DOCSLIB.ORG

Abstract the Proposal Mini Manifesto History

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Abstract the Proposal Mini Manifesto History THE INTER-SOCIETY FOR THE the second symposium, with words, scientifically) approach the representatives of SIGGRAPH, the artistic potentials of our new age. ELECTRONIC ARTS REVIVED? Computer Music Association, Ars Electronica, ISAST/Leonardo, ANAT, History Wim van der Plas, Languages of Design and others, the The idea to start ISEA was conceived by ISEA International Foundation discussion was reasonably civilised, but Theo Hesper, currently a resident of Clazina Kouwenbergzoom 107 behind the scenes tempers flared, as Indonesia. Theo was founder and board 3065 KC Rotterdam nobody wanted to lose autonomy. member of the Dutch Foundation for The Netherlands Looking at ISEA2013’s theme and Creative Computer Applications [email protected] sub-themes, this is the time to put co- (SCCA), of which I was the director. operation on the table! To quote from the The SCCA partnered with the Utrecht Abstract ISEA2013 site: Art School to organise the first ISEA This is an edited version of an introduction written for the panel session with the same name of June symposium in Utrecht. The Utrecht Art 13, 2013. The editing took place after the session -Resistance is Futile: Electronic Art now School made a commitment during the was held. Both the introduction and the panel lies embedded in the heart of our first symposium to organise the next one session are seen as the beginning of a discussion contemporary cultures. too, in two years’ time. that should help to give direction to the future of ISEA. However, less than a year later, I This article was edited by ISEA International -Histories and Futures of Electronic Art: received an e-mail message from Roger board member Bonnie Mitchell, and received input ISEA2013 offers a platform to explore Malina, who had participated in the from the panellists as well as from Wolfgang where electronic art has come from, historic meeting in Utrecht. He informed Schneider, Roger Malina and Peter Beyls. The where it is going and what it might panellists were Bonnie Mitchell, Anne Nigten me that the Utrecht Art School had told (former ISEA board member), Vicki Sowry become. him they were not going to be able to (ISEA2013 organiser), Ernest Edmonds (presenter pull off the second symposium, and he at the first ISEA symposia) and Peter Anders (ISEA -Creation, Collaboration and asked me whether I saw any other International board member). I would like to thank Consumption: ISEA2013 encourages them all for their constructive thinking. possibilities. I worked for the computer The panel proposal is followed first by a mini debate, provocations and engagement in animation department of Groningen manifesto (why cooperation?) and then an historic the global nets of participation. University (then called Polytechnic) of overview of ISEA, which is celebrating its 25th birthday this year. Before presenting the viewpoints Applied Sciences, which boasted a of the panel members, I will try to give some of Mini Manifesto famous art school (Minerva) and a Music those viewpoints an historic context, and add to that for a Network Organisation for the Conservatory with an electronic music some insights from personal experience. Finally, I Emergent Arts department. The school agreed to host will try to draw some conclusions. In that way I hope to lay the foundation for a more or less the symposium; it sprang into action and structured discussion that will continue after the 1. We live in a world that is governed by organised a quite successful second panel and ISEA2013 are over. economic laws. The economy in charge ISEA in 1990. Nearly 500 proposals is mainly based on profit maximisation were received, and approximately 250 Keywords: Electronic Art, Emergent Art, Media by individual enterprises (as opposed to History, International Symposium on Electronic international and 250 Dutch participants Art, Inter-Society for the Electronic Arts collective initiatives). attended. First in Utrecht, and even more so in The Proposal 2. Meanwhile, history is being governed Groningen, an enthusiastic group of The original aim of ISEA was to connect by expansion of human knowledge, Australians insisted that they would all organisations that are active in the encompassing both insight and organise the third symposium in 1992 in field of the electronic (or emergent) arts; imagination, or science and art, together Sydney. That symposium was of a larger thus ISEA would become a meta- known as culture. scale, involving major musea and organisation. galleries; the following symposia held in The goal of the first ISEA 3. The development of science and its Minneapolis (1993) and Helsinki (1994) Symposium, held in 1988 in Utrecht, the practical application, technology, is were rather modest; however the one Netherlands, was not to begin a series, extremely fast, providing for rapid held in Montreal (1995) was relatively but to establish the meta-organisation by changes in production, medicine, social large. creating a gathering at which the plan for life and so on. The economic motor Before the second symposium, Theo this association of organisations could be requires us to consider every Hesper and I founded the Inter-Society discussed and endorsed. This is exactly technological advance as a potential for the Electronic Arts (with the same what happened, and the association, source of profit. acronym as the symposium), thus called the Inter-Society for the fulfilling the goals expressed at the Electronic Arts (ISEA), was founded 2 4. This obscures our vision of future historic Utrecht meeting. The name was years later in the city of Groningen (the well-being on a global scale. The only coined by Roger Malina. It was an Netherlands), prior to the second ISEA counterweight at our disposition is art, association, and it was intended that its the other side of the cultural moon. In symposium, in the same city. The members be institutes and organisations; continuation of the symposia, thus such a serious context, it is of essential however, as we had no funding importance that all art initiatives which making it a series, was another result of whatsoever, we decided to allow the historic meeting in Utrecht. consciously aim at grasping the individuals to join too, and managed to implications of technological Quite possibly, the goal was too enrol around 100, rising to 200, ambitious, and the founding fathers too development, put their heads together members, many of them non-paying. and co-operate. The aim should be to much ahead of their times. When a panel Only a few (5-10) of the members were meeting was organised on the stage of structurally and systematically (in other institutions; many were students, paying Please reference as: [Author(s)-of-paper] (2013) [Title-of-paper] in Cleland, K., Fisher, L. & Harley, R. (Eds.) Proceedings of the 19th International Symposium of Electronic Art, ISEA2013, Sydney. http://ses.library.usyd.edu.au/handle/2123/9475 Page numbering begins at 1 at the start of the paper. a reduced fee. The association was run have been unrealistic to imagine that this second decision was made in by a number of volunteers–Dirk Boon 3-day summit would result in definitive consultation with the ISEA membership, and Rene Paré in the Netherlands, and, answers to the questions on the table, but and was to become a foundation instead among others, Yoshiyuki Abe in Japan it was, at least, the beginning of a of an association. The Inter-Society went and Rejane Spitz in Brazil. However, collaborative effort to solve common to sleep (it still exists, but is dormant), none of the volunteers could work for problems. and ISEA International saw the light of ISEA as part of their paid professional The question of funding dominated day. job. many of the presentations and The University of Brighton offered to The ISEA members wanted something discussions. As Valérie Lamontagne host the International ISEA in return for their membership dues, so described in the CIAC Magazine: headquarters, with Sue Gollifer as the we negotiated a symposium fee “Certain initiatives did result from this Director. From then on we charged the reduction for ISEA members, and discussion, mainly the desire to form a symposium hosts a fee of €10K, of produced a monthly newsletter, nation-wide media arts lobbying which 80% goes to the University of including an extensive event agenda, job organization.” But her conclusion speaks Brighton; however, this still does not opportunities, calls for participation, etc., for itself: “Media arts still remains an art allow us enough room for development, that was distributed via snailmail. Over practice fraught with contradictions in so we recently raised the fee to €15K. the years, more than 100 newsletters practice and philosophy”[1]. have been produced. Yoshiyuki and The most distinct observation of Valérie Policy Rejane translated the newsletter into was: “Cartographies focused on the one Where the Inter-Society was overly Japanese and Portugese (for the hand on a movement away from optimistic and naïve, the ISEA Brazilians), and we called them our computer-based art practices towards International foundation has limited its Japanese and Brazilian branches. Our interactive projects done in collaboration goals to what it is able to reasonably main job was to coordinate the with the scientific and artistic accomplish. A volunteer organisation continuation of the symposia. community, and, on the other hand, on requires professionals in order to work The Montreal symposium in 1995 was projects being done in an independent effectively. so successful that the organisers were fashion which no longer necessitated ISEA International has only 3 aims: to subsequently able to get funding to take ‘center’ and ‘distributors’. A dichotomy ensure that the series of symposia on the running of the association, and was formed between a populist approach continues, to maintain a secretariat (HQ), bring 'HQ', as we called the secretariat, to technology and more expensive and and to maintain the two websites (the to their city.
Load more

Recommended publications
  • The Dutch Foundation for Creative Computer
    The Dutch Foundation for Creative Computer Applications (in Dutch: the SCCA) had been active in the 80ties in introducing the computer into the curriculum of Dutch art schools. Then it decided to broaden its vision: it wanted to bring together the different traditional art disciplines, because the computer would be helpful in bringing about unique co-operations and unique new art forms. Secondly it decided to go international. Trigger behind these activities was the notion that art and science should compliment each other and that the gap between the two was a threat to our future. The field of electronic technology seemed the place were artists couldn’t do without the scientists, so co-operation was inevitable. The founders of the SCCA, Theodor Hesper (computer scientist) and Wim van der Plas (sociologist), started to work on an “International Conference on Electronic Art”, to take place in 1986. It was too optimistic and the starting year soon became 1988. Besides, ‘Conference’ was changed into ‘Symposium’, because it sounded better. The Rotterdam based SCCA started a co-operation with the Utrecht School of Arts and the symposium (FISEA, First International Symposium on Electronic Art) took place in Utrecht in September 1988. There were a few hundred people, mainly from Europe, the USA and Australia. Many of them came either from the world of computer graphics or from the world of computer music. At this first ISEA they learned from each other they were experimenting with the same software (for example fractals), without knowing of each other’s work. Remember that there was no WWW at that time and internet only in use at universities.
    [Show full text]
  • PROGRAM SESSIONS Madison Suite, 2Nd Floor, Hilton New York Chairs: Karen K
    Wednesday the Afterlife of Cubism PROGrAM SeSSIONS Madison Suite, 2nd Floor, Hilton New York Chairs: Karen K. Butler, Mildred Lane Kemper Art Museum, Wednesday, February 9 Washington University in St. Louis; Paul Galvez, University of Texas, Dallas 7:30–9:00 AM European Cubism and Parisian Exceptionalism: The Cubist Art Historians Interested in Pedagogy and Technology Epoch Revisited business Meeting David Cottington, Kingston University, London Gibson Room, 2nd Floor Reading Juan Gris Harry Cooper, National Gallery of Art Wednesday, February 9 At War with Abstraction: Léger’s Cubism in the 1920s Megan Heuer, Princeton University 9:30 AM–12:00 PM Sonia Delaunay-Terk and the Culture of Cubism exhibiting the renaissance, 1850–1950 Alexandra Schwartz, Montclair Art Museum Clinton Suite, 2nd Floor, Hilton New York The Beholder before the Picture: Miró after Cubism Chairs: Cristelle Baskins, Tufts University; Alan Chong, Asian Charles Palermo, College of William and Mary Civilizations Museum World’s Fairs and the Renaissance Revival in Furniture, 1851–1878 Series and Sequence: the fine Art print folio and David Raizman, Drexel University Artist’s book as Sites of inquiry Exhibiting Spain at the Chicago Columbian Exposition of 1893 Petit Trianon, 3rd Floor, Hilton New York M. Elizabeth Boone, University of Alberta Chair: Paul Coldwell, University of the Arts London The Rétrospective and the Renaissance: Changing Views of the Past Reading and Repetition in Henri Matisse’s Livres d’artiste at the Paris Expositions Universelles Kathryn Brown, Tilburg University Virginia Brilliant, John and Mable Ringling Museum of Art Hey There, Kitty-Cat: Thinking through Seriality in Warhol’s Early The Italian Exhibition at Burlington House Artist’s Books Andrée Hayum, Fordham University Emerita Lucy Mulroney, University of Rochester Falling Apart: Fred Sandback at the Kunstraum Munich Edward A.
    [Show full text]
  • SCOTT HESSELS [email protected] Scotthessels.Com
    SCOTT HESSELS [email protected] scotthessels.com Education 2005 M.F.A. Design Media Arts, University of California at Los Angeles (UCLA) 2003 B.S. Business Management, University of Phoenix, Pasadena, CA Professional Experience: Academic 2010- present Associate Professor (with tenure), School of Creative Media, City Unversity of Hong Kong 2012-present Executive Producer Extreme Environments Program (see ‘Expeditions’) Skunkworks: Design with Smart Materials Program 2005-2009 Associate Professor (with tenure), School of Art, Design and Media, Nanyang Technological University Singapore 2001-2005 Lecturer Design | Media Arts, University of California at Los Angeles (UCLA) USA 2000-2001 Lecturer Environmental Design, Otis College of Art and Design, Los Angeles, USA Professional Experience: Industry 2018-present Exhibitions Producer Gay Games Hong Kong 2022 2000-present New Media Artist, Sculptor and Filmmaker Multiple artworks and films produced (see ‘Creative Works’) 2006-present Executive Producer Multiple Film and Photo documentaries (see ‘Creative Works’) 1986-2003 Writer, Director and Executive Producer Damaged Californians Productions, Los Angeles 1985-2002 Director of Information Technology Fox Television Network (KTTV Fox 11, KCOP UPN 13, Fox Sports West) Los Angeles 1981-1985 Manager of Operations KDVR Television, Denver, Colorado 1978-1981 Writer and Producer KPPL/KLAK Radio, Denver, Colorado 2 Creative Works (see selected exhibition record following) 2021 Below Victory Concept, Design, Ground Penetrating Radar Scans Augmented
    [Show full text]
  • ANAT Annual Report 2000
    0 o Australian Network for Art and Technology ABOUT ANAT SERVICES AND ACTIVITIES ANAT is Australia's peak network and advocacy body for ANAT undertakes a wide range of activities, including: artists working with technology. running Australia's most prestigious art and technology The role of ANAT is to advocate, support and promote the training programs, National Schools for New Media arts and artists in the interaction between art, technology artists and curators and science, nationally and internationally. Identifying new and challenging opportunities for specialised training and professional development such Since its inception in 1985 ANAT has been at the forefront of as Indigenous Summer Schools the movement to position artists as active participants in administering the Quick Response Conference and the'information age'. The organisation's infrastructure is Workshop Fund principally funded through the Australia Council. ANAT researching opportunities for artists maintains a database and artists files of artists working developing programs which formulate relationships with technology throughout Australia, and acts as an between artists, organisations and institutions advocacy and networking organisation for artists working organising events which encourage critical debate, in these areas assisting artists to develop their art practice, diversity and innovation within art, science and technology to forge links with science and industry, and developing and disseminating information about the art and technology promoting opportunities for Australian artists to exhibit sector their work nationally and internationally. Information is providing resources and information to our national and disseminated though our newsletters and on our world international membership base wide web site. GOALS ANAT's goals for 2000 Goal 1: Promote Australian artists working with science and technology.
    [Show full text]
  • Cynthia Beth Rubin
    CYNTHIA BETH RUBIN HTTP://CBRUBIN.NET SELECTED RECENT PROJECTS Antarctica Underwater: Collaborations with Oceanographers, Menden-Deuer lab http://cbrubin.net/antarctica.html Exhibitions & Screenings 2018 Creative Tech Week, Main Space, Brooklyn NY (upcoming) http://cbrubin.net/ocean-life.html Art/Science Collaborations on the High Seas, e-Gallery: http://oceanscience.art 2017 Science Inspires Art:OCEAN, NY Hall of Science, New York, NY Video and still images derived from raw Maniac Episode 5, Ely Center of Contempory Art, New Haven CT footage shot in Antarctica by University 2016 Video on ICC Building, OPEN SKY GALLERY ISEA2016 Hong Kong May of Rhode Island researchers Governor’s Island Art Kibbutz, New York, NY Still images include Augmented Reality Presentations videos and sources 2016 Artist Talk, ISEA 2016 Hong Kong EPSCoR Project Presentations URI History, Heritage, and the Lower East Side: Cynthia Beth Rubin and Yona Verwer http://history-heritage-lowereastside.blogspot.com Digital and Acrylic Paint on Canvas Exhibitions with Augmented Reality videos 2016 Meditations on Place The Koslowe Gallery, Westchester Jewish Center, June 2014 - present - ongoing project Augmented Reality and Jewish Art Art Kibbutz, Governors Island New York NY September 2015 New York / New Work, Jerusalem Biennale 2015 & the Mishkan Museum of Art, includes historic narratives by Elissa Jerusalem and Ein Harod, Israel September & November Sampson, music by Bob Gluck, Yiddish 2015 Shmita Festival Art Kibbutz, Governors Island New York NY August music and photographs from family 2015 Hidden Links: Exploring Jewish Identity: The Work of Cynthia Beth Rubin and Yona Verwer archives produced by Mizel Museum, & Center for the Arts Evergreen, Denver area, CO.
    [Show full text]
  • Education 1990 1984 1983 Teaching / Visiting Faculty Positions / Endowed Chair and Center Leadership Teaching Visiting Critic
    curriculum vitae Andrea Wollensak Professor of Art Associate Fellow, Ammerman Center for Arts & Technology Connecticut College, 270 Mohegan Avenue, New London, CT 06320 [email protected] https://www.andreawollensak.com Andrea Wollensak is an artist, designer and educator. Her work spans multi-media from traditional forms/processes and digital fabrication, to generative-interactive systems and includes collaborations with community partners, computer programmers, musicians, poets, and scientists. Themes in her work explore place-based narratives on environment and community. At Connecticut College, she is on the faculty in the Art Department, and is an Associate Fellow in the Ammerman Center for Arts and Technology where served as Director from 2014-2020. Education 1990 Yale University, New Haven, Connecticut – MFA 1984 Yale University, Summer program in Design, Brissago, Switzerland 1983 University of Michigan, Ann Arbor, Michigan – BFA Teaching / Visiting Faculty Positions / Endowed Chair and Center Leadership Teaching 2007- Professor of Art, Connecticut College 00-07 Associate Professor of Art, Connecticut College 93-99 Assistant Professor of Art, Connecticut College 90-93 Assistant Professor, Concordia University, Faculty of Fine Arts, Montréal, Quebec 87-88 Full-time Adjunct Lecturer, SUNY Purchase, Visual Arts, Purchase, New York Visiting Critic / Graduate Seminar Lecturer / Graduate Thesis Advisor 2019 Rhode Island School of Design, Department of Design, Guest Critic 2017 University of Massachusetts at Dartmouth, Design Program,
    [Show full text]
  • Victoria Vesna Is an Artist, Professor and Chair of the Departm
    VICTORIA VESNA University of California, Los Angeles Professor, Department of Design | Media Arts Director, Art | Science Center Visiting Professor, Director of Research, Parsons the New School for Design http://vv.arts.ucla.edu [email protected] tel: 310.794.2118 DOB: 6.9.59, Washington D.C. EDUCATION 2000 Ph.D. CAiiA - Centre for Advanced Studies in Interactive Arts, University of Wales, UK Thesis: ―Networked Public Spaces: An Investigation into Virtual Embodiment‖ 1984 Fine Arts Diploma -Faculty of Fine Arts, University of Belgrade, Yugoslavia 1976 HS of Art & Design, New York. PRINCIPAL FIELDS OF INTERESTS Practice | Theory of: Art + Science, Nano_Biotech + Art, Sonification, Corporate Culture + Technology, Social Networks + Education, Database Aesthetics, Context, Human Networks + Natural systems, Installations, Performance ACADEMIC POSITIONS 1992 – 95, Assistant Professor, UC Santa Barbara 1995 – 99, Associate Professor, UC Santa Barbara 2000 – present, Professor, UCLA 2009 – present, Visiting Professor, Director of Research, Parsons the New School for Design, NY 2005 – 07, Director, UC Digital Arts Network 2006 – 08, Director, D|MA Summer Institute, UCLA 2006 – 09, Director, Sci Art Summer Institute, UCLA 2005 – present, Director, Art | Sci Center + Lab, Art & Architecture / California Nanosystems Institute SOLO / COLLABORATIVE EXHIBITIONS & PERFORMANCES 2010 ―Blue Morph.‖ Installation. In collaboration with James Gimzewski. Theater DoZ, Santa Ynez, CA, Mar 20. 2009 ―Water Bowls.‖ Microwave International New Media Arts Festival, Hong Kong, Nov 13-22. ―The Katrina Project: NO-LA.‖ Information Aesthetics Showcase, Siggraph, New Orleans, Aug 3 – 7. ―The Hox Zodiac.‖ Installation. INDAF, Incheon International Digital Art Festival, Incheon, Korea, Aug 7. ―Blue Morph.‖ Installation. In collaboration with James Gimzewski. Integratron, Joshua Tree, CA, Jan 1.
    [Show full text]
  • Maraya: Sisyphean Cart M
    MARAYA: SISYPHEAN CART M. Simon Levin, Brian McBay Henry Tsang, Glen Lowry MARAYA: SISYPHEAN CART Performance, exhibition (2015) Maraya: Sisyphean Cart is a mobile ‘sousveil- planned urban landscape that in turn ref ects the lance’ cart that conducts a site-specif c partici- design and desire of lifestyle and capital that is so patory spatial investigation of Vancouver’s False f uid and mobile in today’s globalized economies. The project is presented at 221A’s exhibition Creek and the Dubai Marina. It premiered at the The cart itself, and signif cantly the pulling of it, room located in Chinatown, Vancouver, where it 20th International Symposium on Electronic Art invokes the spectre of labour – purposeful walk- is undergoing intensive neighbourhood gentrif - (ISEA) in Dubai in November 2014, and completes ing as a form of resistance to readily consumed cation and experiencing crude orientalist market- its second leg for ISEA 2015 in Vancouver. This images of idealized leisure – and the Sisyphean ing campaigns that add to the ongoing crisis of custom-designed hand-drawn cart is mounted weight of this vision. affordability and cultural homogenization. with an automated pan-tilt-zoom (PTZ) camera Meaning mirror or ref ection in Arabic, 221A gratefully acknowledges the support and pulled along the both waterfront seawall Maraya focuses on the re-appearance of of the City of Vancouver, British Columbia Arts paths. Imagery produced by the skyscraper-fac- Vancouver’s False Creek in the Arabian desert Council, the Canada Council for the Arts and our ing camera will provide alternative perspectives as the Dubai Marina.
    [Show full text]
  • David Jhave Johnston CV
    David (Jhave) Johnston 01 David (Jhave) Johnston h2p://glia.ca [email protected] Digital net-ar>st-poet concentra>ng on integra>ng advanced computa>onal techniques (neural nets, VR, and fluid dynamics) into the crea>on of art installa>ons and spoken word performances that expose and ques>on human-machine symbiosis. August 15.2012 - December 30.2016 Assistant Professor Deputy Director of MFA Program School of Crea>ve Media, City University of Hong Kong h2p://www.scm.cityu.edu.hk/profile/DAVID.JHAVE.JOHNSTON Currently: Advisor, Building21, McGill University. Affiliate faculty, Computa>onal Arts, Concordia. THEORETICAL PUBLICATION Aesthe>c Animism: Digital Poetry’s Ontological Implica>ons MIT Press (June 2016) https://mitpress.mit.edu/aesthetic Winner of 2017 N. Katherine Hayles Award for Best Criticism of Electronic Literature David (Jhave) Johnston 02 EDUCATION 2007-2011 PhD in Interdisciplinary Humani>es Concordia University, Montreal. Thesis >tle: Aesthe>c Animism: Digital Poetry as Ontological Probe Thesis directors: Ollivier Dyens, Jason Lewis, Chris Salter, Sha Xin Wei. External advisor: John Cayley (Director of Electronic Wri>ng. Brown University.) 2011 l'Université interna>onale d'été en pédagogie universitaire. Concordia. 2010 Graduate Seminar in University Teaching Cer>ficate. Concordia. 2004-2007 Masters of Science in Interac>ve Arts Simon Fraser University SIAT: School of Interac>ve Arts and Technology Thesis >tle: Fer>le Synthesis: Emo>on in online Digital Poetry Thesis directors: Diane Gromala, Thecla Schiphorst 2001-2004 Bachelor of Computer Science (graduated with dis>nc>on) with a Minor in Digital Image & Sound, Concordia University, Montreal. ONGOING EDUCATION 2016 Crea>ve Applica>ons of Deep Learning with TensorFlow Taught by Parag Mital July 22, 2016 — December 28, 2016 h2ps://www.kadenze.com/cer>ficates/V39QEL7O Machine Learning for Musicians and Ar>sts Taught by Rebecca Fiebrink (from Goldsmiths University of London) h2ps://www.kadenze.com/cer>ficates/1UR3F8V5 February 3, 2016 — May 25, 2016.
    [Show full text]
  • Curriculum Vitae
    Curriculum Vitae Contact,: [email protected] www.willpap-projects.com Present Position: Artist and Educator, living and working in Brooklyn, New York 2004- Currently –Professor, Art Department, Pace University, NY Founding member of the artist collective, Manifest.AR 1998-2004 Assistant Professor, Area Coordinator of Electronic Intermedia Department, of Art & Art History, University of Florida, Gainesville, FL Education: MFA, 1997, School of the Museum of Fine Arts, Boston, MA BA, 1978, Harvard College, Visual and Environmental Studies, Cambridge, MA Solo + Two Person 2018 Skywrite Newton, commission, Newton Festival Of Arts 2018 and Cyberarts Boston, Exhibitions: AR sky writing quotes over 13 Newton Villages, MA 2017 July Artist in Residence Online, Gazell.io, Solo Online show, Gazelli Art House, London series of images and videos of works at the edge of virtual and physical worlds 2016 ArtWeek Boston, Solo Exhibition, “Demos Populi” curated by Lanfranco Aceti, Skywrite AR Installations at 8 locations City-wide, October 5-9, 2016 “Immersive Worlds Art Exhibition,” Will Pappenheimer and Ben Chang/Silvia Ruzanka, New Media Art Space, Baruch College, New York, curated Catherine Behar, April 7 2015 “WIMET Spinners,” solo project for the Virutale Switzerland biennial, augmented reality sculpture at 11 Lausanne Metro stations in Switzerland 2014 “Proxy, 5-WM2A,” Whitney Museum of American Art, augmented reality performance event for the final 2014 Gala Studio Party in the Breuer Building, curated by Christiane Paul “Double Space, Opportunity
    [Show full text]
  • The Cvof JILLSCOTT 2020
    The CV of JILL SCOTT 2020 Prof. Dr. Jill Scott Current Home Address: Hardturmstrasse 132 A 8005 Switzerland [email protected] [email protected] ¨ Home pages: http://www.jillscott.org (Artistic Research) www.laserzuirch.com ( The Zurich Leonardo Art and Science Salon) www.artistsinlabs.ch (The Artists-in Labs Residency Program) www.z-node.net (The PhD Program in cooperation with the University of Plymouth) Jill Scott. Born on 01.01.1952 in Melbourne, Australia. Lives since 2000 in Switzerland. CURRENT POSITIONS Professor Emerita for Art and Science Research: Institute for Cultural Studies in Art, Media and Design, Zurich University for the Arts. ZHDK Zurich Switzerland CURATOR/ laserzurich.com/ Leonardo’s Art and Science lecture series. Partners: Lifescience Zurich and the WWF, Switzerland Vice Director: Z-node: PhD program in corporation with the University of Plymouth. UK Founder and Research advisor: Swiss Artists-in-labs Residency Program Total number of Supervised PhD Graduates- 16 Total number of External Examinations- 9 Total number of Supervised Masters Graduates -103 Languages: English and German EDUCATION 1995-98 | Doctorate: Digital Body Automata. Exploring the relations between Media, Philosophy and Science, Centre for Advanced Inquiry into the Interactive Arts, University of Wales, Great Britain. 1976-77 | Masters Degree in Communication, San Francisco State University, California, USA. 1974-75 | Degree in Education, Melbourne University, Australia. 1970-73 | Degree in Art and Design, Victoria College of Advanced Education, Melbourne, Australia. 1 The CV of JILL SCOTT 2020 RECENT SELECTED EXHIBITIONS AS AN ARTIST 2019| Jellyeyes: Evolution and Vision- AR project in BEYOND BORDERS. Processed Body – Expanded Brain – Distributed Agency” LAZNIA Centre for Contemporary Art, Gdansk (Poland) 2019| Eskin: House of Electronic Arts HeK.
    [Show full text]
  • Electronic Literature As a Model of Creativity and Innovation in Practice: a Report from the HERA Joint Research Project Edited by Scott Rettberg and Sandy Baldwin
    ELMCIP COMPUTING LITERATURE A book series by the Center for Literary Computing at West Virginia University, in collaboration with the Laboratoire Paragraphe at the Université Paris VIII - Vincennes Saint-Denis, and in a distribution agreement with the West Virginia University Press. VOLUME 1 Regards Croisés: Perspectives on Digital Literature Edited by Philippe Bootz and Sandy Baldwin VOLUME 2 Writing Under: Selections from the Internet Text by Alan Sondheim Edited and Introduced by Sandy Baldwin VOLUME 3 Electronic Literature as a Model of Creativity and Innovation in Practice: A Report from the HERA Joint Research Project Edited by Scott Rettberg and Sandy Baldwin SERIES EDITORS Sandy Baldwin, West Virginia University Philippe Bootz, University of Paris VIII EDITORIAL BOARD Laura Borràs Castanyer, University of Barcelona Helen Burgess, University of Maryland – Baltimore County Maria Engberg, Blekinge Technical Institute Jason Nelson, Griffith University Alexandra Saemmer, University of Paris VIII Janez Strehovec, University of Ljubljana ELMCIP ELECTRONIC LITERATURE AS A MODEL OF CREATIVITY AND INNOVATION IN PRACTICE A REPORT FROM THE HERA JOINT RESEARCH PROJECT EDITED BY SCOTT RETTBERG AND SANDY BALDWIN Computing Literature, the Center for Literary Computing, Morgantown, WV 26506 Published 2014 by the Center for Literary Computing and ELMCIP. This Work, ELMCIP Electronic Literature as a model of creativity and Innovation in practice: A Report from the HERA Joint Research Project, is licensed as Creative Commons Attribution-NonCommercial 4.0 International Public License (CC BY-NC 4.0). ISBN-13: 978-82-999089-3-1 (pb) 978-82-999089-4-8 (elec) 978-82-999089-5-5 (pdf) iv ACKNOWLEDGMENTS ELMCIP is financially supported by the HERA Joint Research Programme (www.heranet.info) which is co-funded by AHRC, AKA, DASTI, ETF, FNR, FWF, HAZU, IRCHSS, MHEST, NWO, RANNIS, RCN, VR and The European Commission FP7 2007-2013, under the Socio-economic Sciences and Humani- ties programme.
    [Show full text]