, Leviathan and the Air-Pump: Hobbes, Boyle, and the Experimental Life (Princeton: Princeton University Press, 2017).

Gregor Sholette and Nato Thompson, The Interventionists: Users' Manual for the Creative Disruption of Everyday Life (Cambridge: The MIT Press, 2006).

Isabelle Stenger, Another Science is Possible: A Manifesto for Slow Science (Malden: Polity, 2018).

14 Techniques of the Observer | Envisioning the Cosmos

Steve F. Anderson, Technologies of Vision: The War Between Data and Images (Cambridge: The MIT Press, 2017).

Hans Belting, Florence and Baghdad: Renaissance Art and Arab Science, trans. Deborah Lucas Schneider (Cambridge: Harvard University Press, 2011).

Jonathan Crary, Techniques of the Observer: On Vision and Modernity in the 19th Century (Cambridge: The MIT Press, 1992).

Linda Dalrymple Henderson, The Fourth Dimension and Non-Euclidean Geometry in Modern Art, 2nd Edition (Cambridge: The MIT Press, 2012).

Interpreting Archaeological Topography; 3D Data, Visualization, and Observation, eds. Rachel Opitz and David Cowley (Oxford: Oxbow, 2013).

Formless: Ways In and Out of Form, eds. Patrick Crowley and Paul Hegarty (Berlin: Peter Lang, 2005).

From Energy to Information: Representation in Science and Technology, Art, and Literature, eds. Bruce Clarke and Linda Dalrymple Henderson (Stanford: Stanford University Press, 2002).

Laura Anne Kalba , Color in the Age of Impressionism: Commerce, Technology, and Art (University Park, University of Pennsylvania Press, 2017)

Martin Kemp, Seen | Unseen: Art, Science, and Intuition from Leonardo to the Hubble Telescope (Oxford: Oxford University Press, 2006).

Howard McCurdy, Space and the American Imagination (Baltimore: Johns Hopkins University Press, 2011).

Lisa Messeri, Placing Outer Space: An Earthly Ethnography of Other Worlds (Durham: Duke University Press, 2016).

Karen O’Rourke, Walking and Mapping: Artists as Cartographers (Cambridge: The MIT Press, 2012).

Sarah Parcak, Satellite Remote Sensing for Archaeology (London: Routledge, 2009).

Lisa Parks, Cultures in Orbit: Satellites and the Televisual (Durham: Duke University Press, 2005).

Sensorium: Embodied Experience, Technology, and Contemporary Art, ed. Caroline Jones (Cambridge: The MIT Press, 2006).

15 Shawn Michelle Smith, At the Edge of Sight: Photography and the Unseen (Durham: Duke University Press, 2013).

Vision and Its Instruments: Art, Science, and Technology in Early Modern Europe, ed. Alina Payne (University Park: University of Pennsylvania Press, 2015).

Visual Cultures of Science: Rethinking Representational Practices in Knowledge Building and Science Communication, ed. Luc Pauwels (Hanover: Dartmouth University Press, 2006).

The Machine Aesthetic | Art + Technology

Jasper Bernes, The Work of Art in the Age of Deindustrialization (Stanford: Stanford University Press, 2017).

Andreas Broeckmann, Machine Art in the Twentieth Century (Cambridge: The MIT Press, 2016).

E.A.T.: Experiments in Art and Technology, ed. Sabine Breitweiser (Koln: Walther Konig, 2016).

Noam M. Elcott, Artificial Darkness: An Obscure History of Modern Art and Media (Chicago: University of Chicago Press, 2016).

Electronic Superhighway: From Experiments in Art and Technology to Art after the Internet, eds. Omar Kholeif, Emily Butler, and Seamus McCormack (London: Whitechapel, 2016).

Pierre Francastel, Art and Technology in the Nineteenth and Twentieth Centuries (New York: Zone Books, 2003).

Charlie Gere, Art, Time, and Technology (Oxford: Berg, 2006).

Valerie Hillings and Daniel Birnbaum, ZERO: Countdown to Tomorrow, 1950s-60s (New York: Guggenheim Museum, 2014).

Elaine S. Hochman, Bauhaus: Crucible of Modernism (New York: Fromm, 1997). R.L. Rutsky, High Techne: Art and Technology from the Machine Aesthetic to the Posthuman (Minneapolis: University of Minnesota Press, 1999).

Italian Futurism, 1909-1944: Reconstructing the Universe (New York: Guggenheim Museum, 2014).

Inventing Abstraction, 1910-1925: How a Radical Idea Changed Modern Art (New York: Thames and Hudson, 2013).

Siegfried Kracauer, The Mass Ornament: Weimar Essays, trans. Thomas Levin (Cambrdige: Harvard University Press, 2005).

16 The Leonardo Almanac: International Resources in Art, Science, and Technology, ed. Craig Harris (Cambridge: ISAST, 1993).

Moholy-Nagy: Future Present, eds. Matthew Witkovsky, Carol Eliel, and Karole Vail (Chicago: Art Institute of Chicago, 2016).

Keely Orgeman, Lumia: Thomas Wilfred and the Art of Light (New Haven: Yale University Press, 2017).

Stephen Petersen, Space-Age Aesthetics: Lucio Fontana, Yves Klein, and the Postwar European Avant-Garde (University Park: Pennsylvania State University Press, 2009).

Phenomenal: California Light, Space, Surface, ed. Robin Clark (Berkeley: University of California Press, 2011).

T’ai Smith, Bauhaus Weaving Theory: From Feminine Craft to Mode of Design (Minneapolis: University of Minnesota Press, 2014).

Charissa Terranova, Automotive Prosthetic: Technological Mediation and the Car in Conceptual Art (Austin: University of Texas Press, 2014).

Maurice Tuchman, A Report on the Art and Technology Program of the Los Angeles County Museum of Art, 1967-1971 (Los Angeles: LACMA, 1971).

Women, Art, and Technology, ed. Judy Malloy (Cambridge: The MIT Press, 2003).

Video Art

Abstract Video: The Moving Image in Contemporary Art, ed. Gabrielle Jennings (Berkeley: University of California Press, 2015).

Ina Blom, The Autobiography of Video: The Life and Times of a Memory Technology (Berlin: Sternberg Press, 2016).

California Video: Artists and Histories, ed. Glenn Phillips (Los Angeles: Getty Research Institute, 2008).

Dreamlands: Immersive Cinema and Art, 1905–2016, ed. Chrisse Iles (New York: Whitney Museum, 2016).

John G. Hannardt, The Worlds of Nam June Paik (New York: Guggenheim, 2000).

Lucas Hilderbrand, Inherent Vice: Bootleg Histories of Videotape and Copyright (Durham: Duke University Press, 2009).

17 Illuminating Videos: An Essential Guide to Video Art, eds. Doug Hall and Sally Jo Fifer (San Francisco: Aperture, 2005).

Jeffrey Sconce, Haunted Media: Electronic Presence from Telegraphy to Television (Durham: Duke University Press, 2000).

The Screen Media Reader: Culture, Theory, Practice, ed. Stephen Monteiro (London: Bloomsbury, 2017).

Yvonne Spielmann, Video: The Reflexive Medium (Cambridge: The MIT Press, 2007).

Gloria Sutton, The Experience Machine: Stan VanDerBeek’s Movie-Drome and Expanded Cinema (Cambridge: The MIT Press, 2014).

Pasi Valiaho, Biopolitical Screens: Image, Power, and the Neoliberal Brain (Cambridge: The MIT Press, 2014).

Nanna Verhoeff, Mobile Screens: The Visual Regime of Navigation (Amsterdam: Amsterdam University Press, 2012).

Helen Westgeest, Video Art Theory: A Comparative Approach (London: Wiley-Blackwell, 2015).

Imagining the Future | Science Fictions | Speculative Design

Afrofuturism 2.0: The Rise of Astro-Blackness, eds. Reynaldo Anderson and Charles Jones (Minneapolis: Lexington Books, 2017).

Franco Bernardi Bifo, After the Future (Oakland: AK Press, 2011).

The Black Imagination: Science Fiction, Futurism, and the Speculative, eds. Sandra Jackson and Julie Moody-Freeman (New York: Peter Lang, 2011).

Anthony Dunne and Fiona Raby, Speculative Everything: Design, Fiction, and Social Dreaming (Cambridge: The MIT Press, 2013).

David William Foster, El Eternauta, Daytripper, and Beyond: Graphic Narrative in Argentina and Brazil (Austin: University of Texas Press, 2016).

Boris Groys, Russian Cosmism (Cambridge: The MIT Press, 2018).

Caroline Jones, The Global Work of Art: World's Fairs, Biennials, and the Aesthetics of Experience (Chicago: University of Chicago Press, 2017).

Rob Latham, Science Fiction Criticism (London: Bloomsbury, 2017).

18 Nick Montfort, The Future (Cambridge: The MIT Press, 2017).

Sarah J. Montross, Past Futures: Science Fiction, Space Travel, and Postwar Art of the Americas (Cambridge: The MIT Press, 2015).

Mundos Alternos: Art and Science Fiction in the Americas, eds. Tyler Stallings, Robb Hernandez, and Joanna Szupinska-Myers (Riverside: UCR ArtsBlock, 2017).

Jose Esteban Munoz, Cruising Utopia: The Then and There of Queer Futurity (New York: New York University Press, 2009).

Victor Papanek, Design for the Real World: Human Ecology and Social Change (Chicago: Chicago Review Press, 2005).

Nathan Shedroff and Christopher Noessel, Make It So: Interaction Design Lessons from Science Fiction (New York: Rosenfeld Media: 2012).

Simultaneous Worlds: Global Science Fiction Cinema, eds. Jennifer L. Feeley and Sarah Ann Wells (Minneapolis: University of Minnesota Press, 2015).

Nick Srnicek and Alex Williams, Inventing the Future: Postcapitalism and a World Without Work (London: Verso, 2015).

Jay Strongman, Steampunk: The Art of Victorian Futurism (London: Korero Press, 2011).

The Tale of Tomorrow: Utopian Architecture in the Modernist Realm, eds. Sofia Borges and Sven Ehmann (Berlin: Gestalten, 2016).

Thomas Van Parys, Science Fiction Across Media (Canterbury: Glyphi Limited, 2013).

Animal Studies | Ecological Art | The Anthropocene

Giovanni Aloi, Speculative Taxidermy: Natural History, Animal Surfaces, and Art in the Anthropocene (New York: Columbia University Press, 2018).

Animism in Art and Performance, ed. Christopher Braddock (Basingstoke: Palgrave, 2017).

Arts of Living on a Damaged Planet: Ghosts and Monsters of the Anthropocene, eds. Anna Tsing, Heather Swanson, Elaine Gan, and Nils Bubandt (Minneapolis: University of Minnesota Press, 2017.

Steve Baker, Artist | Animal (Minneapolis: University of Minnesota Press, 2013).

Jane Bennett, Vibrant Matter: A Political Ecology of Things (Durham: Duke University Press, 2010).

19 Daniela Bleichmar, Visible Empire: Botanical Expeditions and Visual Culture in the Hispanic Enlightenment (Chicago: University of Chicago Press, 2012).

Amanda Boetzkes, The Ethics of Earth Art (Minneapolis: University of Minnesota Press, 2010).

Ian Bogost, Alien Phenomenology: or What It’s Like to be a Thing (Minneapolis: University of Minnesota Press, 2012).

David Brafman and Stephanie Schrader, Insects and Flowers: The Art of Maria Sibylla Merian (Los Angeles: Getty Museum, 2008). Matthew Brower, Developing Animals: Wildlife and Early American Photography (Minneapolis: University of Minnesota Press, 2011).

Matthew Calarco, Thinking Through Animals: Identity, Difference, Indistinction (Stanford: Stanford University Press, 2015).

Mel Y. Chen, Animacies: Biopolitics, Racial Mattering, and Queer Affect (Durham: Duke University Press, 2012).

Critical Landscapes: Art, Space, Politics, eds. Emily Eliza Scott and Kirsten Swenson (Oakland: University of California Press, 2015).

Heather Davis and Etienne Turpin, Art in the Anthropocene: Encounters Among Aesthetics, Politics, Environments and Epistemologies (New York: Anexact, 2015).

Didier Debaise, Nature as Event: The Lure of the Possible (Durham: Duke University Press, 2017).

Margo DeMello, Animals and Society: An Introduction to Human-Animal Studies (New York: Columbia University Press, 2012).

T. J. Demos, Decolonizing Nature: Contemporary Art and the Politics of Ecology (Berlin: Sternberg Press, 2016).

Elizabeth Grosz, Chaos, Territory, Art: Deleuze and the Framing of the Earth (New York: Columbian University Press, 2008).

Donna Haraway, When Species Meet (Minneapolis: University of Minnesota Press, 2007).

Donna Haraway, Staying with the Trouble: Making Kin in the Chthulucene (Durham: Duke University Press, 2016).

Ursula K. Heise, Imagining Extinction: The Cultural Meanings of Endangered Species (Chicago: University of Chicago Press, 2016).

Eduardo Kac, Signs of Life: BioArt and Beyond (Cambridge: The MIT Press, 2007).

20 Eduardo Kohn, How Forests Think: Toward an Anthropology Beyond the Human (Berkeley: University of California Press, 2013).

Michael Lawrence and Laura McMahon, Animal Life and the Moving Image (London: British Film Institute, 2015).

Lucy Lippard, Undermining: A Wild Ride Through Land Use, Politics, and Art in the Changing West (New York: The New Press, 2014).

Akira Mizuta Lippit, Electric Animal: Toward a Rhetoric of Wildlife (Minneapolis: University of Minnesota, 2000).

Timothy Morton, Humankind: Solidarity with Nonhuman People (London: Verso, 2017).

Reza Negarestani, Cyclonopedia: Complicity with Anonymous Materials (Melbourne: Re.Press, 2008).

James Nisbet, Ecologies, Environments, and Energy Systems in Art of the 1960s and 1970s (Cambridge: The MIT Press, 2014).

Jussi Parikka, Insectmedia: An Archaeology of Animals and Technology (Minneapolis: University of Minnesota Press, 2010).

Anat Pick, Creaturely Poetics: Animality and Vulnerability in Literature and Film (New York: Columbia University Press, 2011).

Nato Thompson, Becoming Animal: Contemporary Art in the Animal Kingdom (Cambridge: The MIT Press, 2005).

Visions of Empire: Voyages, Botany, and Representations of Nature, David Philip Miller and Peter Hanns Reill (Cambridge: Cambridge University Press, 2011).

Medical Imaging | The Cyborg and the Post-Human

Artificial Parts, Practical Lives: Modern Histories of Prosthetics, eds. Katherine Ott, David Serlin, and Stephen Mihm (New York: New York University Press, 2002).

Matthew Biro, The Dada Cyborg: Visions of the New Human in Weimar Berlin (Minneapolis: University of Minnesota Press, 2009).

Lisa Cartwright, Screening The Body: Tracing Medicine’s Visual Culture (Minneapolis: University of Minnesota Press, 1995).

Muriel Combes, Gilbert Simondon and the Philosophy of the Transindividual, trans. Thomas LaMarre (Cambridge: The MIT Press, 2013).

21 Cultural Studies: Medicine and Media, ed. Lester Friedman (Durham: Duke University Press, 2004).

Matthew Gladden, Sapient Circuits and Digitalized Flesh: The Organization as Locas of Technological Posthumanism (Indianapolis: Synthypnion Press, 2016).

N. Katherine Hayles, How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics (Chicago: University of Chicago Press, 1999).

William J. Mitchell, The Cyborg Self and the Networked City (Cambridge: The MIT Press, 2003).

Kirsten Ostherr, Medical Visions: Producing the Patient Through Film, Television, and Imaging Technologies (Oxford: Oxford University Press, 2013).

David Parisi, Archaeologies of Touch: Interfacing with Haptics from Electricity to Computing (Minneapolis: University of Minnesota Press, 2018).

Simon Penny, Making Sense: Cognition, Computing, Art, and Embodiment (Cambridge: The MIT Press, 2017).

Dominic Pettman, Human Error: Species-Being and Media Machines (Minneapolis: University of Minnesota Press, 2011).

Post- and Transhumanism: An Introduction, eds. Robert Ranisch and Stefan Lorenz Sorgner (Frankfurt am Main: Peter Lang, 2014).

The Prosthetic Impulse: From a Posthuman Present to a Biocultural Future, eds. Marquard Smith and Joanne Morra (Cambridge: The MIT Press, 2007).

Prosthetic Territories: Politics and Hypertechnologies, eds. Gabriel Brahm and Mark Driscoll (Boulder: Westview Press, 1995).

Anson Rabinbach, The Human Motor: Energy, Fatigue, and the Origins of Modernity (Los Angeles: University of California Press, 1992).

Sk-interfaces: Exploring Borders – Creating Membranes in Art, Technology, and Society, ed. Jens Hauser (Liverpool: Liverpool University Press, 2008).

Barbara Maria Stafford, Body Criticism: Imaging the Unseen in Enlightenment Art and Medicine (Cambridge: The MIT Press, 1993).

Stelarc: A Monograph, eds. Marquard Smith and Craig Palmer (Cambridge: The MIT Press, 2007).

22 Adrian Thomas and Arpan Banerjee, The History of Radiology (Oxford: Oxford University Press, 2013).

Jose van Dijck, The Transparent Body: A Cultural Analysis of Medical Imaging (Seattle: University of Washington Press, 2005).

Bernadette Wegenstein, Getting Under the Skin: Body and Media Theory (Cambridge: The MIT Press, 2006).

Alexander Weheliye, Habeas Viscus: Racializing Assemblages, Biopolitics, and Black Feminist Theories of the Human (Durham: Duke University Press, 2014).

Robotics | Artificial Intelligence

Ethem Alpaydin, Machine Learning: The New AI (Cambridge: The MIT Press, 2016).

Karel Capek, R.U.R. (Rossum’s Universal Robots) (New York: Penguin Classics, 2004).

Amir Husain, The Sentient Machine: The Coming Age of Artificial Intelligence (New York: Scribner, 2017).

Minsoo Kang, Sublime Dreams of Living Machines: The Automaton in the European Imagination (Cambridge: Harvard University Press, 2011).

Life in the Age of Drone Warfare, eds. Lisa Parks and Caren Kaplan (Durham: Duke University Press, 2017).

Adrian Mackenzie, Machine Learners: Archaeology of a Data Practice (Cambridge: The MIT Press, 2017).

Robots and Art: Exploring an Unlikely Symbiosis, eds. Damith Herath, Christina Kroos, and Stelarc (New York: Springer, 2016).

The Robot in the Garden: Telerobotics and Telepistomology in the Age of the Internet, ed. Ken Goldberg (Cambridge: The MIT Press, 2000).

E.R. Truitt, Medieval Robots: Mechanism, Magic, Nature, and Art (University Park: University of Pennsylvania Press, 2016).

Janet Vertesi, Seeing Like a Rover: How Robots, Teams, and Images Craft Knowledge of Mars (Chicago: University of Chicago Press, 2015).

Adelheid Voskuhl, Androids in the Enlightenment: Mechanics, Artisans, and Cultures of the Self (Chicago: University of Chicago Press, 2013).

23 Norbert Weiner, Cybernetics: Or the Control and Communication in the Animal and the Machine (London: Martino Books, 2013).

Joanna Zylinska, Nonhuman Photography (Cambridge: The MIT Press, 2017).

Algorithmic Art | Data Visualization

Jacques Bertin, Semiology of Graphics: Diagrams, Networks, Maps (Redlands: ESRI Press, 2010).

Database Aesthetics: Art in the Age of Information Overflow, ed. Victoria Vesna (Minneapolis: University of Minnesota Press, 2008).

Johanna Drucker, Graphesis: Visual Forms of Knowledge Production (Cambridge: Harvard University Press, 2014).

Ed Finn, What Algorithms Want: Imagination in the Age of Computing (Cambridge: The MIT Press, 2017).

Orit Halpern, Beautiful Data: A History of Vision and Reason since 1945 (Durham: Duke University Press, 2015).

N. Katherine Hayles, Writing Machines (Cambridge: The MIT Press, 2002).

Carolyn L. Kane, Chromatic Algorithms: Synthetic Color, Computer Art, and Aesthetics after Code (Chicago: University of Chicago Press, 2014).

Manuel Lima, Visual Complexity: Mapping Patterns of Information (Princeton: Princeton University Press, 2013).

Mainframe Experimentalism: Early Computing and and the Foundations of the Digital Arts, eds. Hannah Higgins and Douglas Kahn (Berkeley: University of California Press, 2012).

Lev Manovich, Software Takes Command (London: Bloomsbury, 2013).

Armin Medosch, New Tendencies: Art at the Threshold of the Information Revolution, 1961- 1978 (Cambridge: The MIT Press, 2016).

Eve Meltzer, Systems We Have Loved: Conceptual Art, Affect, an the Antihumanist Turn (Chicago: University of Chicago Press, 2013).

Franco Moretti, Distant Reading (London: Verso, 2013).

Zabet Patterson, Peripheral Vision: Bell Labs, the S-C 4020, and the Origins of Computer Art (Cambridge: The MIT Press, 2015).

24

Photoviz: Visualizing Information through Photography, eds. Nicholas Felton and Sven Ehmann (Berlin: Gestalten, 2016).

Tom Sito, Moving Innovation: A History of Computer Animation (Cambridge: The MIT Press, 2015).

Stephen Ramsay, Reading Machines: Toward an Algorithmic Criticism (Urbana: University of Illinois Press, 2011).

Systems, ed. Edward Shaken (Cambridge: The MIT Press, 2015). Grant Taylor, When the Machine Made Art: The Troubled History of Computer Art (New York: Bloomsbury, 2014).

Edward Tufte, The Visual Display of Quantitative Information (New York: Graphics Press, 2001).

White Heat, Cold Logic: British Computer Art, 1960-1980, eds. Paul Brown, Charlie Gere, Nicholas Lambert, and Catherine Mason (Cambridge: The MIT Press, 2008).

Nathan Yau, Visualize This: The Flowing Data Guide to Design, Visualization, and Statistics (London: Wiley, 2011).

Social Media | (Dis)Information | Surveillance Studies

Astro Noise: A Survival Guide for Living Under Total Surveillance, ed. Laura Poitras (New York: Whitney Museum of American Art, 2016).

Grant Bollmer, Inhuman Networks: Social Media and the Archaeology of Connection (London: Bloomsbury, 2018).

Simone Browne, Dark Matters: On the Surveillance of Blackness (Durham: Duke University Press, 2015).

Finn Brunton and Helen Nissenbaum, Obfuscation: A User’s Guide for Privacy and Protest (Cambridge: The MIT Press, 2015).

Wendy Hui Kyong Chun, Updating to Remain the Same: Habitual New Media (Cambridge: The MIT Press, 2016).

Patricia Ticineto Clough, The User Unconscious: On Affect, Media, and Measure (Minneapolis: University of Minnesota Press, 2018).

Critical Digital Studies: A Reader, eds. Arthur and Marilouise Kroker (Toronto: University of Toronto Press, 2008).

25 Ronald E. Day, Indexing It All: The [Subject] in the Age of Documentation, Information, and Data (Cambridge: The MIT Press, 2014).

Jodi Dean, Blog Theory: Feedback and Capture in the Circuits of Drive (Malden: Polity, 2010).

Abigail De Kosnik, Rogue Archives: Digital Cultural Memory and Media Fandom (Cambridge: The MIT Press, 2016).

Wolfgang Ernst, Digital Memory and the Archive (Minneapolis: University of Minnesota Press, 2013).

Feminist Surveillance Studies, eds. Rachel E. Dubrofsky and Shoshana Amielle Magnet (Durham: Duke University Press, 2015).

Matthew Fuller and Andrew Goffey, Evil Media (Cambridge: The MIT Press, 2012).

Alexander Galloway, Protocol: How Control Exists after Decentralization (Cambridge: The MIT Press, 2004).

Alexander Galloway and Eugene Thacker, The Exploit: A Theory of Networks (Minneapolis: University of Minnesota Press, 2007).

Gabriella Giannachi, Archive Everything: Mapping the Everyday (Cambridge: The MIT Press, 2016).

Martin Hand, Ubiquitous Photography (Malden: Polity, 2012).

Katharine Harmon, You Are Here: Personal Geographies and Other Maps of the Imagination (Princeton: Princeton University Press, 2003).

Interaction: Artistic Practice in the Network, eds. Amy Scholder and Jordan Crandall (New York: DAP, 2001).

Henry Jenkins, Fans, Bloggers, and Gamers: Exploring Participatory Culture (New York: New York University Press, 2006).

David Lyon, Surveillance After Snowden (Malden: Polity, 2015).

Farhad Manjoo, True Enough: Learning to Live in a Post-Fact Society (New York: Wiley, 2008).

Ana Munster, An Aesthesia of Networks: Conjunctive Experience in Art and Technology (Cambridge: The MIT Press, 2013).

Angela Nagle, Kill All Normies: Online Culture Wars from 4Chan and Tumblr to Trump and the Alt-Right (Alresford: Zero Books, 2017).

26

Cathy O’Neil, Weapons of Math Destruction: How Big Data Increases Inequality and Threatens Democracy (New York: Crown Publishing, 2017).

Mark Poster, Information Please: Culture and Politics in the Age of Digital Machines (Durham: Duke University Press, 2006).

Routledge Handbook of Surveillance Studies, eds. Kirstie Ball, Kevin Haggerty, David Lyon (London: Routledge, 2014).

Tony D. Sampson, Virality: Contagion Theory in the Age of Networks (Minneapolis: University of Minnesota Press, 2012).

Social Media Archaeology and Poetics, ed. Judy Malloy (Cambridge: The MIT Press, 2016).

Sven Spieker, The Big Archive: Art from Bureaucracy (Cambridge: The MIT Press, 2008).

Theorizing Surveillance: The Panopticon and Beyond, ed. David Lyon (Portland: Willan Publishing, 2006).

Grant Vetter, The Architecture of Control: A Contribution to the Science of Apparatuses (Alresford: Zero Books, 2012).

Kevin Young, Bunk: The Rise of Hoaxes, Humbug, Plagiarists, Phonies, Post-Facts, and Fake News (Minneapolis: Graywolf Press, 2017).

Net Art | Video Games | Virtual/Augmented Reality

Espen Aarseth, Cybertext: Prespectives on Ergodic Literature (Baltimore: Johns Hopkins University Press, 1997).

Ars Electronica: Facing the Future, eds. Timothy Druckrey with Ars Electronica (Cambridge: The MIT Press, 1999).

Roy Ascott, Telematic Embrace: Visionary Theories of Art, Technology, and Consciousness, ed. Edward Shanken (Berkeley: University of California Press, 2003).

Steve Benford and Gabriella Giannachi, Performing Mixed Reality (Cambridge: The MIT Press, 2011).

Michael Betancourt, Glitch Art in Theory and Practice: Critical Failures and Post-Digital Aesthetics (London: Routledge, 2016).

Ian Bogost, Unit Operations: An Approach to Videogame Criticism (Cambridge: The MIT Press, 2006).

27 Alfie Brown, The Playstation Dreamworld (Malden: Polity, 2017).

Vito Campanelli, Web Aesthetics: How Digital Media Affect Culture and Society (Rotterdam: NAi Publishers, 2010).

Geoff Cox and Alex McLean, Speaking Code: Coding as Aesthetic and Political Expression (Cambridge: The MIT Press, 2012).

Tristan Donovan, Replay: The History of Video Games (London: Yellow Ant, 2010).

Paul Dourish, Where the Action Is: The Foundations of Embodied Interaction (Cambridge: The MIT Press, 2001).

Experience: Culture, Cognition, and the Common Sense, eds. Caroline Jones, Rebecca Uchill, and David Mather (Cambridge: The MIT Press, 2016).

First Person: New Media as Story, Performance, and Game, eds. Noah Wardrip-Fruin and Pat Harrigan (Cambridge: The MIT Press, 2006).

Mary Flanagan, Critical Play: Radical Game Design (Cambridge: The MIT Press, 2013).

Rozita Fogelman, ASCII: Graphic Glitch Art (Scotts Valley: CreateSpace, 2013)

Alexander Galloway, Gaming: Essays on Algorithmic Culture (Minneapolis: University of Minnesota Press, 2006).

Charlie Gere, Digital Culture (London: Reaktion, 2002).

Beryl Graham and Sarah Cook, Curating New Media Art (Cambridge: The MIT Press, 2010).

Guy Debord and the Situationist International: Texts and Documents, ed. Tom McDonough (Cambrdige: The MIT Press, 2004).

Ken Hillis, Digital Sensations: Space, Identity, and Embodiment in Virtual Reality (Cambridge; The MIT Press, 1999).

Dale Hudson and Patricia R. Zimmermann, Thinking Through Digital Media: Transnational Environments and Locative Places (New York: Palgrave, 2015).

Eleni Ikoniadou, The Rhythmic Event: Art, Media, and the Sonic (Cambrdige: The MIT Press, 2014).

Steven E. Jones and George K. Thiruvathukal, Codename Revolution: The Nintento Wii Platform (Cambridge: The MIT Press, 2012).

28 Geoff King and Tanya Krzywinska, Tomb Raiders and Space Invaders: Videogame Forms and Contexts (London: I.B. Taurus, 2006).

Graeme Kirkpatrick, Aesthetic Theory and the Video Game (Manchester: University of Manchester Press, 2011).

Peter Krapp, Noise Channels: Glitch and Error in Digital Culture (Minneapolis: University of Minnesota Press, 2011).

Lev Manovich, The Language of New Media (Cambridge: The MIT Press, 2001).

Mass Effect: Art and the Internet in the Twenty-First Century, eds. Lauren Cornell and Ed Halter (Cambridge: The MIT Press, 2015).

Kate Mondloch, A Capsule Aesthetic: Feminist Materialisms in New Media Art (Minneapolis: University of Minnesota Press, 2018).

Nick Montfort, Twisty Little Passages: An Approach to Interactive Fiction (Cambridge: The MIT Press, 2005).

Nick Montfort and Ian Bogost, Racing the Beam: The Atari Video Computer System (Cambridge: The MIT Press, 2009).

Multimedia from Wagner to Virtual Reality, eds. Randall Packer and Ken Jordan (New York: Norton, 2001).

Anna Munster, Materializing New Media: Embodiment in Information Aesthetics (Hanover: Dartmouth University Press, 2006).

Soraya Murray, On Video Games: The Visual Politics of Race, Gender, and Space (London: I.B. Taurus, 2017).

Participation, ed. Claire Bishop (Cambridge: The MIT Press, 2006).

Phillip Penix-Tadsen, Cultural Code: Video Games and Latin America (Cambridge: The MIT Press, 2016).

Practicable: From Participation to Interaction in Contemporary Art, eds. Samuel Bianchini and Erik Verhagen (Cambridge: The MIT Press, 2016).

Queer Game Studies, eds. Bonnie Ruberg and Adrienne Shaw (Minneapolis: University of Minnesota Press, 2017).

Michael Rush, New Media in Art (London: Thames & Hudson, 2005).

Edward A. Shanken, Art and Electronic Media (London: Phaidon Press, 2014).

29

Adrienne Shaw, Gaming at the Edge: Sexuality and Gender at the Margins of Gamer Culture (Minneapolis: University of Minnesota Press, 2014).

Nathaniel Stern, Interactive Art and Embodiment: The Implicit Body as Performance (Canterbury: Glyphi Limited, 2013).

Hito Steryl, The Wretched of the Screen (Berlin: Sternberg Press, 2015).

T.L. Taylor, Play Between Worlds: Exploring Online Gaming Culture (Cambridge: The MIT Press, 2009).

The Video Game Theory Reader, eds. Mark Wolf and Bernard Perron (New York: Routledge, 2003).

Noah Wardrip-Fruin, Expressive Processing: Digital Fictions, Computer Games, and Software Studies (Cambridge: The MIT Press, 2009).

Zones of Control: Perspectives on Wargaming, eds. Pat Harrigan, Matthew Kirschenbaum, Henry Lowood, and Raiford Guins (Cambridge: The MIT Press, 2016)

Digital Humanities | Cultural Analytics | Software Studies

Anne Burdick, Johanna Drucker, Peter Lunenfeld, Todd Presner, and Jeffrey Schnapp, Digital_Humanities (Cambridge: The MIT Press, 2012).

The Datafied Society: Studying Culture through Data, eds. Mirko Tobias Schäfer and Karin Van Es (Amsterdam: Amsterdam University Press, 2017).

Matthew Fuller, Software Studies: A Lexicon (Cambridge: The MIT Press, 2008).

Shawn Graham, Exploring Big Historical Data: The Historian's Macroscope (London: Imperial College Press, 2015).

Yuk Hui, On the Existence of Digital Objects (Minneapolis: University of Minnesota Press, 2017).

Making Things and Drawing Boundaries: Experiments in the Digital Humanities, ed. Jentery Sayers (Minneapolis: University of Minnesota Press, 2018).

Museum and Archive on the Move: Changing Cultural Institutions in the Digital Age, ed. Oliver Gau (Berlin: Walter De Gruyter, 2017).

A New Companion to Digital Humanities, eds. Susan Schreibman, Ray Siemens, and John Unsworth (London: Wiley-Blackwell, 2016).

30 The "Public" Life of Photographs, ed. Thierry Gervais (Cambridge: The MIT Press, 2016).

Re-Collection: Art, New Media, and Social Memory, eds. Richard Rinehart and Jon Ippolito (Cambridge: The MIT Press, 2014).

Geoffrey Rockwell and Stefan Sinclair, Hermeneutica: Computer-Assisted Interpretation in the Humanities (Cambridge: The MIT Press, 2016).

Hito Steyerl, Duty Free Art: Art in the Age of Planetary Civil War (London: Verso, 2017).

Theorizing Digital Cultural Heritage: A Critical Discourse, eds. Fiona Cameron and Sarah Kenderdine (Cambridge: The MIT Press, 2007).

Media Archaeologies | Materialist Infrastructures

Benjamin H. Bratton, The Stack: On Software and Sovereignty (Cambridge: The MIT Press, 2015).

Keller Easterling, Extrastatecraft: The Power of Infrastructure Space (London: Verso, 2016).

Matthew Fuller, Media Ecologies: Materialist Energies in Art and Technoculture (Cambridge: The MIT Press, 2005).

Lisa Gitelman, Always Already New: Media, History, and the Data of Culture (Cambridge: The MIT Press, 2006).

Lisa Gitelman, Paper Knowledge: Toward a Media History of Documents (Durham: Duke University Press, 2014).

Tung-Hui Hu, A Prehistory of the Cloud (Cambridge: The MIT Press, 2016).

Erkki Huhtamo, Illusions in Motion: Media Archaeology of the Moving Panorama and Related Spectacles (Cambridge: The MIT Press, 2012).

Friedrich Kittler, Gramophone, Film, Typewriter, trans. Geoffrey Winthrop-Young and Michael Wutz (Stanford: Stanford University Press, 1999).

Friedrich Kittler, Optical Media: Berlin Lectures 1999, trans. Anthony Enns (Malden: Polity Press, 2010).

Media Archaeology: Approaches, Applications, and Implications, eds. Erkki Huhtamo and Jussi Parikka (Berkeley: University of California Press, 2011).

MediaArtHistories, ed. Oliver Grau (Cambridge: The MIT Press, 2006).

31 Shannon Mattern, Code + Clay … Data + Dirt: Five Thousand Years of Urban Media (Minneapolis: University of Minnesota Press, 2017).

Jussi Parikka, Digital Contagions: A Media Archaeology of Computer Viruses (Berlin: Peter Lang, 2007).

Jussi Parriki, A Geology of Media (Minneapolis: University of Minnesota Press, 2015).

Photography's Other Histories (Objects/Histories), eds. Christopher Pinney and Nicolas Peterson (Durham: Duke University Press, 2003).

Signal Traffic: Critical Studies of Media Infrastructures, eds. Lisa Parks and Nicole Starosielski (Urbana: University of Illinois Press, 2015).

Barbara Maria Stafford, Devices of Wonder: From the World in a Box to Images on a Screen (Los Angeles: Getty Research Institute, 2001).

Nicole Starosielski, The Undersea Network (Durham: Duke University Press, 2015).

Siegfried Zielinski, Deep Time of the Media: Toward an Archaeology of Hearing and Seeing by Technical Means (Cambridge: The MIT Press, 2006).

APPENDIX II: INSTITUTIONS

CAL ARTS Art and Technology Program 24700 McBean Parkway, Valencia, California 91355 https://art.calarts.edu/programs/art-and-technology

LACMA Art + Technology LAB 5905 Wilshire Boulevard, Los Angeles, CA 90036 http://www.lacma.org/LAB

La Sierra World Museum of Natural History 4500 Riverwalk Parkway, Riverside, CA 92505 https://lasierra.edu/world-museum-of-natural-history

Michael Heizer’s Double Negative Carp Elgin Rd, Overton, Nevada https://www.moca.org/visit/double-negative

Museum of Jurassic Technology 9341 Venice Blvd, Culver City, CA 90232 http://www.mjt.org

32 NASA Jet Propulsion Lab 4800 Oak Grove Drive, Pasadena, CA 91109 http://jpl.nasa.gov

Robert Smithson’s Spiral Jetty N Golden Spike Loop, Great Salt Lake, UT https://www.diaart.org/visit/visit/robert-smithson-spiral-jetty

UC Irvine Beall Center for Art and Technology Claire Trevor School of the Arts, 712 Arts Plaza, Irvine, CA 92697 http://beallcenter.uci.edu

UCLA Center for Digital Humanities 337 Charles Young Dr, 1020 Public Affairs Bldg, Los Angeles, CA 90095 https://cdh.ucla.edu

UCLA Huhtamo Collection and Archive of Media Archaeology Broad Art Center, 240 Charles Young Dr, Los Angeles, CA 90095 http://www.erkkihuhtamo.com/collection

UCLA SCI | Art Center & Lab Broad Art Center, 240 Charles Young Dr, Los Angeles, CA 90095 http://artsci.ucla.edu

UCR Eaton Collection of Science Fiction and Fantasy 900 University Ave, Riverside, CA 92521 http://eaton.ucr.edu

UC San Diego CALIT2 9500 Gilman Dr, La Jolla, CA 92093 http://www.calit2.net

UC San Diego Speculative Design Program 9500 Gilman Dr. La Jolla, CA 92093 https://visarts.ucsd.edu/undergrad/major-req/spec-design.html

USC Games Lab 3551 Trousdale Pkwy Los Angeles, CA 90089 http://games.usc.edu

USC Visual Studies Research Institute 3551 Trousdale Pkwy Los Angeles, CA 90089 https://dornsife.usc.edu/vsri

33 APPENDIX III: EVENTS

Currents New Media Festival 2019 https://currentsnewmedia.org

Eaton Science Fiction Conference 2019 http://eatonconference.ucr.edu

Fulcrum Arts Art x Science AxS Symposium 2019 https://www.fulcrumarts.org/axs-symposia

LASER Talks (Monthly) @ UCI Beall Center for Art and Technology http://beallcenter.uci.edu/laser-talks

LASER Talks (Monthly) @ UCLA SCI | ART Center http://artsci.ucla.edu/art-sci-events-lasers

Pasadena Art x Science AxS Festival 2020 https://www.axsfestival.org

San Diego Comic Con 2019 https://www.comic-con.org

UC Berkeley Digital Humanities Faire 2019 http://digitalhumanities.berkeley.edu/dh-faire

USC Games Expo 2019 http://games.usc.edu/main/usc-games-expo-2018/

ZERO 1 Art and Technology Events http://www.zero1.org/events-and-talks

34 STATEMENT OF PURPOSE

This report describes the research that I conducted in order to create a new Online Educational Resource (OER) textbook, Disciplinary Entanglements: Exploring the Intersections of Art, Science, and Technology, intended for use in our interdisciplinary Visual & Cultural Studies course on Art, Science, and Technology (Art113). The need for this textbook was two-fold. Firstly, the only previously extant textbook suited to this course was over fifteen years old; hardly an appropriate resource for curriculum dealing with such contemporary issues. Secondly, the cost of textbooks is an obvious impediment to student success and a free OER textbook helps to alleviate that particular obstacle. As an additional benefit, the practical and technical experience I garnered while constructing this textbook has led to a mastery of the USC-based SCALAR platform on which it is hosted, encouraging the composition of textbooks for additional courses going forward, ideally helping to further reduce costs for future students.

As a secondary element of my sabbatical, and in my role as the curator and director of the Cerritos College Art Gallery, I also used my sabbatical time to research for upcoming exhibitions at the Art Gallery, likewise exploring the intersections of Art, Science, and Technology. A majority of this time was taken up by pursuing a Research Grant from the Getty Foundation a part of their next Pacific Standard Time (PST) Initiative (Art x Science x LA). The time involved in such a rigorous proposal process had previously precluded Cerritos from participating, but my sabbatical period finally allowed for participation this particular cycle. Sadly, while our proposed exhibition, Anthropos Seen: Exploring Human Intra-Actions with Botanical Agents in Contemporary Art, did make it passed the first round of the application process (a success in itself), it was denied in the final round. With over one hundred and fifty applicant institutions and only a small number ultimately accepted, this result was not too surprising. But, the process did put Cerritos College on the radar of the Getty for future possible partnerships and, in fact, at the end of last Fall, the Getty Research Institute reached out to request a copy of our unique Fall 2020 exhibition-in-a-box, Hindsight is 2020: Dispatches from the Edge of an Apocalypse, which I curated in response to the major events of the last year, for their permanent collections. In addition, the work put in to preparing the proposed exhibition, Anthropos Seen, is not in vein as the exhibition can still be produced regardless of the Getty’s funding and it will likely be added to our exhibition rotation schedule once the COVID restrictions allow for a physical return to the Art Gallery.

Finally, while in the process of researching for my various sabbatical projects, I was invited to present my own research at the academic conference, Just Futures, held at Oregon State University in November 2019, and selected to have my own academic writing included in an academic publication, Algorithmic Culture, which was published in November 2020. The additional research I conducted for these unexpected opportunities, as well as the personal contacts that I made in the process of producing these tangential projects, found its way back into the sabbatical projects on which I was already working, most significantly within the content of the OER textbook.

35

OBJECTIVES AND OUTCOMES

OER Textbook: Disciplinary Entanglements

A primary objective during my sabbatical period was conducting the extensive research necessary to develop an original OER textbook for our one-of-a-kind Visual and Cultural Studies course on Art, Science, and Technology. Cerritos College was the first, and currently only, community college in the state to have the Chancellor’s Office approve an AA-degree in Visual and Cultural Studies. This degree expands upon the curriculum normally covered in the existing Art History program to include the critical analysis of a much wider array of visual and cultural practices which are not traditionally associated with artistic production. Many four year research universities have already transitioned or supplemented their Art History programs with Visual Studies (or some variation), such as UC Irvine’s Visual Studies graduate degree and UC Riverside’s Media and Cultural Studies undergraduate program. Cerritos College’s Visual and Cultural Studies degree is even more significant now, as it has recently joined a small number of degrees at the college that can be offered completely online, vastly increasing our geographic footprint across the state. The Art, Science, and Technology course (Art113) is an important piece of that new degree program, one that overtly emphasizes the interdisciplinary nature of this program.

The OER textbook I developed during my sabbatical period is titled Disciplinary Entanglements: Exploring the Intersections of Art, Science, and Technology. Appendix A of this Sabbatical Report includes the entire Table of Contents on this book and Appendix B includes a number of screenshots showing Chapter Introductions, Navigation Features, and Standard Pages formatted for both Computer Screen and Smart Phones. The need for this new textbook was clear from the start of my sabbatical. There simply are no current and comprehensive textbooks dealing with the intersections of Art, Science, and Technology. There are lots of wonderful books on specific issues that fall within that larger program of interdisciplinarity, but few that seek to be comprehensive and presented at the introductory level. The best predecessor is probably Stephen Wilson's Information Arts, but that was last reprinted in 2003 ... and let's just say that "a lot has happened since then."

Disciplinary Entanglements is divided into an Introduction, twelve content chapters (ranging from topics such as Techniques of the Observer to The Anthropocene to Generative Art), and Appendices including suggestions for Further Reading and Further Studies in the field. A typical chapter includes anywhere from four to eight sections, each further divided into multiple sub- sections, all of which can be easily reached through simple navigation dropdowns, making any content easily accessible within seconds. The choice to produce an OER was partly connected to this ease of use and non-linear means of accessing content, in addition to the desire to reduce costs for students and provide a means to keep content regularly updated as technologies develop, new scientific data is introduced, and more contemporary art projects are created. In addition to the regular content, all chapters include both Critical Thinking Breakout questions and Creative Art Projects. The Critical Thinking Breakouts ask students to apply their newfound knowledge and, most importantly, imagine creative possibilities and critical applications in the

36 context of that material. The Creative Art Projects highlight the fact that it is important to understand that artists are critical thinkers too! Some people think with words and some people think by building/making things. Neither is necessarily superior to the other. Rather, it is always a good idea to be able to do a little of both, if you can. The scholar Ian Bogost has a wonderful chapter on what he calls 'carpentry' in his fabulous book Alien Phenomenology, or What It’s Like To Be a Thing. 'Carpentry' is his word for thinking by making. The Creative Art Projects in the textbook are, like the Critical Thinking Breakouts, the students’ chance to apply the information they encounter in the textbook in new and innovative ways. For example, in the chapter on The Two Cultures, which includes a section on the history of Cabinets of Curiosities, predecessors to modern day museums, the students are asked to make their own portable cabinet of curiosity, complete with an ‘artificial’ item, a ‘natural’ item, and a ‘miraculous’ item.

Disciplinary Entanglements is produced using the SCALAR hosting service, a free and open source authoring platform backed by the Alliance for Networking Visual Culture and hosted by the University of Southern California. While there were many different OER platforms available, I chose SCALAR because of its ease of use, including the ability to regularly update content as needed. In addition, the platform is built around accessibility (all webpages are assembled using standardized structured and semantic tags) and responsive design (all webpages automatically restructure as needed when viewed by computer, tablet, or smart phone screens). Pathways, a unique capability of the system, allows for multiple nested, recursive, and non-linear trajectories through the content, and multiple media archive partners allow for easy importation of material from the Critical Commons, Vimeo, YouTube, and more.

Disciplinary Entanglements also includes a list of Further Reading suggestions for students, broken down by chapter/topic, both to advance their own knowledge/interests after they have mastered the material within this introductory textbook, as well as for use, as needed, in the independent research papers they compose as part of their regular coursework. The suggestion list is quite substantial, however, to increase student access, I have been requesting specific and important texts from the list be added to the Cerritos College Library (as purchasing resources allow).

Getty Pacific Standard Time Research Grant Application: Anthropos Seen

In addition to the research necessary to create Disciplinary Entanglements, which included the vast bibliographic list presented in my initial sabbatical proposal, as well as hours spent locating the ideal authoring platform, I also researched and effectively curated a proposed exhibition, Anthropos Seen: Exploring Human Intra-Actions with Botanical Agents in Contemporary Art. This element of my sabbatical was an outgrowth of my position as the curator/director of the Cerritos College Art Gallery. Almost simultaneous with the start of my sabbatical year, the Getty announced that its upcoming 2024 PST theme would be Art x Science x LA, which perfectly matched my own interests and the focus on my other sabbatical projects. I immediately began to assemble an exhibition in order to write a grant proposal that might have come with upwards of $100,000 in support (based on previous Getty initiatives). Happily, the initial proposal was accepted (itself a remarkable achievement as only one other community college had ever been funded by the Getty’s PST before and that was ELAC’s Vincent Price Museum, which has much larger exhibition space, a large endowment, and many more support staff). The second round of

37 the application process was much more detailed and involved my working closely with the college’s grant writer, Lee Evans. Together, we composed an incredibly detailed proposal (my contributions are presented in Appendix C of this Sabbatical Report). Unfortunately, the exhibition proposal was not picked up for funding by the Getty during the second round of the application process. However, the research conducted was still beneficial as the material would be used in the OER textbook and the exhibition itself is still viable and will likely be added to our rotation schedule once COVID restrictions are lifted. In addition, this allowed for the building the initial bridge of personal connections to the Getty that may yet result in future funding, in particular through their Getty Multi-Cultural Internship Program.

Major Conferences: In Attendance and As Guest Speaker

In addition to working on Disciplinary Entanglements and the Getty PST Research Grant Application, I attended two important conferences in Fall 2019, presenting original research at one of them. I had intended to visit more conferences in the Spring 2020 semester, however COVID travel restrictions made that difficult. In October 2019, I was able to attend a seminal conference on Leonardo da Vinci at UCLA’s Art|Sci Center entitled Leonardo da Vinci, Inventing the Future: Flight, Automata, Art, Anatomy, Biomorphism This two day conference included presentations by scholars from multiple disciplines including Art History, Medicine, Robotics, and Astronomy. In November 2019, I was an attendee and presenter at the Just Futures Conference at Oregon State University in Corvallis, Oregon. The annual Just Futures Conference is put on by the Annares Project (named after innovative science fiction author Ursala K. Le Guin), and is dedicated to using science fiction and futurism to explore the possibilities of building a better and more just society for all. I was honored to be invited to present my research on the work of artist Beatriz Cortez. I have worked closely in the past with Cortez on a couple of projects, most notably her 2015 Cerritos College Art+Tech Artist-in- Residence exhibition Your Life Work, which included one of her first ‘time capsules.’ Since then, she has made a number of larger and more elaborate ‘time capsule’ installations and I was invited to present on all of them, including the one first presented at the Cerritos College Art Gallery. The Conference and Presentation are summarized, along with screenshots of my presentation, in Appendix E of this Sabbatical Report.

Contribution to New Academic Publication: Algorithmic Culture

Lastly, as I conducted research on generative art and art produced using artificial intelligence for Disciplinary Entanglements, I discovered that there was a need for original scholarship in this field. As it happens, I was well-suited to address this academic lacuna and, after conferring with a few peers in the field, I was invited to contribute a chapter to a new academic publication dealing with Algorithmic Culture. The other contributing scholars address the ubiquity of algorithms in our everyday lives - exploring political, sociological, and economic perspectives. I was asked to write a chapter on the impact of algorithmic processes on the arts. The result, documented in Appendix D of this Sabbatical Report, was my 70+ page chapter entitled “Generative Adversarial Networks: Contemporary Art and/as Algorithm.” Once again, the research conducted for this tangential project found its way into the textbook for my Art, Science, and Technology course, Disciplinary Entanglements, which includes an entire chapter

38 on Generative Art, with sub-sections on Early Computer-Generated Art, Algorithmic Conceptualism, Artists Writing Code, Systems Artists, and AI Art.

SERVICE AND PRACTICAL APPLICATIONS

My sabbatical year provided many opportunities to further my service to Cerritos College, to our community, and to our students.

As for service to the College, the creation of the OER textbook should help eliminate textbook costs for students taking Art, Science, and Technology (Art 113). This alone may also increase the interest in this course, which is the only one of its kind offered at any community college in the state of California. It remains my conviction that academia in general and Cerritos College more specifically, will benefit from increased cross-disciplinary dialogues. This course, along with a number of my exhibitions and initiatives at the Cerritos College Art Gallery, are an initial attempt to bridge that divide.

As for service to the Division and Department, the Art, Science, and Technology course is a key curricular component of the new Visual and Cultural Studies degree. Offering an innovative and interdisciplinary course that also simultaneously removes the burden on struggling students of additional textbook costs should help dramatically improve the interest in this course as we more broadly seek to build the visibility of this new program within the division and across the campus community.

As for service to the community, the increased use of OER textbooks makes Cerritos College a more desirable learning destination. Especially with the increase in online and remote teaching post-Covid, we know that we are competing with many other colleges for students, who have more freedom than ever to go where they please. Keeping textbook costs down also helps keep students at Cerritos and not looking for other more affordable options. Likewise, the Getty Research Grant Application, as well as my presentations of original research at conferences and publications in academic texts, have a side effect of increasing the visibility of Cerritos College within vested academic circles. Building stronger connections to the Getty will help make future grant requests more likely to succeed and building stronger connections to academic peers at four-year universities is helpful to students wishing to transfer (both because of the increase in weight of Letters of Recommendations and also because of the simple notoriety of our rigorous and innovative academic programs amongst transfer universities).

As for service to students, obviously less costly and more comprehensive learning materials are beneficial to our students. Furthermore, students will benefit from interesting and insightful exhibitions at the Cerritos College Art Gallery that highlight the ability of the arts to speak to, and across, multiple disciplines.

39 CONCLUDING STATEMENTS

Any major undertaking is almost always a collective endeavor. Such is certainly true of these sabbatical projects. First and foremost, I would like to thank the Cerritos College Board of Trustees for supporting sabbatical leave in general (as a needed opportunity for academic instructors to improve their disciplinary knowledge and/or teaching skills) and my sabbatical projects in particular. I could not have accomplished so much without their willingness to grant me this additional time to work independent of my other professional responsibilities. I would also like to thank the members of the Sabbatical Committee, who helped usher my initial leave request as well as this final sabbatical report through the institutional process. As this is my first, though hopefully not my last, sabbatical, the insights provided by those who have so much more experience were both necessary and very welcome. I would be remiss if I did not also thank the various Cerritos College staff that helped me through the sabbatical period and even specifically with my sabbatical projects including Dr. Gary Pritchard, Deborah Buffington, and Alva Acosta in the Fine Arts and Communications Division, our grant writer Lee Evans, and the folks over in the Foundation that helped with the Getty Grant. I thoroughly enjoyed working on my sabbatical projects and I look forward to them positively influencing and impacting our students and community for many years to come.

40 APPENDIX LIST

A Disciplinary Entanglements | Table of Contents 42

B Disciplinary Entanglements | Screenshots 70

C Getty PST Art x Science x LA | Research Grant Application 75

D Algorithmic Culture | Book and Chapter Details 101

E Just Futures | Conference and Presentation Details 103

41 APPENDIX A Disciplinary Entanglements | Table of Contents

Disciplinary Entanglements: Exploring the Intersections of Art, Science, and Technology TABLE OF CONTENTS

Introduction Why Entangle Disciplines? What Does a Scientist Do? What Does a Scientist Look Like? What Does an Artist Do? What Does an Artist Look Like? Are There Alternatives to This Binary? The Kinds of Big Questions We Should be Asking Right Now In the twenty-first century, how do we shape the world, and how does the world shape us? What ethical questions are raised by designed objects? By environments? And interactions? How do cultures manage change? What does that mean? Why does the historical context of a given technology or commodity matter? How far back in time should we look? Which factors should we weigh most heavily? How do we understand media on a global scale? How is sensory experience mediated? Does this change over time? What forms of production and consumption do we take for granted in contemporary life? How do new solutions sometimes create new problems? Does technology drive culture, or does culture determine technology? About this Book Why This Book Now? Why an Online Educational Resource? Critical Thinking Breakout Sessions Creative Art Projects About the Author Chapter Overview

The Two Cultures C.P. Snow A Third Culture Gyogy Kepes Buckminster Fuller Billy Kluver Frank Malina Cabinets of Curiosities Ordering of Knowledge (from Pandora’s Box to the Mobile Smartphone) Includes Kunstkammer Schatzkammer

42 Kunstschrank Grottos Wonder Rooms ‘Freak’ Shows Natural History Displays & Herbariums … Eventually Evolve into Contemporary Museums May also Include Reliquaries Werzel Jamnitzer Bernard Palissy Early Examples Ole Worm Ferrante Imperato Fairy Tale Creatures and Creative Taxidermy Jorge Luis Borges – Analytic Language of John Wilkins Painted Examples The Ambassadors Peter Paul Rubens – The Sense of Sight Domico Remps Caristan Luystx Antoine Watteau – Sign Shop Early Natural History Cabinets Alexandre-Isidore Leroy de Barde Carl Linnaeus Specialized Cabinets Charles Wilson Peale John Tradescant Ashmoleon Museum John Soane Theatrum Anatoricum Mutter Medical Museum Aby Warburg Modern and Contemporary Art Inspired by Cabinets Duchamp: Box in a Valise Surrealist Studios Andre Breton Joseph Cornell Poly Morgan Museum of Jurasssic Technology Connor Brothers Zymglyphic Museum Gala Porras Kim Jenny Yurshansky Scientific and Technical Illustration Scientific Illustration Botanical Illustration

43 Biological Illustration Medical Illustration Technical Illustration Architectural Drafting Engineering Drawing Electrical Schematics The History of Imaging Science Optical Imaging Chemical Photography Motion Photography Digital Photography Holography Astronomical Imaging Medical Imaging X-Radiation Ultrasound Imaging Magnetic Resonance Imaging Computerized Tomography Positron Emission Tomography Remote Sensing Thermal Imaging Sonar Radar Lidar Computer Vision Image Processing Biometrics Artistic Interventions in the Laboratory Critical Art Ensemble Eduardo Kac Beatriz da Costa Creative/Art Project

Techniques of the Observer Linear Perspective and Space Observation Brunellieschi Copernicus Galileo Armillery Sphere Astrolabe Al Hazen Kepler Tycho Brahe MC Escher Jan Van Eych Diego Velazquez

44 Cesare Cesariano Color Theory and Astro Spectrology Eugene Chevreul Georges Seurat Spectroscopy Multiwavelength Seeing Like a Rover Relativity and Dimensionalsm Invisible Auras Cubism Flatland W I Stringham Hypercube E Jouffret Futurism Marcos Novak Envisioning the Cosmos Painting Kandinsky Fontana Installations Gyula Kosice Olafur Eliasson Architectural Stonehenge Pyramid of Kulkulkan, Chichen Itza Nancy Holt, Sun Tunnels Charles Ross Star Axis Dwan Light Sanctuary James Turrell, Roden Crater The Blue Marble Photographers from Space The Whole Earth Catalog Charles and Ray Eames, The Power of Ten Joseph Young, The Triforium Ezra Orion Voyager One Golden Record Communicating with Otherness/Aliens Carrie Patterson Nina Waisman Laurie Anderson The Space Age Moon Landing Kitsou Dubois

45 Challenger Explosion McLean Fahnestock, Grand Finale Sean Higgins, Pillars Telecommunications Richard Clar, Space Dolphin Lowry Burgess Trevor Paglen The Other Night Sky The Last Picture Project Orbital Reflector Knowledges Exhibits at Mt. Wilson Observatory Eclipse Exhibit at Art Center Creative/Art Project

The Machine Aesthetic Before (and Counter to) the Machine Aesthetic John Ruskin William Morris The Arts and Craft Movement 19th Century Industrial Design Crystal Palace Eiffel Tower 20th Century Theory Adolf Loos, Ornament and Crime Taylorism and Scientific Management Four Principles Charlie Chaplin 20th Century Art Robert Delaunay, Orphism Carlo Carra, Futurism Marcel Duchamp, Anemic Cinema Ryamond Duchamp-Villon, Horse Umberto Boccioni Giocomo Balla Marinetti, Graphic Design Futurism Manifesto Luigi Russolo, Risveglio di una citta Bragaglia Photography Benedetta Fortuna Depera Fillia Vorticism Percy Wyndham Lewis Truli Crali (Super Human) – Before the Parachute Opens Mechanomorphic/Dadaism Francis Picabia

46 Deutsche Werkbund Bruno Taut Peter Behrens Gropius/Meyer, Curtain Wall We, Yevgeny Zamyaten Bauhaus Building Graphic Design Joost Schmidt Bayer Painting Joseph Albers Textile Anni Albers Loom - Programmable, Jacquard Suprematism Kazamir Malevich Proun Space Constructivism Tatlin Gabo Purism Charles Demuth Charles Sheeler Ralph Steiner Margaret Bourke-White Design Norman Bel Geddes Walter Dorwin Teaque Architecture Le Corbusier Art Deco The Chrysler Building Japanese Metabolists Kisho Kurokawa Kiyonori Kikiutake Archigram Group Peter Cook Dance/Costumes Bauhaus Light/Space Lazlo Maholy-Nagy Julio Le Parc Group de Recherche d’Art Visuel Francois Morellet Francisco Sobrino

47 Jim Campbell Meow Wolf Interactive Machines Jean Tinguley Gianni Colombo Davide Boriani Robert Rauschenberg, Oracle Experiments in Art and Technology 9 Evenings Osaka ‘70 LACMA Art and Tech Light and Space Movement DeWain Valentine Larry Bell Peter Alexander Craig Kauffman Helen Pashigan ZERO Otto Piene MIT Gyorgy Kepes Takis Alejandro Sina Wen-Ying Tsai Christopher Janney XEROX PARC Cerritos College Art and Tech Residency Jeff Cain Beatriz Cortez Stephanie Deumer Sonja Schenk Kimberley Morris Young Joon Kwak Case Study Cars Sonia Delaunay Burning Man John Chamberlain Cesar Judy Chicago Ant Farm Arman Gabriel Orozco Damian Ortega Betsabe Romero Ruben Ortiz-Torres Cai Guo Qiang

48 Jeremy Deller Jonathan Schipper Chris Burden Creative/Art Project

Video Art Art and Time Measuring Time The Facebook ‘Flick’ Henri Bergson, Memory and Matter Chris Marker, La Jetee Christina Markley, The Clock Early Cinema Pioneers Etienne Jules Marey Eduard Muybridge Viewing Devices Zoetrope Mutoscope Cinematograph Innovators Lumiere Brothers George Melies Soviet Montage Eisenstein Vertov Surrealist Films Man Ray Ferdinand Leger Hans Richter Germaine Dulac and Antonin Artaud Salvador Dali and Luis Brunel Maya Deren Visual Music Hans Richter Viking Eggling Osckar Fischinger Len Lye Skip Sweeney John Whitney Marsia Alexander-Clarke TV as Object Nam June Paik Charlotte Moorman Wolf Vostell TV as Addiction

49 David Cronenberg Douglas Davis Situationist Films Isidore Isou Guy Debord Experimental Films Kenneth Anger Andy Warhol Guerilla Television Ant Farm and TR Uthco TVTV Collective Feminist Films The Theory of the Male Gaze, Laura Mulvey Hannah Wilke Carolee Schneeman Shirin Neshat Mona Hatoum Pipilotti Rist Martha Rosler Dara Birnbaum Conceptual Films Bruce Nauman Richard Serra ad Nancy Holt Joan Jonas Peter Campus Hollis Frampton Stan Brakhage Peter Fischli and David Weiss Sam Taylor Wood Bill Viola Live Video Robert Whitman Rutt/Etra Synthesizer Bill Etra Miwa Matreyek Computational Video Stan VanDerBeek Lillian Schwartz Post-Internet Video Matthew Barney Tony Oursler Ryan Trecartin Casper Kelly Jayson Musson (aka Hennesy Youngman) Hito Steryl Creative/Art Project

50

Imagining the Future What is the Future? Walter Benjamin Teleological Line Moore Law Social Tech How we imagine the Future Today? Space X Hyperloop Tesla Befits of Science Fiction House of the Future Disney House of the Future Innovations Dream Home The Jetsons Home Automation Tex Avery Corning Future of Glass Kitchen/Gender (DIS, The Island) Paleo-Futurism Flying Men Automated Food Delivery Video Chat Drone Delivery Amazon Go | Universal Basic Income Car of the Future Classroom of the Future Intentional Communities Utopia Erewhon Looking Backward 2000-1887, Credit Card Ebenezer Howard, Garden Cities Halcyon Moy Mell and Dunites Kaliflower Commune San Francisco Diggers Drop City, Colorado BioSphere Sealand / Libertarian Micronations / Bitcoin Displaying the Future Crystal Palace 6 million visitors (Charles Babbage, Charles Darwin, Charles Dickens) Dinosaur Display Human Zoos Art Exhibitions (connected to Salons and Biennials)

51 Centennial Exposition 1876 Phone Monorail World’s Columbian Exposition 1893 Ferris Wheel Moving Walkway Electric Lights Neoclassical Design Pan American Exhibition, Bufflo, 1901 The Spray A Trip to the Moon (Dark Ride) X-Ray Machine Paris Expo 1914 Leonardo Torres y Quevedo Arithmometer, 1920 World of Tomorrow Expo, Queens 1939 First Science Fiction Convention Westinghouse Moto-Man Futurama World’s Fair, 1964 Gm Pavilion Star Trek Enterprise Disney World Epcot Center Disneyland Map Tomorrowland / StarWars The Brussel’s Fair Philips Pavilion Le Corbusier and Edgar Varese Speculative Design Future Cone Different Concepts from UCSD Program Memex, Vannavar Bush Telectroscope LCARS Interface (Flat Design) History of Science Fiction Ward Shelley Mary Shelley – Frankenstein’s Monster (Ada Lovelace Connection) Scientific Romance Jules Verne Mark Twain Herland Early 20th Century OZ Edgar Rice Burroughs – A Princess of Mars and Tarzan Karel Capek – RUR and War with the Newts

52 Modern Electrics and Electrical Experimenter Hugo Gernsback Pulp Serials Astounding and Amazing Golden Age Isaac Asimov Arthur Clarke Robert Heinlein Jack Vance New Wave Roger Zelazny Harlan Ellison Ursula Le Guin Samuel R Delany Philip K Dick JG Ballard Movies Giant Ants and the Blob, etc. Alphaville (New Wave Cinema) Soylent Green (Food) Clockwork Orange (Violence) Logan’s Run (Population) Cyberpunk Neuromancer Blade Runner Shibuya, Tokyo Ghost in the Shell Altered Carbon Steampunk Design/Cosplay Mortal Engines Cli-Fi Kim Stanley Robinson Black Mirror Afro-futurism Sun-Ra Kerry James Marshall Parliament Janelle Monae Black Panther Cyrus Kabiru Ralph Ellison Octavia Butler NK Jemisin Nalo Hopkinson Lagos

53 Latino-futurism Pakal – Ancient Aliens Torres-Garcia Xul Solar Borges Guillermo Gomez-Pena Beatriz Cortez Riga 23 Ruben Ortiz-Torres Chico McMurtrie Laura Molina Ivan Puig and Andres Padilla Domene Cortez on Jupiter and High Aztec Alex Rivera, Sleep Dealers “Queers Destroy Science Fiction” Series Sad Puppies Eaton Collection at UCR (Alternative Futurisms) Creative/Art Project

The Anthopocene Animal Studies Biblical Beliefs Trophy Hunting Trophy Posing The Trump Brothers Allen Grant Wallihan

Objects of Power Commodus Bear Claw Necklace Ivory Carving Paintings Jean Baptiste Oudry Hunting with a Camera John Dillwyn Lleweln George Shiras National Geographic Lion Attacks Photographer Wildlife Cameras (Non-Human Photography) Mountain Lions Watering Holes Shark Tag Sam Easterson Wildlife Portraiture Britta Jaschinski Allison Hunter

54 Monkey Selfie Evolution Animal Sketches Alexander Marshall Robert Hooke Maria Sibylla Merian Rhinoceros – Durer and Longhi Racist Use of Animals Rough on Rats, Black as Monkey King Kong Planet of the Apes Obama Memes Max Mon Amour Jane Goodall and Dian Fossey (Tarzan) Animal Communication Koko Sign Language Dolphin Talk (So Long) Killer Whale Mimic Speechs Insect Pheromones Mr Ed Dr. Doolittle Talking Cats and Witches Pizza and Shower Rat Cross-Species Interactions Mary Briton Clouse Grizzly Man Animation Bambie Mr. Fox Charlotte’s Web Lion King Play (Puppets) Finding Nemo Zootopia Animal Fam Okja Animals as Food The Jungle Animal Liberation Sue Coe Nicola Lampert Catherine Bell PETA ‘Feminism’ Lab Rats Beatriz da Costa Becoming Animal Dr. Moreau

55 Patricia Piccinini Motohiko Odani Carlee Fernandez Jane Alexander Dakota Noot Animals in Art Banky Elephant Perre Huyghe Celeste Boursier-Mougenot Mark Dion Xu Bing Lucy Kimbell Mark Dion Angela Singer Steve Baker Kim Jones Eduardo Kac Joseph Beuys Kathy High Daman Hirst Animal Prosthetics 3D Printed Parts – Motohiko Odani Nicolas Lampert Natalie Jeremijenko Sanna Kannisto Brydis Catherine Chalmers The Fly, Metamorphosis Books Old Lady Swallow Fly The Passion of GH Movies Starship Troopers The Birds (and Micheal Oatman’s Version) Rachel Berwik Oil Spill and Wasteland The Environment and/as Art Thinking About Damaged Ecosystems Donna Haraway - Staying with the Trouble Crocheted Coral Reef Never Alone Marina Zurkow – Slurb Ecofeminism Helen Aylon – Earth Ambulance Pollution Andrea Polli – Particle Falls

56 Dear Climate Jae Rhim Lee – Mushroom Burial Suit Waste Mierle Laderman Ukeles Vik Muniz - Wasteland Mary Mattingly – Owning It Food Sources Fallen Fruit Home Garden / Community Garden / Eat Local Helen Mayer Harrison – Shrimp Farm UCSC Environmental Art MFA Water Sources Jackie Brookner – Veden Taika (Magic Water) Natural Filtration Lauren Bon Not a Cornfield Bending the River Back into the City Earth Art Spiral Jetty Michael Heizer James Turrell – Roden Crater Walter de Maria – Lightnight Field Chris Drury – Wave Chamber Ana Mendieta – Silueta Olafur Elliason – Beauty Basia Irland – Ice Books Nils Udo Andy Goldsworthy Richard Long Simon Beck Mark Dion – Neukom Vivarium After Humans Roger Hiorns – Seizure Creative/Art Project

The Cyborg and the Post-Human Bionic Enhancements Kingsman Grindhouse Oscar Pistorius Neil Harbisson – The Eyeborg Brainport V100 Banality of Prosthetics Wounded Vets Dental Implants Pacemaker

57 Hearing Aid Standing Wheelchair Theory of Prosthetics Bernard Steigler William Gibson Theory of the Cyborg Cybernetics Donna Haraway – Cyborg Manifesto Yvonne Volkart Cyborg in Popular Culture Frankenstein’s Monster Darth Vader General Grievous The Terminator The Borg Six-Million Dollar Man Inspector Gadget Robocop Iron Man (Marvel Comics) Cyborg (DC Comics) The Dada Cyborg Grosz Hannah Hoch Raoul Haussmann Otto Dix Conceptual Cyborg Dennis Oppenheim Human-Computer Interface Lynn Hershman Leeson Orlan Stelarc Wafaa Bilal – Third Eye and Domestic Tension The Cybernetic Body Marshall McLuhan The Cybernetic Organization Norbert Weiner Cybernetic Feedback Loops Biofeedback Beer’s Pond Buckminster Fuller – The World Game Project Cybersyn in Chile Responsive Environments Juan Downey - Against Shadows David Rokeby - Very Nervous System Nina Waisman & CUBO - Impediment Pamela Z - Body Synth

58 Telepresence Paul Sermon – Tematic Dreaming Elle Merman and Micha Cardenas – Slapshock Micha Cardenas – Becoming Dragon Cyberbody On the Internet Nobody Knows You’re a Dog Bjorn Melhus VNS Matrix – ALL New Gen Bitch Mutant Manifesto South Park – Live to Win Autonets – Micha Cardenas Object Orientation – Bodies and/as Things The Quantified Body Wearable Electronics Lifelogging Sousveillance Quantified Self Lauri Flick UnQuantified Body Knowbotic Research Future Force Warrior Mech Suit Appleseed Edge of Tomorrow Victoria Vesna - Bodies Incorporated The Corporatized Body Repo Men The Designer Body Nanobots DNA Sequencing 23 and Me CRISPR Gattaca Eugenics Francis Galton American Eugenics Nazi’s ‘Final Solution’ Michael Oatman – Long Shadow Beatriz Cortez – Memory Insertion Capsule Sonya Rapoport – Transgenic Bagel Eduardo Kac – Genesis Nell Tenhaaf – Apparatus for Self-Organization Upload Your Mind Maja Smrekar – Brain TV The Matrix Altered Carbon

59 Cryogenics Extropianism Russian Cosmism Anton Vidokle – Immortality and Resurrection for All Creative/Art Project

Robotics / Artificial Intelligence Robots in Popular Culture QT Star Wars Droids Deep Thought Marvin Death and the Powers – Tod Machover and MIT Media Labs Data from Star Trek Karel Capek’s RUR URU Metropolis – Fitz Lang Disney Automatons Westworld Historic Automatons Prague Astronimical Clock Leonardo da Vinci Moving Armor The Mechanical Turk Jaquet-Droz – Harpsichord Player Player Piano The Writer Kinzing – Dulcimer Player Conlon Nancarrow – Study for Player Piano New Tools MAX/MSP Node Red New Fears They Took Our Jobs Juke Bots by Robolab Soft Robots Biomimicry Boston Dynamics Robot Snake Robotic Drones Wired for War Racing Drones Dancing Drones Art Robots The Senester Carl Pisaturo OmniCircus

60 Matt Heckert Survival Research Lab David Karave Flaming Lotus Girls Simon Penny – Petit Mal Zaven Pare – Marionette Chico MacMurtrie Christian Ristow – Hand of Man Alan Rath – Soon, Voyeur Golan Levin – Opto-Isolator and Double Taker Chad Person – Automatic Sentry Defense System ArtBots – The Cubinator Simone Giertz – Shitty Robots Max Dean – Robotic Chair Jim Jenkins Ken Feingold – Animal, Vegetable Genco Culan - Hello Adriana Salazar – Nothing Else Left Ken Rinaldo – Autopoises Rinaldo and Amy Youngs – Farm Fountain Rinaldo – Augmented Fish Reality, Fusiform Polyphony, Enteric Consciousness Androids Hiroshi Ishiguro Marjorie Prime Dinsow Elder Care Robot Sex Robots Artificial Intelligences Movies Her AI Pindar Van Arman Google Deep Dream War Games Go Machine Learning Swarm Intelligence GANS Natalie Bookchin Ben Grosser Turing Test Ex Machina Skynet Machine Art/Aesthetics Mike Tyka Creative/Art Project

61 Generative Art Automation Charles Babbage – Difference Engine Roy Ascott Computers and Automation US Army Ballistic Research, Splatter Pattern March of the Polygons – Haruki Tsuchiya The Eniac Machine Polygon Modeling Fractals Early Computer Art A Michael Noll Howard Wise Gallery Cybernetic Serendipity Manfred Mohr Frieder Nake Ben Laposky Kerry Strand Charles Csuri Computer Technique Group Leon Harmon and Kenneth Knowlton Joseph Schillinger and Magic Squares Spirograph John Ven CS and CJ Bangert Jean-Pierre Hebert Generatic Music – Daisy Bell Vera Molnar Algorithmic Conceptualism Sol LeWitt Yoko Ono John Cage – Fontana Mix George Brecht Alison Knowles Code-Generated Art Shirley Shor UNIVAC Election Watson on Jeopardy Jason Salavon Owen Mundy Jody Zellen LOGO Programming Language Processing Programming Language Casey Raes Systems Art

62 Channa Horwitz Steve Roden Dawn Ertl AI Art Harold Cohen – AARON Stephanie Dinkins Mary Flanagin Philipp Schmitt Trevor Paglen Tega Brain Data Visualization Early Data Visualizations Catal Huyuk Geographica Ptolemy Position of the Sun Nicola Oresme Christoph Scheiner Florent Van Langren Early Modern Data Visualizations William Playfair Pierre Charles Dupin Florence Nightengale Charles Minard French Statistical Atlas Statistical Atlas of Eleventh US Congress Alfred H Barr Cubism and Abstract Art Vs. Tate Timeline Vs Ward Shelley Twentieth Century Data Visualizations Jacques Bertin Bill Cleveland John Tukey – PRIM-9 G Gobi Info Visualizer Dynamic HomeFinder Map of the Market CrimeReports Casualties of War A New Graphical Syntax Arc Diagram Area Grouping Centralized Burst Centralized Ring Circled Globe Circular Ties Elliptical Implosion

63 Flow Chart Organic Rhizome Radial Convergence Radial Implosion Ramifications Scaling Circles Segmented Radial Convergence Sphere UX/UI Mobile Applications Tesla Dashboard Creative/Art Project

Net Art and Video Games Net Art History of the Internet Decentralization vs Distributed Layers of the Internet Protocol Exploit Hacking Joybubbles Ultra-Lettrists Situationist JODI ASCII Ken Knowlton Vik Cusik Mez Breeze Hyperfiction Judy Malloy House of Leaves – Remediation Olia Lialina – Boyfried Came Back from the War HTML Butoh Vivian Selbo Olia Lialina - Agatha Appears Eric Loyer Young Hae Chang – Heavy Industries Motomichi Nakamura Victor Liu Database Aesthetics Sharon Daniels Hans Haacke Steve Lambert Fred Forest – Space-Media Douglas Davis – Collaborative Sentence

64 Calc and Johanes Gees Mouchette.org Lisa Jevbratt – Interface Mark Napier – Shredder Harwood and Mongrel Culture Jamming Clover Leary – Gay Gamete Miranda July and Harrell Fletcher Internet-Native Animations Charlie the Unicorn Kenneth Tin-Kin Hung Video Games PlayStation Dreamworld Narrative Structuralism Uncharted Persona 4 Gender Issues Tomb Raider Tropes vs Women #Gamergate Origin of Contemporary Gaming Dungeons and Dragons ZORK Satanic Panic First Person Shooters Atari Nintendo Kinect/Wii Machinima Diary of a Camper Blahbalicious Red vs Blue Brody Condon C-Level Hacked Game Cartridges Cory Arcangel Super Mario Clouds I Shot Andy Warhol JODI Brody Condon Kael Greco (Futurism) RetroYou Tom Betts Modderism Julian Oliver Critical Engineering Manifesto

65 Eva and Franco Mattes Protest Art Anne-Marie Schleiner Riley Harmon Harun Farocki Joseph DeLappe Eddo Stern Tekken Torture Flamewar Video Game Art Theresa Duncan Chop Suey Jason Rohrer – Passage Ian Bogost – Cow Clicker Josh On/ Futurefarmers – antiwargame Video Games Aesthetics Scott Pilgrim vs the World Hito Steyerl Sky Burchard Gaming in the Expanded Field Noderunner Warchalking VR and AR VR (Virtual Reality) Agnes Hegedus – Memory Theater Camille Utterback – Text Rain Noah Wardrip-Fruin – Screen Char Davies – Ephemere / Osmose Nonny de la Pena – Use of Force AR (Augmented Reality) Street Fighter iPhone ARKit Astronomy App Janet Cardiff and Bures Miller Electronic Disturbance Theater – Transborder Immigrant Tool Pokemon Go Car Maps Automated Driving and the Train Problem MoMAR App – Augmented Guerilla Intervention Relational Architecture Rafael Lozano-Hemmer Body Moves KMA Strange Attractors Creative/Art Project

Social Media, (Dis)Information, and Surveillance Studies Social Media Web 2.0 Facebook Open Graph

66 Social Media Art American Artist – A Refusal John Birtle – Open Arms Chloe Flores – Facebook Sculpture Keith Townsend Obadike – Blackness for Sale Brad Troemel – Jogging Richard Prince – Suicide Girls Amalia Ulman – Excellences and Perfections Social Media Analysis Selfiecity Snapchat Facetune Social Media Impact Cookies/Tracking Cambridge Analytica WikiLeaks (Dis)Information History of DisInformation Snake Oil Cottingley Fairy Hoax Swiftboating Collateral Murder and WikiLeaks Online Disinformation ‘Evil’ Bert Popular Memes ‘Fake News’ Alt-Right and 4Chan Pepe the Frog Guccifer 2.0 Pizza Gate QAnon Snopes Surveillance Studies Counter-Terrorism and Policing Edward Snowden Total Information Awareness (TIA) PredPol Eye in the Sky Panopticon Truman Show Reimagining the Dog on the Internet Owen Mundy Information Panopticon License Plate Recognition Gait Analysis Digital Signage

67 Face Recognition Facetime Telepresence (Anti-)Surveillance Art Mako Idemitsu Vito Acconci Sophie Calle Julia Scher Perry Hoberman Coco Fusco and Ricardo Dominguez Natalie Jeremijenko ToroLab Surveillance Camera Players Christina Moeller Banksy Dan Graham Jill Magid David Rokeby – Seen Seiko Mikami Ai Weiwei and Herzog/deMeuron Emery C Martin Rafael Lozano-Hemmer – Please Empty Your Pockets Sousveillance – Philandro Castile Lozano-Hemmer – Levels of Confidence and Voz Alta Hasan Elahi George LeGrady Lizbeth Eva Rossof Lauren McCarthy – LAUREN Cryptography Kryptos at CIA Headquarters EEF VPNs TOR, Cloudflare, and Signal Polygraph Test Digital Obfuscation ZXX Typeface Zach Blas - Facial Weaponization Suite Christy Roberts Berkowitz – Lillith Creative/Art Project

Digital Humanities, Cultural Analysis, and Media Archaeologies Digital Humanities Cultural Analytics Media Archaeologies Creative/Art Project

Further Reading

68 Organized by Chapter

Further Studies Related Institutions Related Events

69 APPENDIX B Disciplinary Entanglements | Screenshots

B.1 Chapter Intros Formatted for Smart Phones

70 B.2 Navigation Features Formatted for Smart Phones

Table of Contents Dropdown Links to Top-Level Chapter Sections (within Chapter Intro Pages)

B.3 Standard Pages Formatted for Smart Phones

Introduction | About This Book Further Reading | Imaging the Future

71 B.4 Chapter Intros Formatted for Computer Screen

72 B.5 Multi-Level Navigation Formatted for Computer Screen

73 B.6 Standard Pages Formatted for Computer Screen

Introduction | Why Entangle Disciplines? with Embedded YouTube Video and Critical Thinking Breakout Questions

The Two Cultures | Scientific and Technical Illustration | Scientific Illustration | Botanical Illustration

74 APPENDIX C Getty PST Art x Science x LA Research Grant Application

C.1 Initial Proposal (Letter of Inquiry)

To the Getty Foundation Pacific Standard Time (Art x Science x LA) Selection Committee:

Dear Members of the Selection Committee,

Please accept this Letter of Inquiry (LOI) from the Cerritos College Art Gallery as a statement of our intent to apply for an upcoming PST (AxSxLA) Research and Planning Grant from the Getty Foundation. The required information is listed numerically below per the LOI Instructions. We look forward to hearing from you.

Regards, James MacDevitt Associate Professor of Art History and Visual/Cultural Studies, Cerritos College Director/Curator, Cerritos College Art Gallery

LOI: 1. Cerritos College Art Gallery

2. Founded in 1955, the Cerritos College Art Gallery presents rotating exhibitions highlighting the work of emerging and mid-career artists. A special emphasis is placed on works that confront challenging and pressing issues in contemporary art and culture. In the last decade, the Cerritos College Art Gallery has hosted numerous exhibitions, all curated by the current director/curator, James MacDevitt, including OVER/FLOW: Horror Vacui in an Age of Information Abundance, Re:Creation: Serious Play with Canonical Art, Object-Orientation: Bodies and/as Things, Architectural Deinforcement: Constructing Disaster and Decay, After Image: The Photographic Process(ed), Abstracted Visions: Information Mapping from Mystic Diagrams to Data Visualizations, and Geo-Ontological: Artists Contemplating Deep Time. As is apparent from the exhibition titles, many of these exhibits have explored the intersections of Art and Science, as this is a particular area of focus for the curator’s academic scholarship. In fact, the curator, also a member of the Art History and Visual/Cultural Studies faculty, has created a course titled Art, Science, and Technology (Cerritos College is the only community college offering this curriculum), and he is currently on sabbatical authoring an OER textbook for this very course. In addition, for the last six years, Cerritos College has also hosted an annual Art+Tech Artist-in- Residence program, pairing a local contemporary artist with the state-of-the art facilities, equipment, and faculty of the vocational technology departments on campus, including an exhibition of the results at the gallery itself. Cerritos

75 College Art Gallery also founded the multi-institutional SUR:biennial, currently in its fifth cycle, which explores artists with cultural connections to Latin America and the Caribbean, and, in 2017, it hosted the FAR Bazaar, which exhibited the work of over 30 different art collectives and 10 different MFA programs, all in the 40+room mid-century modern Cerritos College Fine Arts Building, which was demolished shortly after this massive event.

3. The primary contact will be: James MacDevitt Associate Professor of Art History and Visual & Cultural Studies, Cerritos College Director/Curator of Cerritos College Art Gallery [email protected]

4. The working title for the exhibition is: ANTHROPOS SEEN: Exploring Human Intra-Actions with Botanical Agents in Contemporary Art

5. The exhibition will be presented at the Cerritos College Art Gallery, which is located on the campus of Cerritos College, a public college in the California Community College system. The college is ideally located at the intersection of the 605/105/91/5 freeways, with short driving access to Los Angeles, Long Beach, Orange County, and the Inland Empire. The gallery boasts three distinct exhibitionary spaces, all of which will be used to host the intended exhibition including: The Main Gallery: An approximately 1,000 sq ft gallery space The Projects Space: An approximately 350 sq ft gallery space extending off the Main Gallery The Display Window: A 30-ft long, 6-ft deep, and 8 ft-high glass-enclosed vitrine on the exterior of the Cerritos College Fine Arts Building

6. It is very likely that the Cerritos College Biology department, which offers curriculum on botanical subjects, will collaborate in some fashion, though the exact nature of that participation is yet to be determined.

7. The project team will primarily consist of: James MacDevitt (Cerritos College Art Gallery, Director/Curator) Brian Lombera (Cerritos College Art Gallery, Gallery Assistant) Deborah Buffington (Cerritos College, Fine Arts Department Secretary) Mayra Radillo (Cerritos College Purchasing/Buyer)

8. As Joela Jacobs has written, describing the mission of the newly-formed Literary and Cultural Plant Studies Network based at Arizona State University, “plants have traditionally been reduced to the role of passive bystander, ornamental backdrop, or mere symbol. While posthumanism and environmental humanities have brought non-human agency into focus in

76 recent years, they emphasize animals, landscapes, and ecosystems writ large.” However, this new coalition of scholars working across the humanist and scientific fields “focuses on the conceptualization of plants, their agency, and their cultural/natural impact.” Notable philosophers have recently developed theoretical approaches to confronting botanical agency (such as Michael Marder, in Plant-Thinking: A Philosophy of Vegetal Life, and Emanielle Coccia, in The Life of Plants: A Metaphysics of Mixture). Panels at the upcoming Modern Language Association Conference will tackle the impact of plants in cultural settings (including Vegetal Imaginations: Plants in German Literature and Culture and Vegetable Avatars: Plants, Identity, and Subjectivity in Literature and the Visual Arts). Likewise, many practicing contemporary artists have begun to explore plants with a renewed sense of wonder, urgency, and significance. The exhibition at the Cerritos College Art Gallery, Anthropos Seen: Exploring Human Intra-Actions with Botanical Agents in Contemporary Art, seeks to examine the ways a number of contemporary visual artists have navigated representing the symbiotic relationships between human and botanical agents. Issues addressed will include the parallel histories of human and botanical migration patterns (and the attendant conceptions of ‘native’ and ‘invasive’ species) and the biopolitical tensions that exist at the contact zone known as the urban-wildlife interface. In addition, the exhibition will highlight artists poetically mirroring scientific approaches to understanding plant-based specimens and ecologies, including botanical illustration, direct observation, categorization, modeling, field research, radical experimentation, etc. A number of artists have already been contacted, others are still being considered (most are from Southern California). The current list of possible artists/projects to be showcased includes Andrea Bersaglieri (Weeds drawings), Jenny Yurshansky (Blacklisted: A Planted Allegory), Brittany Ransom (Parallel Paths), Adrienne Adar (Listening Trees), J No.e Parker (Composting Data Sonification), Eddie Rudolfo Aparcio (My Veins Do Not End in Me), Paul Rosero Contreras (Obituary: El Pensamiento de las Plantas), Vaughn Bell (Village Green), and Andre Woodward (Pothole Plants).

9. Yes, this exhibition will include an accompanying publication. The Cerritos College Art Gallery produces a self-published catalogue, of anywhere between 100 and 350 pages, for every exhibition curated in-house. With the additional scope and visibility of a PST exhibition, the Cerritos College Art Gallery will ideally seek catalogue publication through an academic publisher, such as the UC Press, or an independent publisher, such as Punctum Books (with whom the curator already has an established connection).

10. Most of the artworks that we are currently considering already exist. Some may need to be replicated, repurposed, or reproduced as slightly altered variations.

77 C.2 Initial Proposal (Letter of Inquiry) Result – Acceptance

We have reviewed your Letter of Inquiry and would like to invite you to submit a full application for a Pacific Standard Time: Art x Science x LA Research Grant on behalf of your organization. Please find the application instructions attached (we will follow up with detailed instructions on how to apply after the holidays). The application deadline is Friday, March 20, 2020.

We would like to schedule a phone conversation in January to share feedback from the Review Committee. Our colleague Meg Manos will contact you in early January 2020 to schedule a call. As a reminder, our offices are closed from December 24, 2019 to January 1, 2020, in observance of the holidays.

With best regards, Selene Preciado Program Assistant The Getty Foundation

C.3 Full Grant Proposal

Project Proposal

The anticipated exhibition at the Cerritos College Art Gallery, Anthropos Seen: Exploring Human Intra-Actions with Botanical Agents in Contemporary Art, seeks to examine the ways a number of contemporary visual artists have navigated representing the complex symbiotic relationships that exist between human and botanical organisms. Most of the work proposed for inclusion in the exhibition has been produced within the last decade, coeval with an increase in the public discourse surrounding the profound impact of human activities on the global environment and in tandem with the rise of the academic designation of the Anthropocene as an appropriate label to describe this broader ecological phenomenon (a term that the title of the exhibition playfully remixes).

Importantly, however, at the same time that the human-altered ecosystem has been recognized (and, rightly, decried), a shift toward new materialist and object-oriented ontologies in many philosophical circles has simultaneously rejected the privileging of human existence over the existence of nonhuman objects, decentering the human being from traditional theoretical models and recognizing the importance of non-human agents, including plant-life, in shaping our shared worlds. As Joela Jacobs has written, describing the mission of the newly-formed Literary and Cultural Plant Studies Network based at Arizona State University, “plants have traditionally been reduced to the role of passive bystander, ornamental backdrop, or mere symbol. While posthumanism and environmental humanities have brought non-human agency into focus in recent years, they emphasize animals, landscapes, and ecosystems writ large.”1 However, this new

1 Joela Jacobs, ‘Introduction,’ Literary and Cultural Plant Studies Network, Created: 2019, Accessed: 2020, https://plants.arizona.edu

78 coalition of scholars working across the humanist and scientific fields, focuses specifically “on the conceptualization of plants, their agency, and their cultural/natural impact.”2 For example, at a recent Modern Language Association Conference tackling the impact of plants in cultural settings, panel titles included Vegetal Imaginations: Plants in German Literature and Culture and Vegetable Avatars: Plants, Identity, and Subjectivity in Literature and the Visual Arts. A number of notable philosophers have also recently developed theoretical approaches to specifically confronting botanical agency, such as Michael Marder, in Plant-Thinking: A Philosophy of Vegetal Life, and Emanielle Coccia, in The Life of Plants: A Metaphysics of Mixture. Within this same vein, Natania Meeker and Antónia Szabari, both of whom are serving as advisors on the committee overseeing the critical plant studies conference that will precede the exhibit as part of the research phase covered by this grant request and the exhibition catalogue that will be published in conjunction with the show itself, have recently produced Radical Botany: Plants and Speculative Fiction, a scholarly book that “excavates a tradition in which plants participate in the effort to imagine new worlds and envision new futures.”3

Likewise, the proposed exhibition will refocus attention directly onto the liveliness of plants in order to explore their intimate intra-actions with human beings.4 This narrowing of focus moves beyond, however important they might be, other recent exhibitions that were primarily built around the investigation of broader conceptual frameworks such as Nature and/or the Environment (for example, Nature’s Nation: American Art and Environment). Instead, what is centered in this exhibition is the intimate spaces and technical mechanisms by which humans engage with, and come to ‘know,’ vegetal organisms, and vice-versa, from domestic gardens to botanical experiments.

Nearly all the works proposed for the exhibition poetically mirror, in one way another, scientific approaches to understanding plant-based specimens and ecologies, including botanical illustration, direct observation, specimen classification, simulation and modeling, data visualization and sonification, field research, radical experimentation, etc. This veneer of a scientific aesthetic in the work, however, also almost always hides a more nuanced understanding of the economic, political, and sociological structures that inevitably overlay such ostensibly mono-disciplinary concerns. Some of the significant issues addressed by various works proposed for the show include the parallel histories of human and botanical migration patterns (and the attendant conceptions of ‘native’ and ‘invasive’ species) and the biopolitical tensions that exist at the contact zone known as the urban-wildlife interface

For example, Andrea Bersaglieri produces exquisitely-rendered botanical illustrations depicting weeds pulled directly from the soil of her suburban domestic garden. However, while ostensibly referencing the art historical tradition of botanical illustration in form,

2 Ibid.

3 Natania Meeker and Antónia Szabari, ‘Radical Botany: Description,’ Fordham University Press, Created: 2019, Accessed: 2020, http://www.fordhampress.com/9780823286638/radical-botany/

4 ‘Intra-action,’ it should be noted here, is a term developed by the feminist theorist and historian of science, Karen Barad, to replace the commonly-used term 'interaction,' as it more accurately describes agency not as an inherent property of an individual entity to be exercised, but as a dynamism of forces within, and between, entities that arise in the specificity of their particular co-mingling.

79 the individualized features are presented with such lovingly observant detail, including the clumps of dirt still attached to the visible roots, that they operate less as a scientific specimen (an exemplary and/or universalized version serving as a stand-in for all similar organisms) and more like an intimate and personalized portrait (the kind normally reserved for human subjects). Additionally, it is important to highlight that Bersaglieri is notably focusing her artistic time and attention on what are generally considered undesirable and abject species of plants by attentive gardeners, meant only for removal. Fusing her daily chores as a homemaker and working artist may ostensibly stem from a personal and feminist desire for labor efficiency, but the act of lovingly preserving some semblance of the maligned plant also serves as a broader analogy for the precarious biopolitical status of any such migrant that similarly dares to attempt a life beyond the militarized boundaries of enforced borders. As Peter Johnson has pointed out, “derivations of the English word ‘garden’ is itself closely associated with notions of a boundary: Old English geard (fence), Indo-European gher (fence) and ghort (enclosure), and Vulgar Latin gardinum (enclosure).”5 Even outside of the controlled garden metaphor, the very concept of an invasive species is always already predicated upon the a priori acceptance of a similarly-constituted, if inverted, indigeneity and it is therefore not surprising that many artists in Southern California, like Bersaglieri, are contemplating the naturalization of plant species within a bounded space as an appropriate simile for the cultural and ethnic diversity of human beings within that same region.

Another artist proposed for the exhibition, Jenny Yurshansky, deploys similar connotations in a project titled Blacklisted: A Planted Allegory, completed while she served as an Artist-in-Residence at Pitzer College. Her research noted 133 invasive plants found throughout the college campus (out of the 600 listed on the California Invasive Species Advisory Council’s registry of alien-invasive species), a group that the artist identifies as “simultaneously highly local and totally foreign.”6 In one artistic manifestation of this extended project, which would also be featured in the proposed exhibition at Cerritos College Art Gallery, Yurshansky recreated each of these plants in hand-cut paper silhouettes installed in a traditional herbarium cabinet, indexed by name and listed with its arrival date in California and place of origin. As she argues in her project description, “it is no accident that the dates of arrival reflect the eras of manifest destiny, periods of increasingly multi-ethnic immigration and global shipping trade; humans are the primary introduction vectors.”7

In a similar, though slightly more speculative project, titled Golestan Revisited, Amitis Motevalli developed a unique database to research, reclaim, and rename roses transplanted to Europe during the Crusades from the South West Asian and North African regions to symbolize and commemorate women, girls, and femmes that have been killed - often while

5 Peter Johnson, ‘Derek Jarman’s Garden,’ Heterotopian Studies, Created: 2012, Accessed: 2019, http://www.heterotopiastudies.com/wp- content/uploads/2012/05/Derek-Jarmans-Garden-pdf.pdf

6 Jenny Yurshansky, ‘Blacklisted: A Planted Allegory (Herbarium),’ Jenny Yurshansky, Created: 2015, Accessed: 2019, http://www.jennyyurshansky.com/Jenny_Yurshansky/Blacklisted_A_Planted_Allegory_Herbarium_2015.html

7 Ibid.

80 being held captive - in the wars against “terror” and/or by reactive religious occupations. The word Golestan translates from Farsi to mean ‘land of the flowers’ and is also the title of an important collection of poetry by the 13th century Iranian poet Sa’adi. A multi-component project, Golestan Revisited connects current wars to “early practices in territorial mapping and resource nomenclature that served as a means to take possession, remove local agency, numercise, and classify both plants and people.”8 Using the visual vocabulary of scientific study (such as data visualization) and botanical display (such as pedagogical signage), Motevalli repurposes these supposedly detached and unbiased tools to tell a restorative narrative that highlights shared regional links between historically displaced plant- life and the contemporary exploitation of human victims.

Eddie Rodolfo Aparicio’s recent sculptural installations, like Motevalli’s current work, directly interrogate the racial, cultural, and political inequities that can underlie the ostensibly objective methodologies of scientific disciplines. Aparicio’s latest installations are particularly inspired by his investigation of the colonial history of Victorian-era Wardian cases. These simple wood and glass terrarium cases - named for their inventor, Nathaniel Bagshaw Ward, a London physician - were ideal for bringing living plant specimens to Europe, simultaneously expanding botanical knowledge while further driving the desire for ‘exotic’ goods from colonized regions. Over time, the boxes developed into ornate, often beautiful, objects unto themselves, a feature emphasized in Aparicio’s sculpture, but, as a container for holding and displaying non-native species, they also evoke the harshness of past and present rhetorics of containment regarding the Other, including contemporary refugee and migrant detention centers, which Aparicio also emphasizes by scaling up the typical Wardian box to a dimension that could easily hold a human-sized specimen.

What becomes clear in looking at such projects is that, in part, because of their intertwined and interdependent histories, environmental justice is also inextricably linked to social justice, and vice versa. This is also seen, for example, in the work of Maru Garcia, whose project, Vacuoles, examines the slow violence of poverty, reflected in regional and racial inequities, that damages human lives by destroying what might otherwise be healthy urban ecosystems. In Garcia’s work, however, scientific knowledge of vegetal lifecycles is imaginatively mustered to also present the healing possibilities of bioremediation in these same geographic areas; such as in South East Los Angeles, not far from Cerritos College itself, where “thousands of families face a severe case of lead contamination in land affected by a company recycling car batteries.”9 In a process closely resembling scientific research and data collection, contaminated soil samples were acquired and then encapsulated in oval-shaped ceramic pieces, depicting the “bioremediating action that some plants perform in their vacuoles, where they absorb the lead and encapsulate it in these cellular organelles.”10 The work is presented as an interactive installation, with the scattered ceramic vacuoles representing the most contaminated parks, schools, and childcare centers in the region.

8 Amitis Motevalli, ‘Golestan Revisited’ Amitis Motevalli, Created: 2019, Accessed: 2020, http://amitismotevalli.com/golestanrevisited 9 Maru Garcia, ‘Vacuoles: Bioremediating Culture,” Maru Garcia, Created: 2019, Accessed: 2020, https://marugfierro.com/2019/06/24/vacuoles/ 10 Ibid.

81 Garcia’s project further highlights the role botanical agents themselves play in determining the vibrancy of any ecosystem, including those overrun by human presence. Similarly, Andre Woodward’s sculptures, which visually resemble scientific experiments, are made from living shrubs growing in asphalt extracted directly from the urban landscape, surfacing the hardy ability of plants to adapt to, and survive in, the inhospitality of human-altered landscapes. The interconnected realities of human and plant entities within a shared environment also appears in the work of Brittany Ransom. Her Parallel Pathways installation uses 3D scanners to trace the movements of bark beetles as they eat their way through trees in Southern California, ultimately leaving them susceptible to increased temperature shifts caused by climate change, helping to create the firestorms that annually ravage the region, including destroying the human habitats that perpetually encroach upon the shrinking edges of natural spaces at the urban-wildlife interface. Pointing to specific places of flow, obstruction, and planned versus haphazard pathways, the bark beetle’s paths are ultimately a metaphorical reference to our own human building patterns and destruction. By re-creating their paths through complex forms of data capture manifested as 3D-printed sculptures, a tangibility is brought to this data that is otherwise silently stored in the trunks of the forests around us.

In effect, how human beings observe and translate the information communicated directly or indirectly from the vegetal entities that share our ecosystem shapes our understanding not just of them, but also of ourselves in relation to them. To emphasize this point, Vaughn Bell’s Village Green highlights the cross-species intimacies that are involved in the act of looking itself. In what the artist calls ‘personal biospheres,’ viewers experience the landscape at eye-level by placing their heads within raised terrarium-like structures. “The experience is multi-sensory and immersive, with muffled sounds and smells of earth and moss. Viewers find themselves in intimate proximity to soil, plants, and each other, sharing the same air.”11 Adrienne Adar’s Sonic Succulents likewise attempts to lessen the existential divide between plant and human, though in a slightly different fashion. After attaching motion sensors to the needles and leaves of a variety of succulent plants, Adar invites visitors to pluck and caress the physical extremities of the plants themselves. The vibrations created by this peculiar intra-action between human digit and succulent limb is amplified and audibly transformed into a resonate sonic gesture. Where Bell’s Village Green phenomenological embeds the human into the alien lifeworld of plants, Adar’s Sonic Succulents (re)familiarizes the natural world by instrumentalizing the living plant into just another musical tool to be played, a mediated extension of the human body itself.

Adar’s project, however, also features a third agential participant in the human-plant assemblage; technology. Because a planted consciousness is inevitably foreign to human experience, communication between these agential entities is often bridged by technological means and, as a number of artists proposed for the exhibition explore in their work, the filter of technology is rarely a neutral one. As Paul Rosero Contreras, for example, posits with his project Obituary: El Pensamiento de las Plantas (Obituary: The Thought of Plants), new forms of technologically-produced vision are often themselves biomimetic of non-human strategies for experiencing the world. In other words, as we

11 Vaughn Bell, ‘Village Green,” Vaughn Bell, Created: 2019, Accessed: 2020, https://www.vaughnbell.net/village-green.html

82 seek to understand the world from the perspective of the Other, there is always the chance that we become increasingly alien to ourselves. In Contreras’ project, this manifests as the ‘god-like view from above’ most recently represented by the surveillant imagery produced by satellite-based cameras, frequently used by scientists to observe and record changes to the Amazonian region, not far from where the artist himself resides in Quito, Ecuador. Contreras points out that the view from above has previously “existed beyond and outside of humankind, and before history. Birds, tall plants, and distinct species who climb up mountains and trees embodied this point of view before religions or capitalism appeared on the earth.”12 And, as he further explores in the project itself, numerous inter- and-cross-species communications have been attempted in order to grant humans the omniscient vision of, and visions from, jungle and forest canopies. Human ‘dendronauts’ have, in fact, sought to navigate the knowledges made accessible from this arboreal vantage point for a long time - from the hallucinogenic cultural practices of indigenous peoples to the biosensing experiments of Graham Dorrington and Dieter Plage.

The translation and merging of human and non-human experiential realities is also part of sound artist J (no.e) Parker’s practice. Like Adar’s Sonic Succulents, Parker’s Composting Data Sonification project uses sensors to measure and sonify changes to plant materiality. However, unlike Adar’s familiarizing formulation of plant-as- instrument, Parker’s live recordings of the breakdown of plants within a composting bin inevitably alienate the listener with their strange, if haunting, non-musical intonations that are direct representations of the cellular alterations slowly transforming plant material into non-plant material (i.e. nutrient-rich soil), ironically ideal for growing more plants. As Parker explains, “the project establishes compost - a complex, living material - as an actant … a source of action that has sufficient coherence to make a difference.”13

And, however foreign these ecological actants, including plants and the compost generated from their decaying materialities, might be from the lived experience of human beings, they no less share, and shape, the environmental framework of that experience. Human beings live with plants, but they die with them too. Which brings us back again to the Anthropocene and the need to develop a culture of cross-species care, highlighted by one last work being proposed for inclusion in the exhibition. Janet Laurence’s Waiting: A Medicinal Garden for Ailing Plants is an installation “imagined, loosely, as a medicinal garden but one where the onus of care has shifted. Instead of the simples and herbs of the European pharmacopeia, Waiting shelters a range of Australian native plants, some healthy, some ailing, and others dead.”14 Resembling a botanical glasshouse (dedicated to living plants) and a museological vitrine (a repository of dead specimens), Waiting comingles life and death, decay and resuscitation. The work stages the medicinal garden

12 Paul Rosero Contreras, ‘El Pensamiento de las Plantas,” Paul Rosero Contreras, Created: 2019, Accessed: 2020, http://paulrosero.com/index.php/portfolio/el- pensamiento-de-las-plantas/

13 J (no.e) Parker, ‘Composing [De]Composition: Transforming Decomposition into Sonic Experience,’ J (no.e) Parker, Created: 2017, Accessed: 2020, https://jnoiesparker.wordpress.com/composing-decomposition/

14 Ingrid Periz, Antenae: The Journal of Nature in Visual Culture, 'Waiting: A Medicinal Garden for Ailing Plants', pg. 73-79, Autumn 2011, p. 74

83 as a tent hospital, where plants are held in triage. Begging the question, as so many projects in this proposed exhibition do: “Plants keep us, can we properly keep them?”15

Research Plan

Research and preparation for the exhibition Anthropos Seen: Exploring Human Intra- Actions with Botanical Agents in Contemporary Art will primarily consist of site visits to relevant archives, collections, libraries, and academic programs, as well as studio visits with proposed exhibition artists. As much as possible, these visits will be arranged temporally and geographically so as to allow for multiple site/studio visits per trip. In addition to preparation for the upcoming exhibition, these activities will also serve as developmental research towards a culminating public conference covering the specific themes of the exhibition.

The entire research phase will kick off with an initial day-long agenda-setting meeting at Cerritos College between the primary research team and the members of the advisory committee. The primary research team consists of James MacDevitt (Director of the Cerritos College Art Gallery, Associate Professor of Art History and Visual/Cultural Studies at Cerritos College, and the curator of the Anthropos Seen exhibition) and Rick Miranda (Assistant Superintendent and Vice-President of Academic Affairs at Cerritos College, as well as a former professor of Plant Biology at Taft College). The Advisory Committee will consist of a small number of local disciplinary specialists from outside the Cerritos College academic community, including humanities researchers focused on the representation of plants in media studies and popular culture, as well as biological researchers specializing in botany, horticulture, and environmental and ecological studies.

Following the initial meeting, the primary team will meet quarterly at Cerritos College, including an annual follow-up day-long meeting with the entire advisory committee. The initial and ongoing meetings will focus on identifying and refining appropriate research themes and topics, as well as overseeing the line-up for, and programming of, the culminating academic conference to take place at the end of the research period. This culminating two-day conference will bring together the participating artists with separate scholars and specialists working at the crossroads between the humanities and plant biology in the age of the Anthropocene. The artists will present their own work, including, and in-particular, the pieces that will be exhibited in the upcoming exhibition. Art historians and specialists in plant media in the humanities will provide historic and contemporary context for such visual and conceptual artworks. Likewise, botanical researchers and environmental activists will present relevant scientific frameworks for appreciating the particular themes addressed and philosophers working from a post- humanist approach will explore the theoretical possibilities that come with reimagining our traditional anthropocentric relationship to the botanical agents that inhabit our shared ecosystem. The conference will serve double duty as both an opportunity to promote the upcoming exhibition and its primary foci to the general public and to select the ideal

15 Ibid.

84 scholars to expand their presentations into chapters/essays for the associated exhibition catalogue to be published in tandem with the exhibition.

Potential participants in the culminating conference will be identified through regular and ongoing studio visits with the participating artists and site visits to relevant libraries, museums, and botanical collections, as well as interdisciplinary art and humanities programs. Local studio visits will take place with Southern California-based artists including Adrienne Adar, Eddie Rodolfo Aparicio, Andrea Bersaglieri, Lucy Chinen, Maru Garcia, Amitis Motevalli, Brittany Ransom, Jessica Stecklow, Andre Woodward, and Jenny Yurshansky. Remote studio visits will take with J (no.e) Parker in San Francisco and Vaughn Bell in Seattle. Virtual studio visits (via Skype) will take place with Paul Rosero Contreras from Quito, Ecuador and Janet Laurence from New South Wales, Australia.

Site visits to libraries, museums, and botanical gardens will also be an important component of the research. These trips, where possible clustered together and/or conducted in tandem with regional studio visits, will allow the primary team to inspect relevant associative materials, including historic examples of botanical illustrations, herbarium collections, and art historically significant site-specific botanical art installations, as well as various practices of pedagogical display in botanical gardens. Local site visits will include the Getty’s own Research Institute archives, as well as the Huntington Library and Botanical Gardens, the Los Angeles Arboretum, Descanso Gardens, the UC Riverside Botanical Gardens, and the Theodore Payne Foundation.

Remote libraries visited will include the New York Public Library and the New York Botanical Garden’s Merz Library Special Collections. Remote Herbaria and Botanical Gardens visited will include the New York Botanical Garden’s Steere Herbarium and the University of Washington’s Burke Museum Herbarium and the Center for Urban Horticulture. Museum Art Collections and site-specific botanical art installations will include the Ware Collection of Blaschka Glass Models of Plants at the Harvard Museum of Natural History, Natalie Jeremijenko’s Tree Logic at MASS MoCA, and Mark Dion’s Neukom Vivarium at the Seattle Sculpture Park.

Site visits to academic institutions that house relevant Art and Ecology research and teaching programs will also be conducted. These include the Coalesce Center for Biological Art at the University of Buffalo, the Bio Art Lab at the School for Visual Arts in New York, the Environmental Health Clinic at New York University, the University of New Mexico’s MFA in Art and Ecology, and UC Santa Cruz’s new MFA in Environmental Art and the Center for the Study of the Force Majeure, also connected to the Harrison studio. A special trip will also be taken to visit Joela Jacobs, the founder of the Literary and Cultural Plant Studies Network at the University of Arizona in Tuscon.

The primary purpose of these site visits to academic programs that operate at the intersection of art and the environment, art and biology, or art and plant studies is to identify relevant scholars to participate in the culminating conference (and, by extension, to also possibly write for the catalogue). However, a secondary, and welcome, side effect

85 of these visits will be to promote the upcoming exhibition and catalogue to appropriately- invested academic peers and students.

Though not linked to any specific studio/site visit or conference preparation (and therefore not directly a part of this grant request), additional research activities will also be pursued during the calendar period of the research phase to help create public programming that will ultimately run in tandem with, and in support of, the exhibition itself. This includes beginning the process of establishing connections to local K-12 programs and developing appropriate pedagogical materials that can help share and explain the show to younger audiences. Ideally, hosting a Getty Marrow Undergraduate Intern in Summer 2021 and/or 2022 will help fund this particular element of the preliminary research. In addition, selecting appropriate and available media for public screenings during the run of the exhibition will also be pursued (focused around themes such as Botanical and Ecological Science Documentaries, Communicating with Plants, Plants and Modernism, Migration Patterns, Posthumanism and the Anthropocene, and Plant Horror, etc.).

Finally, a number of the artists being considered for the exhibition have work that has been, or could be, exhibited in a public art context outside of the gallery walls. These include Adrienne Adar, Vaughn Bell, Lucy Chinen and Jessica Stecklow, and Amitis Motevalli. Cerritos College has a small endowment for public art projects and a dedicated Committee on Art in Public Spaces. The research phase will also be an ideal time to begin discussions about either directly commissioning these artists to produce new/existing work for permanent, or even temporary, public display to coincide with the exhibition.

Project Team

James MacDevitt, Director/Curator, Cerritos College Art Gallery James MacDevitt is Associate Professor of Art History and Visual & Cultural Studies at Cerritos College, as well as the Director/Curator of the Cerritos College Art Gallery. He is currently on sabbatical for the 2019-2020 academic calendar to write a textbook for his Visual Studies course focusing on Art, Science, and Technology. In addition to serving on the board of the Foundation for Art Resources, a longstanding arts advocacy non- profit, and programming the 2017 FAR Bazaar, which transformed the now-demolished mid-century modern Fine Arts building at Cerritos College into an alternative arts fair featuring artists from ten Southern California MFA programs and over twenty-five art and curatorial collectives, he also founded and co-curates the multi-institutional SUR:biennial, which recently completed its fifth biennial cycle, and the annual Cerritos College Art+Tech Artist-in-Residence Program, now in its sixth year. MacDevitt has also curated numerous exhibitions for the Cerritos College Art Gallery over the last decade, including OVER/FLOW: Horror Vacui in an Age of Information Abundance, Re:Creation: Serious Play with Canonical Art, Object-Orientation: Bodies and/as Things, Architectural Deinforcement: Constructing Disaster and Decay, After Image: The Photographic Process(ed), Abstracted Visions: Information Mapping from Mystic Diagrams to Data Visualizations, and Geo-Ontological: Artists Contemplating Deep

86 Time. His essay, “The User-Archivist and Collective (In)Voluntary Memory: Read/Writing the Networked Digital Archive,” was included in Revisualizing Visual Culture, and his essay, “The Ties That Un/Bind: On the Enigmatic Appeal of Meta/Data,” was featured in the catalog for MetaDataPhile: The Collapse of Visual Information at Cal State Fullerton’s Begovich Gallery. His essay “Generative Adversarial Networks: Contemporary Art and/as Algorithm” is included in the upcoming publication Algorithmic Culture from Lexington Books’ Critical Media Studies series. MacDevitt holds a Masters in the History of Art from UC Riverside, where he previously served as Digital Media Associate at the UCR/California Museum of Photography and Assistant Director of the UCR/Sweeney Art Gallery.

Rick Miranda, Assistant Superintendent and Vice-President of Academic Affairs, Cerritos College Prior to shifting his focus to academic administration, Rick Miranda worked as a practicing scientist, specializing in plant biology. He holds a Masters in Biology from the University of California, Riverside. He served as Associate Professor of Biology at Taft College before being appointed the Dean of Academic Affairs at Cerritos College in 2012. Shortly thereafter, he was named to his current position, the Vice-President of Academic Affairs and Assistant Superintendent. As an engaged administrator, Miranda works to facilitate opportunities for the campus to develop culturally responsive teaching and learning. He supports innovative education, curriculum and pedagogy, integrative teaching and learning, and a research-based methodology.

Advisory Committee

Dr. Natania Meeker, Associate Professor of French & Comparative Literature, USC Natania Meeker is an associate professor of French and Comparative Literature at the University of Southern California. She holds a Ph.D. in French Literature and Philosophy from Duke University. Her research and teaching interests include animated and animating plants, vegetal ontologies, plant art and media, materialisms old and new, feminist theory and thought, and the Enlightenment, broadly conceived. She published Voluptuous Philosophy: Literary Materialism in the French Enlightenment with Fordham University Press in 2006 and she recently completed a co- authored book with Antónia Szabari entitled Radical Botany: Plants and Speculative Fiction. Her current book in progress, Illusion Without Error, explores feminine materialism and materialist femininity from the eighteenth century through to the present day. She was named Chevalier de l’Ordre des Palmes Académiques in 2017.

Dr. Antónia Szabari, Associate Professor of French & Comparative Literature, USC Antónia Szabari is an associate professor of French and Comparative Literature at the University of Southern California. She holds a Ph.D. from Johns Hopkins University. Her scholarly interests include early modern literature and political thought, plant studies, history of botany, and speculative fiction. She is the author of Less Rightly Said: Scandals and Readers in Sixteenth-Century France (Stanford University Press, 2009). Recently, she published Radical Botany: Plants and Speculative Fiction (Fordham University Press, 2019), a monograph co-authored with Natania Meeker. She has written

87 essays on the public sphere, early modern diplomacy, the history of botany, plant horror, and vegetal ontology. A book-length manuscript in progress, Agents Without Empire, examines the role of agents--from natural historians to writers, diplomats and spies--in the politics of the French court in the Ottoman Empire in the sixteenth century. Her current project, tentatively entitled A Greener New Deal examines speculative fiction’s power to invent vegetal, non-human agencies for alternative social projects that matter to humans but are not centered around them. Her writings probe the power of fiction to think about society and the environment, preferably together.

Images

Adrienne Adar, Listening Trees, 2018

Adrienne Adar, Sonic Succulents, 2019

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Andrea Bersaglieri, Suburban Tuft (Weeds), 2017

Amitis Motevalli, Golestan Revisited, 2018

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Andre Woodward, Darklands, 2010 Pothole Plant, 2009

Psychocandy, 2009 Blue Bonsi, 2011

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Brittany Ransom, Parallel Pathways (Test Prints), 2019-2020

Janet Laurence, Waiting - A Medicinal Garden for Ailing Plants, 2010

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Eddie Rodolfo Aparicio, Cumbia El Viernes (11th St. & Union St., LA), 2017

Eddie Rodolfo Aparicio, Wardian Box, 2019

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Jenny Yurshansky, Blacklisted: A Planted Allegory (Herbarium)

Jessica Stecklow and Lucy Chinen, Presentation, 2017

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J (no. e) Parker, DeComposition Data Sonification (Compost Temperature Data Listening Session at UCR Sweeney Art Gallery), 2015

J (no. e) Parker, DeComposition Data Sonification, 2015

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Maru Garcia, Vacuoles: Bioremediating Cultures, 2019

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Paul Rosero Contreras, Obituary: El Pensamiento de las Plantas, 2019

Paul Rosero Contreras, Obituary: El Pensamiento de las Plantas, 2019

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Vaughn Bell, Village Green (2008-Present), MASS MoCA, 2008, Photos by Kevin Kennefick

Vaughn Bell, Village Green (2008-Present), Parking Lot Project, University of Richmond, 2015

Selected Bibliography

Alaimo, Stacy. Exposed: Environmental Politics and Pleasures in Posthuman Times. Minneapolis: University of Minnesota Press, 2016.

Aloi, Giovanni. Antennae 10: A Decade of Art and the Non-Human. Chicago: Aloi, 2018.

Aloi, Giovanni. Botanical Speculations: Plants in Contemporary Art. Cambridge: Cambridge Scholars Publishing: 2018.

Aloi, Giovanni. Lucian Freud Herbarium. Munich: Prestel, 2019.

Aloi, Giovanni. Why Look at Plants? Leiden: Brill, 2019.

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Andraos, Amale, T.J. Demos, and Pedro Gadanho. Eco-Visionaries: Art, Architecture, and New Media after the Anthropocene. Berlin: Hatje Cantz, 2018.

Bleichmar, Daniela. Visible Empire: Botanical Expeditions and Visual Culture in the Hispanic Enlightenment. Chicago: University of Chicago Press, 2012.

Coccia, Emanuele. The Life of Plants: A Metaphysics of Mixture. Cambridge: Polity Books, 2018.

Davis, Heather and Etienne Turpin. Art in the Anthropocene: Encounters Among Aesthetics, Politics, Environments, and Epistemologies. London: Open Humanities Press, 2015.

Demos, T.J. Decolonizing Nature: Contemporary Art and the Politics of Ecology. Berlin: Sternberg Press, 2016.

Demos, T.J. Against the Anthropocene: Visual Culture and Environment Today. Berlin: Sternberg Press, 2017.

Gagliano, Monica. Thus Spoke the Plant: A Remarkable Journey of Groundbreaking Scientific Discoveries and Personal Encounters with Plants. Berkeley: North Atlantic Books, 2018.

Gagliano, Monica, John C. Ryan, and Patricia Vieira. The Language of Plants: Science, Philosophy, Literature. Minneapolis: University of Minnesota Press, 2017.

Ghosh, Amitav. The Great Derangement: Climate Change and the Unthinkable. Chicago: University of Chicago Press, 2017.

Hall, Matthew. Plants as Persons: A Philosophical Botany. Albany: SUNY Press, 2011.

Haraway, Donna J. Staying with the Trouble: Making Kin in the Chthulucene. Durham: Duke University Press, 2016.

Heurtel, Pascale and Michelle Lenoir. The Art of Natural History: Botanical Illustrations, Ornithological Drawings, and Other Masterpieces from the Age of Exploration. New York: Rizzoli, 2018.

Irigaray, Luce and Michael Marder. Through Vegetal Being: Two Philosophical Perspectives. New York: Columbia University Press, 2016.

Kaufman, Syl and Wallace Kaufman. Invasive Plants: Guide to Identification and the Impacts and Control of Common North American Species. Mechanicsburg: Stackpole Books, 2013.

98 Keetley, Dawn and Angela Tenga. Plant Horror: Approaches to the Monstrous Vegetal in Fiction and Film. London: Palgrave, 2016.

Kohn, Eduardo. How Forests Think: Toward an Anthropology Beyond the Human. Berkeley: University of California Press, 2013.

Latour, Bruno. Down to Earth: Politics in the New Climatic Regime. Cambridge: Polity Books, 2018.

Laurent, Anna. Botanical Art from the Golden Age of Scientific Discovery. Chicago: University of Chicago Press, 2016.

Mancuso, Stefano. The Revolutionary Genius of Plants: A New Understanding of Plant Intelligence and Behavior. New York: Atria Books, 2018.

Marder, Michael. Plant-Thinking: A Philosophy of Vegetal Life. New York: Columbia University Press, 2013.

Marder, Michael and Mathilde Roussel. The Philosopher's Plant: An Intellectual Herbarium. New York: Columbia University Press, 2014.

Meeker, Natania, and Antónia Szabari. Radical Botany: Plants and Speculative Fiction. New York: Fordham University Press, 2019.

Meyers, Amy and Therese O’Malley. The Art of Natural History: Illustrated Treatises and Botanical Paintings, 1400-1850. Washington, DC: National Gallery of Art, 2008.

Morton, Timothy. Dark Ecology: For a Logic of Future Coexistence. New York: Columbia University Press, 2018.

Morton, Timothy. Humankind: Solidarity with Non-Human People. New York: Verso, 2019.

Nealon, Jeffrey. Plant Theory: Biopower and Vegetable Life. Palo Alto: Stanford University Press, 2015.

Nixon, Rob. Slow Violence and the Environmentalism of the Poor. Cambridge: Harvard University Press, 2013.

Pollan, Michael. The Botany of Desire: A Plant's-Eye View of the World. New York: Random House, 2002.

Prudence, Gibson. The Plant Contract: Art’s Return to Vegetal Life. Leiden: Brill, 2018.

Schiebinger, Londa and Claudia Swan. Colonial Botany: Science, Commerce, and Politics in the Early Modern World. Philadelphia: University of Pennsylvania Press,

99 2007.

Taylor, Dorceta. Toxic Communities: Environmental Racism, Industrial Pollution, and Residential Mobility. New York: New York University Press, 2014.

Tsing, Anna Lowenhaupt, Nils Bubandt, Heather Swanson, and Elaine Gan. Arts of Living on a Damaged Planet: Ghosts and Monsters of the Anthropocene. Minneapolis: University of Minnesota Press, 2017.

Weintraub, Linda. What’s Next?: Eco Materialism and Contemporary Art. London: Intellect, 2019.

Wenzel, Jennifer. The Disposition of Nature: Environmental Crisis and World Literature. New York: Fordham University Press, 2019.

Wilson, Edward O. The Future of Life. New York: Vintage Books, 2003.

Wulf, Andrea. The Invention of Nature: Alexander von Humboldt's New World. New York: Vintage Books, 2016.

C.4 Full Grant Proposal Result – Denial

I am writing in response to your grant application of March 19, 2020 requesting support for research and planning for the exhibition Anthropos Seen: Exploring Human Intra- Actions with Botanical Agents in Contemporary Art as part of the special initiative Pacific Standard Time: Art x Science x LA. We have now completed the review process, and I regret that the Getty Foundation will not be able to offer support for the project.

The application underwent extensive review and was given very careful consideration, but we received many more strong proposals than we were able to fund. Beginning with the initial response to the call for letters of inquiry, for which we received more than 150 proposals, the selection process has been exceptionally competitive, and necessitated many difficult decisions on the part of the advisory committee.

As we continue to develop PST: Art x Science x LA further, including associated programming, it is our sincerest hope that we will find further ways to work with you.

With best regards, Heather MacDonald Senior Program Officer

100 APPENDIX D Algorithmic Culture | Book and Chapter Summaries

D.1 Book Summary

Algorithmic Culture: How Big Dat and Artificial Intelligence are Transforming Everyday Life, eds. Stefka Hristova, Soonkwan Hong, and Jennifer Daryl Slack (Lanham, Maryland: Rowman & Littlefield Publishing, 2021).

Algorithmic Culture: How Big Data and Artificial Intelligence are Transforming Everyday Life explores the complex ways in which algorithms and big data, or algorithmic culture, are simultaneously reshaping everyday culture while perpetuating inequality and intersectional discrimination. Contributors situate issues of humanity, identity, and culture in relation to free will, surveillance, capitalism, neoliberalism, consumerism, solipsism, and creativity, offering a critique of the myriad constraints enacted by algorithms. This book argues that consumers are undergoing an ontological overhaul due to the enhanced manipulability and increasingly mandatory nature of algorithms in the market, while also positing that algorithms may help navigate through chaos that is intrinsically present in the market democracy. Ultimately, Algorithmic Culture calls attention to the present-day cultural landscape as a whole as it has been reconfigured and re-presented by algorithms.

101 D.2 Chapter Summary

Chapter 9 | Generative Adversarial Networks: Contemporary Art and/as Algorithm by James MacDevitt, Cerritos College

James MacDevitt analyzes the motivations for, and consequences of, displacing the human agent from the central core of the so-called creative process. Using Generative Adversarial Networks (GANs), a popular machine learning technique, as a metaphorical framework, the chapter traces two parallel and interwoven trajectories which highlight the ever-growing connections between a number of contemporary art practices and algorithmic processes over the course of the last fifty years. First, it explores the evolution of the automated generation of visual imagery by computational machines, from pioneering computer art engineers (such as A. Michael Noll, Manfred Mohr, Frieder Nake, Georg Nees, and Vera Molnár) to popularly accessible visual programming languages (such as Processing, developed by Casey Raes) to artificial intelligence systems that self-generate novel visual imagery (such as Harold Cohen’s AARON, Pindar Van Arman’s Cloudpainter, and the recent work of Mario Klingermann, as well as the art collective known as Obvious). The second trajectory focuses on conceptually-oriented and process-based practices including those that existed coeval with the dawn of computational imagery (such as Fluxus artists Yoko Ono and George Brecht and Conceptual Artist Sol LeWitt). From Fluxus and Conceptual Art, this trajectory moves on to systems-based artists (such as Roy Ascott, Alison Knowles, Channa Horwitz, Steve Roden, and Dawn Ertl) and then to media artists whose meta-works parody the algorithmic-based interfaces that now govern the distribution of ubiquitous content (such as Jason Salavon and Natalie Bookchin) and hacktivist artists who create conceptual works directly within the algorithmically-coded environments used by their viewers (such as Owen Mundy, whose online project I Know Where Your Cat Lives purposefully surfaces the locational metadata hidden within uploaded photographs, and Philipp Schmitt’s Declassier, which highlights the machine learning algorithms that process and order those very images). Lastly, the trajectory tracing the narrative of algorithmic conceptualism revisits projects that work with artificial intelligences, this time specifically exploring pieces that critique the social and political implications of these supposedly semi-autonomous creative tools (including works by Stephanie Dinkins, Mary Flanagan, Trevor Paglen, and Tega Brain).

102 APPENDIX E Just Futures | Conference and Presentation Summaries

E.1 Conference Summary

Just Futures: Speculative Arts and Social Change Symposium November 19, 2019 – Oregon State University, Corvallis

This multidisciplinary symposium aims to bring together scholars, activists, and community members to consider the ways in which speculative arts can help us to diagnose social injustices in the present moment, and to imagine the ways we can catalyze solidarities to achieve more just futures. Keynote Talk: Dr. Grace Dillion (Anishanaabe), Scholar of Indigenous Futurisms Co-sponsored by the Anarres Project for Alternative Futures and the Oregon State University School of History, Philosophy & Religion. About the Anarres Project: Inspired by the speculative fiction of Oregon writer Ursula K. Le Guin (Anarres is the “ambiguous utopia” from her novel, The Dispossessed), the Anarres Project is a forum for conversations, ideas, and initiatives that promote a future free of domination, exploitation, oppression, war, and empire. The Project is based on the understanding that past, present, and future are not separate. We are intent on uncovering the many living futures constantly coming into being in the present, those innovations and creative insurgencies happening everywhere in our midst, and exploring the affinities between them. We seek to bring together activists and scholars from the arts, humanities, and social and natural sciences who are writing, thinking, and teaching about the themes explored in Le Guin’s work: gender, racial, and sexual justice, ecological sustainability, bioregionalism, left libertarian/ anarchist traditions, utopias & dystopias, alternatives to war, and cooperative economic arrangements.

103 E.2 Presentation Summary

Time Capsules: Visiting Speculative Futures with/in the Art Installations of Beatriz Cortez James MacDevitt, Cerritos College

For the last decade or so, visual artist Beatriz Cortez has been building time capsules. However, unlike that more familiar colloquial practice, these capsules do not just archive and preserve objects from the present in order for them to be better experienced by some imagined future audience. Instead, Cortez’s enterable aesthetic and conceptual environments transport a speculative future directly into the present moment, so that the complex interconnections that exist between all temporalities might be better experienced by visitors to her installations today. Additionally, as a Salvadoran-American who fled the civil war in El Salvador when she was a teenager and as a professional Central American Studies scholar who continues to focus on the turmoil of the region and the artistic production of its diaspora, her futurism is purposefully laced with cultural allusions and political associations. The work Time Machine, for example, the oldest of these enterable environments, consisted of a small dark room made of plywood with roughly punctured holes on one of the walls. When the exterior of that wall has an image of Los Angeles projected upon it, the city where the artist currently resides, the view from inside the darkened room takes on the appearance of the skyline of San Salvador at night, complete with twinkling lights. The viewer is invited inside the dark room to sit upon a simple wooden swing, an opportunity to wax nostalgic about lost childhood (in particular the artist’s own lost childhood in war-torn El Salvador), as well as to contemplate the interconnected temporalities that link the post-industrial United States to countries and cultures in which the US has historically meddled. Time is not here understood as a single universal trajectory; rather it is a network of simultaneous and overlapping regional temporalities that are born of real world systemic interactions;

104 colonialism, capitalism, globalism, etc. This theoretical exposition of multiple simultaneous temporalities has since become a bedrock of Cortez’s artistic practice. The Cosmos, Lokota Porch, Your Life Work, Nomad 13, Memory Insertion Capsule, Tzolk’in and, most recently, Trinidad Joy Station, are all attempts to examine the social, cultural, and political relationships that exist between people and the landscapes that they call home.

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