Jennifer Messer passed this on to me. I think you'll find it
pretty interesting. Carmon
ELECTRONIC ARTS/NEW MEDIA DEPARTMENTS FLOURISH ACROSS THE COUNTRY
Across the country, electronic arts/new media departments are
flourishing -- attracting students; building new facilities;
integrating with other aspects of the curriculum; and shaping
widely varied approaches.
Now, if they do not support a Department focusing on some aspect
of the electronic arts, most Universities feature at least one or
two courses in this area.
Ellen Staller, Manager of Fellowships and Placement, at the
College Art Association (CAA) reports that in the job listings
placed at CAA's annual conference, Sculpture, Painting,
Photography and Digital/New Media positions were represented in
about equal numbers. "It is impressive to see that New Media
positions have as much of a presence in visual art departments now
as these much more established mediums," she comments.
In addition to the addition of new courses and/or departments in
the digital arts, many institutions are experiencing increased
student interest.
"Our applications far outrun our ability to accept the number of
students who apply, says Red Burns, Chair of the Interactive
Telecommunications Program (ITP) at New York University's Tisch
School of the Arts.
ITP has a continuing interest in defining new media through
experimentation and imagination she notes. "Our students come from
very different disciplines and cultures, work collaboratively to
try and make visible what wasn't visible before. Architects work
with computer scientists who work with industrial designers who
work with electrical engineers who work with graphic designers who
work with writers and musicians, etc."
At the Electronic Intermedia program at University of Florida,
although the program is relatively small with one and one-half
faculty, it has grown to serve some of the largest numbers of
undergraduates in any area of the arts school, according to
program coordinator Will Pappenheimer.
"It is been limited primarily by its facilities which will now
begin to expand," he adds.
Steven Wilson, Chair of the Conceptual/Information Arts Program at
San Francisco State, founded in 1978, also reports that interest
in the program has grown enormously.
However, Wilson also points out that student interest has become
more vocational and that the proliferation of digital art
offerings can be confusing for students negotiating the
intersection of acquiring technology skills and the art making
process. "We are really interested in those who want to work on
the edges of emerging research," he told Arts Wire.
Another indication of increasing acceptance of the computer arts
in the academia is curriculum inclusion of art history courses in
the field. For instance, the Advanced Computing Center for the
Arts and Design (ACCAD) at Ohio State offers "A Critical History
of Computer Graphics", a course which provide an historical
overview of the development of computer generated imagery. At
Georgia Tech, a "Survey of Music Technology" traces the
development of sound and electronic music from Pythagoras' scale
in 500 B.C. to currently available high-tech audio hardware. At
Carnegie Mellon University, art and technology is included in the
Art Department's survey course "Contemporary Visual Culture; 1945
to the Present."
NEW CENTERS, A COLLABORATIVE APPROACH AT RPI; U.C. IRVINE; AND
STANFORD
Recurrent themes in this coming-of-age field are the building of
new centers and the integration of electronic arts departments
with other sectors of the University.
At Rensselaer Polytechnic Institute, (RPI) in Rochester, NY, a
new Electronic Media and Performing Arts Center will provide a
campus focus for exhibitions and performances as well as
facilitate access to state-of-the-art new media technologies. The
Center will also encourage the integration of electronic media and
artistic endeavors in which technology is not the central focus.
At the University of California at Irvine, the Beall Center for
Art and Technology opened on October 17th, 2000 as a showplace for
the digital arts and other new technologies in the arts. The
Center is dedicated to furthering the relationship between these
technologies and the arts by combining the intellectual
technological resources of the University in a program of
interdisciplinary collaborations between artists, scientists, and
engineers -- as well as in providing a venue for the creation and
exhibition of new forms in the media arts and encouraging artistic
exploration and experimentation in digital technologies.
At Stanford University in Palo Alto, CA, the five year old
Stanford University Digital Art Center (SUDAC) states that "By
focusing artistic creativity on information manipulation, digital
art maintains the human element in technological progress, and
serves as a connection between disciplines. The vitality of such
connections is essential to the enhancement of human experiences
through technology." The center, a program of the Department of
Art and Art History at Stanford, is sponsored by Intel
Corporation, Alias|Wavefront, and by the Department of Computer
Science.
SUDAC's core role is to provide Stanford University with a center
for teaching and research in digital art. Courses currently taught
emphasize collaborative work on art projects such as public
installations and computer graphics movies.
NURTURING ARTISTS IN NEW GENRES; BUILDING AUDIENCES -
SVA; COLUMBIA COLLEGE CHICAGO; WELLESLEY COLLEGE; AND E-LIT
PROGRAMS FROM BROWN TO UC SANTA BARBARA
The School of Visual Arts (SVA) in New York City, one of the first
colleges to offer an MFA degree in computer art, emphasizes that
"computers demand a fresh approach to educating the artists who
will supply the creative force driving this relatively new
medium."
In addition to advanced training in the latest in computer
hardware and software, the program focuses on conceptual
development, and on promoting creativity through a process of
regular critique. SVA's umbrella approach to the creative use of
digital technology includes study in one of four major disciplines
-- interactive media, telecommunications, animation, or
installations -- as well as interface with studies in many related
fields, such as fine art, illustration, design, photography, and
video. SVA also offers a BFA in Computer Art.
Columbia College Chicago, which offers an MFA in Interdisciplinary
Arts, has this year has added an MFA in Interdisciplinary Media
Arts, according to artist Andrea Polli, Associate Professor,
Academic Computing. Students in this major work with visual
artists, writers, theatre professionals, film-makers, dancers, and
musicians, and present their thesis work in an exhibition and
performance series held at one of Columbia's many public gallery
and performance spaces.
For undergraduates, Columbia College offers an interdisciplinary
Bachelor of Arts degree in Interactive Multimedia and a Bachelor
of Arts Degree in Digital Media, plus there are two minor options
for students studying in other disciplines who would like to
specialize in an area of Digital Media --- a minor in E-Commerce,
and a minor in Web Technology.
"The student body of Columbia is incredibly diverse, we are a
reflection of the Chicago community, attracting students from all
walks of life," Andrea Polli notes. "I find this creates a very
engaging dialogue both in and out of the classroom. The Columbia
mission is to 'Author the Culture of our Time' which I think sums
up the importance of Digital Media to the college community."
Rather than form separate Departments, many institutions are
integrating electronic arts courses into their studio art
curriculum. For instance, at Wellesley College in Wellesley MA,
courses include "Electronic Imaging", taught by Naomi Ribner,
which introduces students to the basic skills required to use the
computer as an art-making tool, and examines the impact of the
computer on art and artists. In this course, photography, drawing,
collage, and printmaking are used as a foundation and as reference
points, and there is an opportunity to mix traditional and
electronic media in final projects.
The increased academic attention in the field not only broadens
the art curriculum, opens avenues of academic employment for
digital artists, and provides workplace skills for artists,
but potentially, it also helps digital artists by exposing
students to work of artists in the field.
"I think that rooting the electronic literature movement in
academic environments will be absolutely vital to the growth of
the field," observes Scott Rettburg, President of the Electronic
Literature Organization. "Pioneering programs, like Brown
University's digital writing program, UC Santa Barbara's
Transcriptions project, The New School University's hypertext
workshops, and the University of Florida's classes on electronic
textuality, are already helping both to bring new authors to this
grand experiment, and to provide a critical framework to help
students learn new ways to analyze and appreciate these nascent
forms of literature."
A few University-situated digital arts/new media Departments are
profiled below. Others are included in the Resources section.
This is not meant to be a definitive survey, but is rather an
introduction which documents varying approaches to a flourishing
new discipline.
Additionally, art institute programs -- such as the Art and
Technology program at the School of the Art Institute of Chicago
-- will be profiled in a future issue of Arts Wire Current.
INTERACTIVE TELECOMMUNICATIONS PROGRAM (ITP)
TISCH SCHOOL OF THE ARTS -- NEW YORK UNIVERSITY
New York City, NY -- http://www.itp.nyu.edu
A pioneering graduate center for the study and design of new
communications media forms and applications, ITP is "a unique and
vital contributor of new ideas and talented individuals to the
emerging professional world of multimedia and telecommunications."
The program is guided by a hands-on approach to learning that
relies on collaboration rather than competition in an environment
where exploration, analysis, risk and failure can freely occur.
Emphasizing the user's creativity rather than the machine, the
program challenges students to combine ideas and the tools of
computers,video, sound, graphics, animation, and text in new and
imaginative ways.
"We are broadening our interests in physical computing as well as
embedded and ubiquitous computing -- combining physical with
virtual worlds," chair Red Burns told Arts Wire. "Students are
invited to create 'something' in which the input device is not a
mouse. Sensors, light, sound are some of the input devices used."
Faculty include Henry Bar-Levav, President, Oven Digital; Sergio
Canetti, Director of Systems Integration & Testing, Bell Atlantic
Science and Technology; Stacy Horn, the founder of Echo; Tom Igoe,
theater lighting and technology, digital multimedia; Steven
Johnson, Editor-In-Chief and Co-Publisher, FEED Magazine; Daniel
O'Sullivan, a pioneer of navigable movies on the Macintosh;
Marianne Petit, printmaking; and Sharleen Smith, VP of the
Convergence Lab, Oxygen Media.
Courses in the program include: "Applications of Interactive
Telecommunications Systems"; "Telecommunications in Transition";
"Advanced Web Design"; "Animation and Game Techniques in Flash";
"Digital Sound Workshop/MIDI"; "Experimental Digital Video";
"Foundations of Generative Art Systems"; "Interaction Design";
"Interactive Computing in Public Places"; "Interactivity and
Children"; "Interactivity and Narrative"; "Sonic Design for
Information Environments"; "Multimedia Workshop"; "Social
Applications of Internet Technology"; "Starting a Company in
Today's Market Conditions"; "Storytelling in the Age of Digital
Technology"; and "Virtual Culture."
"ITP's goal is to train a new kind of professional: one whose
understanding of technology is informed by a strong sense of
aesthetics and ethics," the program states. "Graduate students
come from a rich mix of disciplines, cultures and experiences.
They enter with backgrounds in such diverse fields as music
composition, sculpture, writing, biology, library science, law,
cultural theory, architecture, dance and computer science. Men and
women are equally represented, as are cultures from Eastern Europe
to East Asia, from South America to Canada and several regions of
the United States.
In the 1970's and 1980's, ITP Chair Burns designed and directed a
series of telecommunications projects including two-way television
for and by senior citizens, telecommunications applications to
serve the developmentally disabled, and one of the first field
trials of Teletext in the US. The ITP program began in 1979.
"Despite our age," she emphasizes, "we are still pioneering and
challenging students to imagine and create."
COMPUTER MUSIC CENTER; INTERACTIVE DESIGN LAB; DIGITAL MEDIA
CENTER; COLUMBIA UNIVERSITY
New York City, NY -- http://www.columbia.edu/cu/arts
"New technologies affect the relationship of artists to their
work. The digital media are leading to the evolution of a new
aesthetic," observes Bruce Ferguson, Dean of the School of the
Arts at Columbia University. (in a video Interview available on
the School of the Arts web site)
Facilities and Programs at Columbia University include The Digital
Media Center; The Computer Music Center; and The Interactive
Design Lab.
Directed by Brad Garton, The Computer Music Center offers
instructional, studio, and research facilities in electronic and
computer music to students and faculty in the School of the Arts
and the Graduate School of Arts and Sciences; to the University's
undergraduate schools; and to visiting composers and scholars. It
also acts as consultant to other computer and electronic music
centers throughout the world. Staff and visiting composers realize
compositions of great variety, including scores for television,
theater, film and dance. Performances of music produced at the
Center, including student works, are given in locations around the
metropolitan area in addition to the Kathryn Bache Miller Theatre
of Columbia University.
The Interactive Design Lab, (IDL) a partnership of the
School of the Arts and the Graduate School of Journalism, is a
research center dedicated to the study of design for interactive
media and communications. The IDL chooses projects which help
define and advance the emerging field of Interactive Design,
drawing on the two schools' unique range of expertise in
traditional media. Students with advanced interests and skills in
new media can become involved with IDL.
The Digital Media Center is a $2 million facility which provides
training for students working in such areas as computer graphics,
interactive authoring, motion graphics, 3-D modeling, animation,
digital video editing, and Web authoring. "The Center itself is an
affirmation of Columbia's dedication to providing a creative and
intellectual center for artistic achievement using leading-edge
digital technologies," they state.
Visual digital arts courses (undergraduate/graduate) offered at
Columbia include: "The Digital Image"; "Interactive Design"; "Game
Design"; "Introduction to Digital Media"; "The Culture of Digital
Media"; "Digital Documentary Photography"; "Motion Graphics"; "New
Media Narrative"; and "The Business of Interactive Media". Faculty
include Jon Kessler, Chair Visual Arts Division; Digital Media
Center Director Ronald Jones and digital artist Chan Schatz.
The Division promotes the idea of interdisciplinary collaboration
not only within Visual Arts but with Film, Writing, and Theatre,
the other Divisions that comprise the School of the Arts.
THE ADVANCED COMPUTING CENTER FOR THE ARTS AND DESIGN (ACCAD) AT
OHIO STATE
Columbus, OH -- http://www.cgrg.ohio-state.edu/accad
The Advanced Computing Center for the Arts and Design
(ACCAD) at Ohio State has been involved in research and
instruction in computer graphics, animation and emerging media for
nearly three decades.
The Center has an interdisciplinary character and combines
scientific investigation with aesthetic ideals. While it is
administratively located in the College of the Arts, ACCAD
provides leadership in advanced technology, computer graphics,
multimedia, and animation development to support instruction and
research in both the arts and the sciences.
Faculty include computer art pioneer Chuck Csuri, computer
mediated art; Barb Helfer, multimedia; Midori Kitagawa, 3D
modeling, animation and visualization; Ken Rinaldo, art and
technology; and Judith Koroscik, learning in the visual arts.
Courses are computer graphics dominated. they range from "A
Critical History of Computer Graphics", which provides an
historical overview of the development of the discipline of
computer generated imagery (CGI), including CAD, computer
animation, computer art and scientific visualization to "Advanced
Digital Cinematography", which provides a study of the applicable
mathematical models, as well as addressing the issues of visual
storytelling through the application of cinematic techniques in
the digital domain. Other courses are "3-D Computer Modeling
Applications for Artists and Designers"; "Programming for Artists
and Designers"; "Digital Media Production"; and "Building 3D
Virtual Environments".
The Center has academic and research ties to all departments
within the College of the Arts as well as to other departments and
colleges throughout the University, and the program gives faculty
and graduate students in the arts the opportunity to collaborate
with researchers from other areas to pursue technology related
interests.
Graduate students studying at ACCAD are admitted to degree
programs in one of several different departments. For example,
there are degree programs in the Departments of Art; (MFA) Art
Education; (MA and PhD) Design; (MA and MFA) and Computer and
Information Science. (MS and PhD)
THE ELECTRONIC INTERMEDIA PROGRAM - UNIVERSITY OF FLORIDA
Gainesville, FL --
http://www.arts.ufl.edu/art/eimissionstatement.html
Started in the early 90's by artist Simon Penny, The Electronic
Intermedia program at the University of Florida has always been an
interdisciplinary program -- drawing from expertise in sculpture
and photography as backgrounds to creating 2D, 3D and 4D works in
time based media.
"Since I have been its area coordinator starting fall of 1998, we
have focused on video as a central time based media that is
connected to performance, sculpture, installation, photography and
the Digital Arts," Will Pappenheimer, Area Coordinator, Electronic
Intermedia School of Art and Art History, told Arts Wire. "This
year we are entering a collaboration with a new institute at the
University of Florida called Digital Worlds Institute. We have
created a specialized digital lab for high end time based digital
media which will be shared by our two programs."
The Electronic Intermedia program is founded on the concept of
interdisciplinary arts, and is integrated primarily with the areas
of photography and sculpture. It will now also share close ties
with the Digital World's Institute, Pappenheimer said. Many
students also exchange classes from the Film And Media Studies
area in the English Department.
Courses include "Computer Art: Montage"; "Video Art: Montage";
"Computer Art: Animation and Interactivity"; "Machine Sculpture;
Performance and Installation"; and "Video Art Production and Post
Production".
CONCEPTUAL/INFORMATION ARTS PROGRAM, SAN FRANCISCO STATE
UNIVERSITY
San Francisco, CA -- http://userwww.sfsu.edu/~infoarts
Founded in 1978 by Bryan Rogers and Jim Storry, the
Conceptual/Information Arts Program, San Francisco State
University stresses integration of intuitive approaches typical of
the arts with structured processes of research, planning, and
critical analysis more characteristic of other disciplines such as
the humanities, science, and technology. It promotes
non-conventional art media, new media, and the movement of artists
into non-art contexts -- supporting artistic activities at the
frontiers of scientific inquiry and technological research.
The program is focused on ideas rather than media -- design in a
Buckminster Fuller sense of total systems," explains Chair
Stephen Wilson.
Students are expected to learn and use processes of planning and
problem solving typical of disciplines outside the arts when
appropriate. They are encouraged to bring ideas, materials, and
experiences from outside the art world to become focuses for their
art; challenged to combine traditional media and to incorporate
new media; and encouraged to follow their ideas and artistic
impulses even if they don't take them into traditional validated
art directions.
Faculty have included Donald Day, Paul DeMarinis, George Legrady,
Paula Levine, Alan Rath, Sara Roberts, Chris Robbins, and Pamela Z
Current courses include "Conceptual/Information Arts, Introduction
to Art & Technology"; "Art and Emerging technologies"; "Word and
Image"; and "Advanced Lingo".
"There is great opportunity for art to function as the independent
zone of research, following inquiries that are not yet validated;
things not yet," Wilson observes.
ELECTRONIC LITERATURE COURSES INTRODUCE COMPUTER-MEDIATED
LITERATURE AT FORDHAM, DARTMOUTH, U. MINNESOTA, U. HAWAII
Although (as far as Arts Wire Current knows) there is no
University Department dedicated completely to computer-mediated
literature, hyperfiction publisher Eastgate Systems lists courses
at about 45 institutions nationwide. As publishers rapidly enter
the ebook field but predominantly transport print models and
titles with megabuck potential, these courses in electronic
literature-- from Dartmouth to the University of Minnesota to the
University of Hawaii at Manoa -- are an important stronghold for
experimental electronic literature.
Bill Bly, who has been teaching Electronic Literature since the
spring of 1999 at Fordham University in New York City, notes that
initially much student interest comes from communication majors
who "not so secretly lust after the big bucks of e-business.
"But I use the occasion to evangelize for Hypertext (HT)
literature," Bly adds.
"Their response? Well, at first, if they've ever heard the words
hypertext and literature uttered in the same sentence, most think
of Stephen King and THE PLANT, and the couple in each class who've
built their own websites have usually experimented with putting
their own writings up there," says Bly, whose chapbook WYRMES
METE, is slated to appear in the forthcoming EASTGATE ANTHOLOGY OF
HYPERTEXT POETRY. "However, I'd say that all of the hypertexts I
present are news to them, as is the idea of nonlinear narrative
with multiple endings, multivalent storytelling, and the 'lack'
of closure. But the good news is that they're not doctrinaire, and
seem to take to reading HT pretty naturally."
At the end of the term, when they must build hypertexts of their
own, about half of his students attempt an original story or a web
of poems, while the rest render something linear into hypertext
form. "In both cases, I'm often pleased by their ingenuity and
resourcefulness," he emphasizes.
At Dartmouth University, Brenda Silver teaches "Postmodern
Fiction: Boxes, Labyrinths, and Webs" -- using Jorge Luis Borges'
short story "The Garden of Forking Paths" as metaphor for "that
strand of postmodern fiction that has increasingly challenged
traditional narrative structures, including the recent genre of
electronic hypertext fiction." Readings include both print fiction
and electronic literature.
At the University of Hawaii in an "Electron Lit: Hypertext Theory
and Practice" course, Jaishree Odin's class explores contemporary
hypertext literature. Students are asked to make a semi-formal
presentation of a published hypertext, and to write and present a
final project -- either a formal paper on an important issue in
the field, or else a prototype of an original work of hypertext
fiction or poetry.
In "Electronic Literature and Culture" at the University of
Minnesota, Rita Raley asks students: "In what ways is the
'literary' relevant to the Information Age?" One premise of this
course, she notes "is that literature is by no means an antiquated
cultural form relegated to the obsolescent spheres of print -- it
has instead virtually morphed in response to the new electronic
culture, and we will investigate how it has done so. We will also
discuss the relations between text and image; post-humanism;
cyborgs and the technology of reproduction; simulation and the
simulacrum; the tropes and figures of electronic culture; the
digital condition; techno-paranoia; 'making do' and the figure of
the hacker; the theoretical and cultural antecedents of hypertext;
the end of the book question; the anamorphic text; the stylistics
of hypertextual narrative; and the general problem of aesthetics
in relation to 'Information.'"
Emphasizing that he applauds any program, be it in English, Art,
Communication, or Design, that is taking electronic literature
seriously as a field of study, Scott Rettburg, President of the
Electronic Literature Organization, told Arts Wire Current that
"I'm personally hoping that more creative writing
programs will start to offer classes in the area for students who
are yearning to engage the interactive capabilities of the
electronic media in the process of storytelling."
Sources/Resources:
COLLEGE ART ASSOCIATION (CAA) -- http://www.collegeart.org
Among many other resources, The site currently features CAW
PART-TIME TEACHER SURVEY RESULTS
INTERACTIVE TELECOMMUNICATIONS PROGRAM, (ITP) TISCH SCHOOL OF THE
ARTS, NEW YORK UNIVERSITY -- http://www.itp.nyu.edu
CONCEPTUAL/INFORMATION ARTS PROGRAM, SAN FRANCISCO STATE
UNIVERSITY -- http://userwww.sfsu.edu/~infoarts
ADVANCED COMPUTING CENTER FOR THE ARTS AND DESIGN AT THE OHIO
STATE -- http://www.cgrg.ohio-state.edu/accad
ELECTRONIC MUSIC, GEORGIA INSTITUTE OF TECHNOLOGY --
http://www.arch.gatech.edu/music/musictec/top.html
Courses include: "Survey of Music Technology"; "Introduction to
Computer Synthesized Music"; "Integrating Music and Multimedia";
"Digital Audio and Multimedia"
IMAGINE, GEORGIA INSTITUTE OF TECHNOLOGY --
http://www.arch.gatech.edu/imagine
CARNEGIE MELON UNIVERSITY (CMU) SCHOOL OF ART --
http://www-art.cfa.cmu.edu/academic/descriptions.html
CMU STUDIO FOR CREATIVE INQUIRY --
http://www.cmu.edu/studio/overview/index.html
supports experimental and cross-disciplinary work in the arts
UNIVERSITY OF CALIFORNIA AT IRVINE (UCI) --
http://www.arts.uci.edu
UCI BEALL CENTER -- http://beallcenter.uci.edu/mission/mission.htm
RENSSELAER POLYTECHNIC INSTITUTE (RPI) -- http://www.rpi.edu
SUDAC, STANFORD UNIVERSITY --
http://www.stanford.edu/dept/art/SUDAC
MASTER OF FINE ART COMPUTER ART, SCHOOL OF VISUAL ARTS --
http://www.sva.edu/mfacad/mfacad.html
WELLESLEY COLLEGE ART DEPARTMENT--
http://www.wellesley.edu/Art/index.html
BROWN UNIVERSITY -- http://www.brown.edu
SCHOOL OF THE ARTS AT COLUMBIA UNIVERSITY --
http://www.columbia.edu/cu/arts
THE ELECTRONIC INTERMEDIA PROGRAM, UNIVERSITY OF FLORIDA --
http://www.arts.ufl.edu/art/eimissionstatement.html
NEW YORK UNIVERSITY MEDIA RESEARCH LAB -- http://www.mrl.nyu.edu
ELECTRONIC IMAGING, NORTHERN MICHIGAN UNIVERSITY --
http://art.nmu.edu/department/EI.html
CADRE LABORATORY, SCHOOL OF ART AND DESIGN AT SAN JOSE STATE
UNIVERSITY -- http://cadre.sjsu.edu/
KATHERINE K. HERBERGER COLLEGE OF FINE ARTS, ARIZONA STATE
UNIVERSITY -- http://www.herbergercollege.asu.edu
EASTGATE SYSTEMS -- http://www.eastgate.com
ELECTRONIC LITERATURE ORGANIZATION -- http://www.eliterature.org/
"Hypertext: Theory and Practice (aka Electron Lit)"
FORDHAM UNIVERSITY --
http://www.infomonger.com/bbly/fordham/electronlitF00.html
"Stephen King Launches Self Published Online Serial for Pay"
Arts Wire CURRENT --
http://www.artswire.org/current/2000/cur080100.html
August 1, 2000
"Postmodern Fiction: Boxes, Labyrinths, and Webs"
DARTMOUTH UNIVERSITY --
http://www.dartmouth.edu/~english/courses/topicsems_99s.html
"Electron Lit: Hypertext Theory and Practice"
UNIVERSITY OF HAWAII -- http://www2.hawaii.edu/~odin/
"Electronic Literature and Culture"
UNIVERSITY OF MINNESOTA --
http://www.tc.umn.edu/~raley/courses/ELC/
ACM SIGGRAPH -- http://www.siggraph.org
The site includes links to computer graphics organizations and
institutions
YAHOO -- http://www.yahoo.com
The Arts & Humanities section includes education links
_______________________________________________________
_______________________________________________________
CONFERENCES, SYMPOSIA, LECTURES
CAMBRIDGE, MA
April 27-29, 2001
MIT Campus, Wong Auditorium, Building E51
RACE IN DIGITAL SPACE
Many discussions of the "digital divide" erase the numerous
contributions of minority artists, activists, entrepreneurs,
journalists, and scholars. Researchers in the Massachusetts
Institute of Technology (MIT) Program in Comparative Media
Studies and the University of Southern California's (USC)
Annenberg Center for Communication will host a three-day
conference, RACE IN DIGITAL SPACE to explore current issues and
celebrate the accomplishments of minorities using digital
technologies.
"The time has come to focus on the success stories, to identify
examples of work that has increased minority access to information
technologies and visibility in digital spaces," observes Henry
Jenkins, professor, director of Comparative Media Studies at MIT.
"The ways in which we represent ourselves and use digital media
raises significant issues," adds Anna Everett, professor at the
University of California at Santa Barbara. "We need to begin
exploring answers to such important questions as 'What cultural
and social baggage do we carry into the digital domain?' and 'How
have minority communities deployed digital tools to comment on
digital culture, to reconfigure the history of racism, and to
claim a more powerful voice in shaping the future?'"
Plenary panels will explore such issues as: E-Race-ing the
Digital; How Wide is the Digital Divide; Authenticating Digital
Art, Expression and Cultural Hybridity; and Speculative
Fictions/Imaging the Future. Breakout sessions, designed for
focused conversations with smaller groups of conference
participants, will address: Art and Hactivism; Funding the
Arts-Creative Capital; Digital Business-From Netrepreneurs to
Corporations; Hactivist Workshop-Organizing the Million Women
March; Hate Speech; Job Opportunities and Training; and Community
Best Practices. A keynote will be presented by Walter Massey,
president of Morehouse College.
Confirmed speakers include: Karen Radney Buller, President,
National Indian Telecommunications Institute; Farai Chideya,
Editor, PopandPolitics.com; Mel Chin, Artist; Ricardo Dominguez,
Co-founder, The Electronic Disturbance Theater; Coco Fusco,
Associate Professor, Tyler School of Art, Temple University; Jack
Gravely, Office of Workplace Diversity, Federal Communications
Commission; Lisa Nakamura, Assistant Professor of English, Sonoma
State University; Elizabeth Nunez, Distinguished Professor of
English, Medgar Evers College, CUNY; u ya Salaam, Poet and
Community Activist; and Ana Sisnett, Austin Free-Net.
In coordination with the conference, a concurrent video show and
digital salon is hosted at the LIST Center for the Visual Arts.
Curated by Erika Muhammad, Ph.D. candidate in Cinema Studies at
New York University, (NYU) the exhibition will feature the work of
innovators and visionary film, video, new media, and website
designers whose work deals specifically with the intersection of
race and technology.
A performance event featuring DJs and live video mixing by Vivek
Bald; (DJ Siraiki) Beth Coleman; (aka DJ Singe) and Paul D. Miller
(aka DJ Spooky) will be held for conference participants and
students on the evening of April 28. MIT Assistant Professor
Tommy DeFrantz will perform MY DIGITAL BODY, an original dance
piece developed for the event.
The Race in Digital Space Project is organized by the University
of Southern California and the Massachusetts Institute of
Technology in conjunction with New York University and University
of California at Santa Barbara. The conference is sponsored by
USC Annenberg Center for Communication, USC School of
Cinema-Television, MIT School of Humanities, Arts, and Social
Sciences, MIT Program in Comparative Media Studies, MIT
Communications Forum, MIT Council for the Arts, MIT LIST Visual
Arts Center, MIT Program in Women's Studies, and the NYU
Department of Cinema Studies. Major financial support has been
provided by the Ford Foundation and Rockefeller Foundation.
Microsoft is an in-kind sponsor.
All events are free and open to the public. To learn more and
register, visit http://cms.mit.edu/race
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NEW YORK CITY, NY
April 19, 2001 6 PM Free
Thundergulch @ Sony Wonder Technology Lab, 550 Madison Ave, NYC
OFF-LINE OFF-SITE Thundergulch presentation: DATA DYNAMICS
Artists Sawad Brooks and Beth Stryker; Mark Napier; Marek Walczak
and Martin Wattenberg; Maciej Wisniewski; and Adrianne Wortzel,
whose works are included in the exhibition, participate in a panel
in association with the exhibition of Internet art DATA DYNAMICS,
curated by Christiane Paul, at the Whitney Museum of American Art.
At the Whitney (both on and offline) through June 10, 2001, Data
Dynamics focuses on the search for visual models that represent a
continuously changing flow of data and information -- offering
navigational possibilities for experiencing visual and textual
information. Each of the works focuses on different dynamics of
data, whether in the context of mapping language, stories,
memories, or traffic in physical and virtual spaces.
Connecting with various venues and organizations around New York
City, Thundergulch's OFF-LINE OFF-SITE is a roving series of
presentations by cutting-edge artists who are pushing the
boundaries of making art connected to new technology.
Sources/resources:
THUNDERGULCH WEB SITE -- http://www.thundergulch.org
Email: [log in to unmask]
WHITNEY MUSEUM OF AMERICAN ART -- http://www.whitney.org
Also currently at the Whitney is BITSTREAMS, an exhibition of
over 60 artists working in digital media.
SONY WONDER TECHNOLOGY LAB -- http://www.sonywondertechlab.com
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PUBLICATIONS
Electronic Business Innovationszentrum:
NET ART GUIDE
In conjunction with its opening in Stuttgart, Germany,
the Electronic Business Innovation center (EBIC) compiled a NET
ART GUIDE. (Fraunhofer IRB Verlag, 2000) They looked for work
which "gets to grips with the Internet, in its content as well as
its form" -- including completely net situated works such as
Reiner Strasser's THE DIVER'S GRAVE --
http://repoem.tripod.com/gr/gr_i.html --- "Starting from the
central image...five windows or series of windows open up and
emblematize in reverse sequence birth, life and death."
They also looked for installations with net components such as
Mathilde muPe's SING YOUR WAY THROUGH WWW --
http://www.xs4all.nl/~oertijd/index.htm -- in which participants
"discover their true multimedia star capacity by using vocal tones
to navigate through the web." Included among many other entries
are:
David Knoebel
MORE JOY -- http://www.clickpoetry.com/morejoy/morejoy.html
The web documentation of a poetry installation along a three mile
stretch of Route 4875 between Elysburg and Paxinos PA. The
installation appeared among signs of similar size and format
planted by politicians just before an election. The web
documentation consists of a road map with clickable points that
correspond to the location of each sign.
Kunstlerkollektiv bump
BUMP -- http://www.bump.at
A catwalk is installed in the public space of two separate cities.
If a person steps onto this catwalk his/her weight triggers off an
impulse which is transferred into the other city by means of a
dataline. "A passer-by becomes aware of the knocking pistons,
she/he sees the boards moving and when he/she steps into the
catwalk she/he will feel the footsteps of a person in a different
city bump..."
Plus work by etoy, Monika Fleischmann, Steven Greenwood, Judy
Malloy, Mark Napier, Old Boys Network, Nancy Paterson, Avi Rosen,
Alexi Shulgin, Eva Wohlgemuth, and much more.
The Guide documents the selected works with text, illustrations,
and biographical material for the artists. For ordering
information, visit http://www.iao.fhg.de/e/shop/suche.hbs
The Guide will be available on the Internet soon at
http://www.e-business.fhg.de
--
Jennifer Messer
Director of Development
Lamar Dodd School of Art
University of Georgia
Athens, Georgia 30602
(706)542-0068
(706)542-0226 fax
--- End Forwarded Message ---
Carmon Colangelo, Director
Lamar Dodd School of Art
University of Georgia
Visual Arts Building
Athens, GA 30602-4102
706-542-1600
Fax: 706- 542- 0226
[log in to unmask]
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