APPENDICES Appendix a Graduate Student Statistical Summary Appendix B Budget Summary Appendix C List of Special Pathways, Options, Certificates, Etc
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Leonardoelectronicalma
/ ____ / / /\ / /-- /__\ /______/____ / \ ________________________________________________________________ Leonardo Electronic Almanac volume 12, number 2, February 2004 http://lea.mit.edu ________________________________________________________________ ISSN #1071-4391 ____________ | | | CONTENTS | |____________| ________________________________________________________________ INTRODUCTION ------------ FEATURES -------- < Recursive Audio Systems: Acoustic Feedback in Composition, by Christopher Burns and Matthew Burtner > < Turn/Stile: Remixing Udo Kasemets’ *Calendaron*, by tobias c. van Veen> LEONARDO REVIEWS ---------------- < A Culture of Fact - England, 1550-1720, reviewed by Stefaan Van Ryssen > < American Modernism: Graphic Design, 1920 to 1960, Reviewed by Roy R. Behrens > < A Thing in Disguise: The Visionary Life of Joseph Paxton, reviewed by Dennis Dollens > < The Book of the Pharaohs, reviewed by Enzo Ferrara > LEONARDO JOURNAL ---------------- < *Leonardo*, vol. 37, no. 2 (April 2004) - table of contents and selected abstracts > LEONARDO ABSTRACTS SERVICE -------------------------- < Portrait of the Artist in Red Ink, by Jennifer Henderson > OPPORTUNITY ------------ < Faculty Position: Asst or Assoc Prof, New Media Arts University of California San Diego > 1 LEONARDOELECTRONICALMANAC VOL 12 NO 3 ISSN 1071-4391 ISBN 978-0-9833571-0-0 ________________________________________________________________ ________________ | | | INTRODUCTION | |________________| ________________________________________________________________ LEA SPECIAL -
Victoria Vesna Is an Artist, Professor and Chair of the Departm
VICTORIA VESNA University of California, Los Angeles Professor, Department of Design | Media Arts Director, Art | Science center Broad Art Center Los Angeles, CA 90095 http://vv.arts.ucla.edu [email protected] tel: 310.794.2118 DOB: 6.9.59, Washington D.C. EDUCATION 2000 Ph.D. - CAiiA - Centre for Advanced Studies in Interactive Arts, University of Wales, UK. Thesis: Networked Public Spaces: An Investigation into Virtual Embodiment 1984 Fine Arts Diploma - Faculty of Fine Arts, University of Belgrade, Yugoslavia 1976 HS of Art & Design, New York. PRINCIPAL FIELDS OF INTERESTS Practice | Theory of: Art & Science, Fashion & Technology, Corporate Culture & Technology, Social Networks, Data Visualization, Database Aesthetics, Context, Human Networks, Natural systems, Installations, Performance. ACADEMIC POSITIONS 1992-95, Assistant Professor, UC Santa Barbara 1995-99, Associate Professor, UC Santa Barbara 2000-present, Professor, UCLA 2004-07, Director, UC Digital Arts Network 2005-07, Director, D|MA Summer Institute, UCLA 2006-present, Director, Art | Sci center / lab, Art & Architecture / California Nanosystems Institute SOLO / COLLABORATIVE EXHIBITIONS & PERFORMANCES 2007 “Blue Morph.” Installation. In collaboration with James Gimzewski. ENTERmultimediale festival 3. May 11, 2007 – July 1, 2008. “Blue Morph.” Installation, Tesla: Extraterrestrial Vibrations. The Integratron, Joshua Tree, June 9. “Blue Morph.” Happening. The Integratron, Joshua Tree. June 9. 2005 “Nanomandala.” Location One Gallery, New York. Dec 16, 2004- Jan 29, 2005. 2004 "Nanomandala", NOTT MEMORIAL, New York. April 11 - April 24. “Nanomandala.” Stefania Miscetti Studio, Rome, Italy. March 30 - April 30; “Any/Nano/Body”. In collaboration with choreographers Norah Zuniga-Shaw, Marianne Kim. LACMA West, L. A., CA. Sept 5. “Nano Fashion”. The Annual Otis Scholarship Benefit and fashion Show. -
Audio Compact Disc
Leonardo_36-4_255_344 7/17/03 12:07 PM Page 335 Artmedia is among the first confer- communication technologies” were time for questions, too short lunch ence series posing theoretical questions very illustrative and interesting, but in breaks. Nonetheless the program and as well as looking at experimentations some respects also a bit superficial. conference format allowed networking regarding art and communication Nevertheless, I enjoyed the professional and discussions in many of the restau- technologies. It was founded in 1985 by presentation of Beusch and Cassani, rants of Paris—especially after walking the philosopher Mario Costa at the who gave an overview of mobile gam- through streets illuminated by most Department of Philosophy of the Uni- ing, and also the enlightening speeches wonderful Christmas decorations. versity of Salerno and was held there about curating net art by the curators seven times in a roughly bi-annual Dietz (Walker Art Center) and Jemima rhythm. There seem to be different Rellie (Tate Gallery). reasons why Artmedia VIII was held in The third day, Sunday, was the most AUDIO COMPACT DISC Paris in 2002: one is the possibility of exciting day of Artmedia VIII, because broadening its circle of influence; finally some rather provocative another is the fact that Paris is cur- thoughts were expressed. It started with rently a place of many interesting new Lévy’s presentation of a taxonomy for NORTH AMERICA electronic art activities. cultural design. This talk was not en- by Curlew. Cuneiform Records, Silver Artmedia VIII was co-organized by tirely appreciated because of the lack of Springs, MD, U.S.A., 2002. -
CAC4 + Hiperorgânicos5
Computer Art & Design for All – Proceedings of the Computer Art Congress Edited By: Guto Nóbrega, Khaldoun Zreik, Maria Luiza Fragoso e Tania Fraga September 2014 Http://cac4.eba.ufrj.br Published by School of Fine Arts, Federal University of Rio de Janeiro (EBA – Escola de Belas Artes de UFRJ ) RioBooks Av. Pedro Calmom 550, 7 andar – Cidade Universitária Rio de Janeiro, RJ CEP – 21941-901 Tel: +55 21 2252-0084 Email: [email protected] Credits Cover Design: Ian Guy Ipanema Logo: Guto Nóbrega Layout: Maria Luiza Fragoso Printed in Rio de Janeiro ISBN 978-85-61556-64-8 Copyright 2014 Escola de Belas Artes/UFRJ All rights reserved. No part of this publication may be reproduced, stored in a restricted system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior written permission of the Publisher Escola de Belas Artes – EBA/ UFRJ – Riobooks. All text and images reproduced on the papers are their author´s responsability. COMPUTER ART & DESIGN FOR ALL PROCEEDINGS OF THE 4TH COMPUTER ART CONGRESS 1-3 September 2014 – School of Fine Arts/ UFRJ, Rio de Janeiro, Brazil Edited Guto Nóbrega Khaldoun Zreik Maria Luiza Fragoso Tania Fraga Graduate Program of Visual Arts/PPGAV - School of Fine Arts/EBA Federal University of Rio de Janeiro/UFRJ EBA UFRJ EBA / UFRJ Promoted by: Centro de Letras e Artes EBA UFRJ EBA / UFRJ Sponsored by: PR-3 PR-5 Pró-Reitoria de Planejamento, Pró Reitoria de Extensão UFRJ Superintendência de Tecnologia Desenvolvimento e Finanças UFRJ da Informação e Comunicação Our Partners: IMA - INSTITUTE OF MATHEMATICS AND ART OF SÃO PAULO FOREWORD The 4th edition of CAC (2014) is organized with the collaboration of NANO Lab, supported by the Graduate Program in Visual Arts, at the School of Fine Arts of the Federal University of Rio de Janeiro (UFRJ). -
Fred Forest : Catalogue Raisonné (1963-2008)
UNIVERSITÉ DE PICARDIE/AMIENS – JULES VERNE ÉCOLE DOCTORALE EN SCIENCES HUMAINES ET SOCIALES THÈSE DE DOCTORAT D’HISTOIRE DE L’ART ISABELLE LASSIGNARDIE FRED FOREST : CATALOGUE RAISONNÉ (1963-2008) COMMENTAIRE SOUS LA DIRECTION DE LAURENCE BERTRAND DORLÉAC SOUTENANCE : 26 MARS 2010 FACULTE DES ARTS, UPJV, AMIENS MEMBRES DU JURY: LAURENCE BERTRAND DORLÉAC LESZEK BROGOWSKI FRANCOISE COBLENCE ÉVELYNE TOUSSAINT 1 ISABELLE LASSIGNARDIE FRED FOREST : CATALOGUE RAISONNÉ (1963-2008) COMMENTAIRE 2 Résumé Cette thèse est une étude de l’œuvre de l’artiste Fred Forest à travers le catalogue raisonné de ses travaux réalisés entre 1963 à 2008. Il s’agit de saisir les divers aspects pratiques et théoriques déployés par l’artiste : dans le cadre d’un art dit sociologique prenant le quotidien et l’ordinaire comme matériau d’observation, terrains d’action et d’animation ; par la formulation d’une esthétique de la communication dont l’objectif est la mise en évidence des médiums et technologies employées ; dans l’usage des médias de masse et des moyens de communication et de diffusion de l’information comme supports des œuvres ; de l’événement et de la communication comme parties intégrantes de la démarche artistique ; à travers les notions de participation et d’implication des récepteurs dans les dispositifs des œuvres. Mots clés : Fred Forest ; art contemporain ; art sociologique (mouvement) ; esthétique de la communication ; communication ; médias de masse ; internet ; télématique ; télécommunications ; presse ; art participatif ; participation ; esthétique relationnelle. Thesis abstract This thesis is a study of the artistic productions of Fred Forest through the comprehensive catalogue of his work from 1963 to 2008. -
Boris Magrini Paper: Should Generative Art Be Political? The
GA2012 – XV Generative Art Conference Boris Magrini Paper: Should generative art be political? Abstract: The history of generative art began long ago. Over time, it has come to encompass a great variety of techniques and products. Despite this diversity, today generative art is strongly associated with a very restricted category of works, mainly abstract images produced using computer software and evolutionary algorithms. On the one hand, application of generative art to computer graphics, the movie and gaming industries, electronic music and architecture has helped to develop the form both conceptually and commercially; on the other hand, within the world of Topic: Visual Art contemporary art – and, more specifically, new media art – generative art seems to be largely ignored or misunderstood as Authors: an artistic production. Its specificity, as demonstrated through its Boris Magrini recent evolution, is partly to blame for its exclusion from important Ph.D. candidate. venues on the contemporary art circuit, such as the numerous University of Zurich, biennale and other exhibitions in major museums. Moreover, Faculty of Arts, Art some art historians have pointed out that generative art is largely History. “retinal” or even conventional from an aesthetic point of view, and thus lacking in narrative and ideas. Because of its nature, References: [1] Boris Magrini, «Shift generative art appears unable to address relevant societal issues, Festival – Eine Stimme which may be why it has failed to seduce art critics and für die Neuen Medien», historians, not to mention the broader public. Kunst-Bulletin, nov 2011, In my contribution to the 2012 edition of the Generative Art n.11, pp. -
Dismantling the Monolith: Post-Media Art and the Culture of Instability
City University of New York (CUNY) CUNY Academic Works Publications and Research New York City College of Technology 2012 Dismantling the Monolith: Post-Media Art and the Culture of Instability Nora Almeida CUNY New York City College of Technology How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/ny_pubs/5 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Dismantling the Monolith: Post-Media Art and the Culture of Instability Nora Almeida, Pratt Institute Abstract—Art that falls under the “new media” paradigm is problematic, or rather, it renders many traditional assumptions about art as problematic. In a practical sense, new media art raises funda- mental questions about the nature of curation and preservation and the role of cultural heritage institutions as stewards of digital assets. Curation and preservation challenges, while significant, are fundamentally a symptom of a more catastrophic failure of concepts and language to adequately address changing relationships between art, materiality, and audiences. This article explores how burgeoning concepts in information and media theory may help shape curation contexts and rede- fine approaches to preservation. Some of the ongoing challenges that practitioners face and current practices for preserving and curating born-digital artworks are examined through the lens of “post- media” theory. The concept of the “new repository” is introduced and discussed in relation to concerns about digital curation, commodification, authenticity, and intentionality. digital pasts and digital futures The problem of curating and preserving artwork reliant upon technology and mani- fested in digital formats is not new. -
The Journal of the New Media Caucus 2019: Volume 15, Issue 1, Pages 1–2 ISSN: 1942-017X Media-N | Autonomous Art Systems
Media-N | The Journal of the New Media Caucus 2019: Volume 15, Issue 1, Pages 1–2 ISSN: 1942-017X Media-N | Autonomous Art Systems Nick Bontrager Associate Professor of Art, Texas Christian University Adam Fung Associate Professor of Art, Texas Christian University Media-N, the Journal of the New Media Caucus, invited submissions for this issue about the use of Autonomous Art Systems, tethered and untethered systems of making, autonomous vehicles, and related programming in creative fields of study. Relevant subjects included: artworks that address concepts of drones or surveillance as subject or form; the influence of emerging technologies on studio art practices; or critical/historical analysis of the entanglement of art and technology. While offering insight into how artists are working with these evolving and emerging systems, especially in an ever-changing environment of current and pending legislation, this issue draws parallels between autonomous art systems and the impact of portable video recorders on the arts in the late 1960s and early 1970s. In looking back on specific histories of art and technology, this issue’s contributors reference immediacy and shifts in artistic production but perhaps more importantly, pose the question: how will these new abilities, access, perspectives, and possible restrictions on technology be reflected in art practice of the future? By offering artists new visual perspectives and production values previously unattainable without substantial funding, autonomous art systems offer access to both reference and production imagery which have significantly impacted the speed and scope of answered questions and desired research in the artists’ studio. The immediate ability to explore our physical world untethered and share this information is both empowering and overwhelming to the artist, unbounded, albeit for the span of the battery life. -
CASEY REAS B.1972, Troy, OH Lives and Works in Los Angeles
CASEY REAS b.1972, Troy, OH Lives and works in Los Angeles Casey Reas writes software to explore emergent systems. His work brings together conceptualism, systems theory, experimental film and animation, and drawing. While software is at the core of his practice, his work spans installation, works on paper, and live performance. Reas has been featured in exhibitions at the San Francisco Museum of Modern Art, San Francisco, SF; Art Institute of Chicago, Chicago, IL; Museum of Contemporary Art, Los Angeles, CA; Centre Georges Pompidou, Paris, France; Victoria and Albert Museum, London, England; Museum of Contemporary Art, North Miami, FL; MIT Museum, Cambridge, MA; Zendai Museum of Modern Art, Shanghai, China; Institute of Contemporary Art, Boston, MA; Eyebeam, New York, NY; Ars Electronica, Linz, Austria; and the Zentrum für Kunst und Medientechnologie Karlsruhe, Karlsruhe, Germany. Commissions have been awarded by the Whitney Museum of American Art, New York, NY and the New World Symphony, Miami, FL. Reas is the co-creator, with Ben Fry, of Processing, an open source programming language and environment. The project was initiated in 2001; in 2012, Reas and Fry started the Processing Foundation along with Daniel Shiffman. In 2012, Reas co-wrote and designed the book 10 PRINT CHR$(205.5+RND(1)); : GOTO 10 (MIT Press, 2013). Reas and Fry published Processing: A Programming Handbook for Visual Designers and Artists (MIT Press, 2007/2014). With Chandler McWilliams and LUST, Reas published Form+Code in Design, Art, and Architecture (Princeton Architectural Press, 2010), a non-technical introduction to the history, theory, and practice of software in the visual arts. -
Media Art and Future Technologies : Art at the Interface Between Lab and Gallery
Zurich Open Repository and Archive University of Zurich Main Library Strickhofstrasse 39 CH-8057 Zurich www.zora.uzh.ch Year: 2011 Media art and future technologies : art at the interface between lab and gallery Schlachetzki, Sarah M Abstract: The dissertation Media Art and Future Technologies. Art at the Interface Between Lab and Gallery focuses on current interrelationships between art and science. In the past few years, there has been a remarkable increase in attempts to foster the exchange between art, technology, and science – an exchange taking place at academies, museums, or even in research laboratories. Against this background, the dissertation analyzes two case studies on media art at the interface between lab and gallery. The interplay of art and technology is discussed within the context of the so-called Device Art in Japan. Actors in the field of Device Art position themselves in a national funding environment, inwhichart intersects with the promotion of the Japanese ‘content industry’. The second case study on international nanoart highlights interactive installations that are often created by media artists in collaboration with nanoscientists. Nanoart exemplifies the hope of artists, curators, and theorists to overcome thegap between the disparate spheres of art and science in our knowledge-based society. The two case studies on media art within the context of technology and science are bound together in a third chapter. Here, a discourse analysis illuminates the persistence of modernity’s rhetorical tropes in the current ‘art and science’ boom. The artistic positions under scrutiny thus appear as the ongoing attempt to localize media art’s role within technological and societal change.