Ben Fry is principal of Fathom, a design and software consultancy located in Boston. He received his doctoral degree from the Aesthetics + Computation Group at the MIT Media Laboratory, where his research focused on combining fields such as computer science, statistics, graphic design, and data visualization as a means for understanding information. After completing his thesis, he spent time developing tools for visualization of genetic data as a postdoc with Eric Lander at the Eli & Edythe L. Broad Insitute of MIT & Harvard. During the 2006-2007 school year, Ben was the Nierenberg Chair of Design for the Carnegie Mellon School of Design. At the end of 2007, he finished writing Visualizing Data for O’Reilly. With Casey Reas of UCLA, he currently develops Processing, an open source programming environment for teaching computational design and sketching interactive media software that won a Golden Nica from the Prix Ars Electronica in 2005. The project also received the 2005 Interactive Design prize from the Tokyo Type Director’s Club. In 2006, Fry received a New Media Fellowship from the Rockefeller Foundation to support the project. Processing was also featured in the 2006 Cooper-Hewitt Design Triennial. In 2007, Reas and Fry published Processing: A Programming Handbook for Visual Designers and Artists with MIT Press, and in 2010, they published Getting Started with Processing with O’Reilly and MAKE. Processing 1.0 was released in November 2008, and is used by tens of thousands of people every week.
November 8-10: workshop with Digital + Media students
Thursday, November 10: performance of work from workshop by Digital + Media students
Thursday, November 10: party with Felix as DJ and a lot of loudness and dancing
Tuesday evening, November 8th / TBD: Felix will give an artist talk also sometime
As a composer, animator, DJ, and radio playwright, Felix Kubin has been exploring boundaries between East and West for more than two decades. Working from Hamburg—thirty miles from the Cold War’s inner German border—Kubin is best known for his rampantly eclectic electronic music, which imagines an alternate Soviet-dominated future, appropriately accompanied by a burbling, space-age soundtrack. This longing, projected across the iron curtain, is further articulated by Kubin’s participation in the Dada-Communist singing group Liedertafel Margot Honecker; the radio play Territerrortorium, a German-Polish noise battle with the artist Wojtek Kucharczyk (Skoczow, Poland); and an extensive collection of Eastern European underground music.
Sept 22, Thursday, 6:00pm: Evening lecture
Thursday, October 13, 7:00pm: Film screening
Friday, October 21, 4:00pm: Laurie Anderson Talk
Friday, October 21, 2:00pm: Behind the Scenes at the theatre with Laurie and her collaborators (video, sound, production)
Saturday, October 22: Delusion, performance by Laurie Anderson at The Vets
Sunday October 23: Coffee with Laurie at Metcalf Auditorium/RISD
Laurie Anderson is one of America’s most renowned—and daring—creative pioneers. Her work, which encompasses music, visual art, poetry, film, and photography, has challenged and delighted audiences around the world for more than 30 years. Anderson is best known for her multimedia presentations and musical recordings. Anderson’s first album, O Superman, launched her recording career in 1980, rising to number two on the British pop charts and subsequently appearing on her landmark release Big Science. She went on to record six more albums with Warner Brothers. In 2001, Anderson recorded her first album with Nonesuch Records, the critically lauded Life on a String.
Wendy Jacob makes objects and site-based works that are rooted in architecture and domestic space. Much of the work employs movement or temperature shifts and references the presence of a body. For the past several years she has worked with Temple Grandin, an autistic woman and animal scientist, in developing furniture that squeezes or ‘hugs’ the sitter. Jacob is also a member of the Chicago-based collaborative group Haha. Working together since 1989, their work focuses on the exploration of social positions relative to a particular site. Haha has produced projects incorporating a wide range of media including video installation and broadcast, audio tours, community gardens, live performance and interactive installations.
Jacob has exhibited internationally at the Centre Georges Pompidou, the Whitney Biennial, Galerie Emmanuel Perotin (Paris), MIT List Visual Arts Center, Chicago Project Room, Galerie Schipper and Krome (Cologne), among others. She is the recipient of numerous awards and grants including a Louis Comfort Tiffany Foundation Artist Fellowship, Creative Capital Artist Fellowship, New Forms Regional Initiative Grant, and an Illinois Arts Council Artist Fellowship.
Kurt Ralske’s video and sound installations, performances, and 2D works are created exclusively with his own custom software, written in C++ and Java. His work has been exhibited internationally, including at the 2009 Venice Biennale, the Guggenheim Bilbao, and the Los Angeles Museum of Contemporary Art.
His work is focused on the digital analysis and transformation of pre-existing cultural artifacts, for the purpose of interrogating their underlying schemas of temporality. The aim is a deeper understanding of the mechanisms that create, retain, and transmit meaning, as they function in time.
Kurt is the recipient of a Rockefeller Foundation Media Arts Fellowship, and received First Prize at the Transmediale International Media Art Festival in Berlin in 2003. He programmed and co-designed the 9-channel video installation that is permanently in the lobby of the MoMA in NYC. He is also the author/programmer of Auvi, a popular video software environment in use by artists in over 25 countries.
Kurt resides in New York City. He has taught full-time at the graduate and undergraduate level at the School of the Museum of Fine Arts,
Boston, in the Video and Sound Departments, and the School of Visual Arts, New York, in the MFA Computer Art Department.
lecture will be in the CIT, room 103
metcalf auditorium (museum/chace center)
1944 born in Nový Jicin (Neutitschein), in the then German-annexed Czechoslovakia. 1966-1968 studied at the German Film and Television Academy Berlin (West). 1966to Ursula Lefkes. 1968 birth of daughters Annabel Lee und Larissa Lu.1974 – 1984 author and editor of the journal Filmkritik in Munich. 1998 – 1999 Speaking about Godard / Von Godard sprechen, New York / Berlin (with Kaja Silverman). 1993-1999visiting professor at the University of California, Berkeley.2001to Antje Ehmann. Since 1966 over 100 productions for television or the cinema: children’s television, documentary films, film essays, story films. Since 1996 numerous group and solo exhibitions in museums and galleries. 2007 at documenta 12 with Deep Play. Since 2004 guest professor, since 2006 full professor at the Academy of Fine Arts Vienna.
“BLANK SPOTS ON THE MAP”
RISD Main Auditorium
Co-Sponsors: RISD Fine Arts Division, Digital + Media, and Student Life
Paglen is a social scientist, artist, writer and provocateur, and has been exploring the secret activities of the U.S. military and intelligence agencies–the “black world”–for the last eight years, publishing, speaking and making astonishing photographs. As an artist, Paglen is interested in the idea of photography as truth-telling, but his pictures often stop short of traditional ideas of documentation. In the series Limit Telephotography, for example, he employs high-end optical systems to photograph top-secret governmental sites; and in The Other Night Sky, he uses the data of amateur satellite watchers to track and photograph classified spacecraft in Earth’s orbit. In other works Paglen transforms documents such as passports, flight data and aliases of CIA operatives into art objects.
At Brown University, Hunter Lab, Carmichael Auditorium, 89 Waterman St
Jeremijenko directs the xdesign Environmental Health Clinic. Previously she was on the Visual Arts faculty at UCSD, and Faculty of Engineering at Yale. Her work was included in the 2006 Whitney Biennial of American Art (also in 1997) and the Cooper Hewit Smithsonian Design Triennial 2006-7. She has a permanently installed Model Urban Development on the roof of Postmasters Gallery in Chelsea, featuring 7 residential housing developments, concert hall, and other public amenities, powered by human food waste where it continues to toy with new conceptions of urban futures, and re-imagine our relationship to nonhuman organisms. Her work is described as experimental design, hence xDesign, as it explores the opportunity new technologies present for non violent social change. Her research centers on structures of participation in the production of knowledge, and information and the political and social possibilities (and limitations) of information and emerging technologies — mostly through public experiments. In this vein, her work spans a range of media from statistical indices (such as the Despondency Index, which linked the Dow Jones to the suicide rate at San Francisco’s Golden Gate Bridge) to biological substrates (such as the installations of cloned trees in pairs in various urban micro-climates) to robotics (such as the development of feral robotic dog packs to investigate environmental hazards). The Environmental Health Clinic develops and prescribes locally optimized and often playful strategies to effect remediation of environmental systems, producing measurable and mediagenic evidence, and coordination diverse projects to effective material change.
Jeremijenko is also a visiting professor at Royal College of Art, in London and an artist not-in-residence at the Institute for the Future. Palo Alto.
xdesign [eXperimental Design]
CREATIVE BIOTECHNOLOGY: A USER’S GUIDE
Natalie Jeremijenko & Eugene Thacker
A limited edition publication is available from Locus+
The project is available on-line at
Maria Lind is the director of the Graduate Program, Center for Curatorial Studies, Bard College. In January 2009, Lind received the Walter Hopps Award for Curatorial Achievement, an award that recognises curators who have made a significant contribution to the field of contemporary art. From 2005 to 2007 Lind was the Director of IASPIS (International Artist Studio Program in Sweden) in Stockholm, where she co-curated a series of symposia, including “Taking the Matter into Common Hands: On Collaborative Practices in Contemporary Art,” “Citizenship: Changing Conditions,” and “Why Archives?”. Previously, she was director at the Munich Kunstverein (2002-2004) and curator at Moderna Museet in Stockholm (1997-2001). Lind will talk about her recent exhibition at Bard, The Greenroom: Reconsidering the Documentary and Contemporary Art
This lecture will be held at the RISD Auditorium
Betsey Biggs is a composer and interdisciplinary artist working with music, sound, video, interactivity, installation and performance. Her work aims to expose the beautiful in the mundane, to actively engage the audience, and to transform the city into a creative interface through psychogeographic practice. Recent projects include a theatrical work with flutist and performer Margaret Lancaster, an outdoor mixer powered by people’s shadows and a series of downloadable soundtracks meant for walkers to engage with their surroundings. Betsey recently received her Ph.D. at Princeton University, writing about public sound art, and is currently a Cogut Humanities Center Postdoctoral Fellow in Music in Music at Brown University.
This lecture will be held at the RISD Auditorium
Click here for more information on Betsey Biggs.
in collaboration with Brown MCM
Jonah Brucker-Cohen is a researcher, artist, and writer. He received his Ph.D. in the Disruptive Design Team of the Networking and Telecommunications Research Group (NTRG), Trinity College Dublin. He is an adjunct assistant professor of communications at Media, Culture, Communication department of Steinhardt School of Culture Education and Human Development at New York University. He worked as an R&D OpenLab Fellow at Eyebeam in NYC and was a Research Fellow in the Human Connectedness Group at Media Lab Europe, Dublin. He received his Masters from the Interactive Telecommunications Program (NYU)and was an Interval Research Fellow. His work and thesis focuses on the theme of “Deconstructing Networks” which includes projects that attempt to critically challenge and subvert accepted perceptions of network interaction and experience. His writing has appeared in numerous international publications including WIRED Magazine, Make Magazine, Neural, Rhizome.org, Art Asia Pacific, Gizmodo and more, and his work has been shown at events such as SIGGRAPH, Transmediale, ISEA, Institute of Contemporary Art in London, Whitney Museum of American Art’s ArtPort, Ars Electronica, Museum of Modern Art, San Francisco Museum of Modern Art, and others.
The lecture will be held at Smith-Buonanno, 201 Meeting Street, Pembroke Campus.
View the lecture here
Krzysztof Wodiczko was born in 1943 in Warsaw, Poland, and lives and works in New York and Cambridge, Massachusetts. Since 1980, he has created more than seventy large-scale slide and video projections of politically-charged images on architectural façades and monuments worldwide. By appropriating public buildings and monuments as backdrops for projections, Wodiczko focuses attention on ways in which architecture and monuments reflect collective memory and history. In 1996 he added sound and motion to the projections and began to collaborate with communities around chosen projection sites, giving voice to the concerns of heretofore marginalized and silent citizens who live in the monuments’ shadows. Projecting images of community members’ hands, faces, or entire bodies onto architectural façades, and combining those images with voiced testimonies, Wodiczko disrupts our traditional understanding of the functions of public space and architecture. He challenges the silent, stark monumentality of buildings, activating them in an examination of notions of human rights, democracy, and truths about the violence, alienation, and inhumanity that underlie countless aspects of social interaction in present-day society. Wodiczko has also developed ‘instruments’ to facilitate survival, communication, and healing, for homeless people and immigrants. These therapeutic devices, which Wodiczko envisions as technological prosthetics or tools for empowering and extending human abilities, address physical disability as well as economic hardship, emotional trauma, and psychological distress. Wodiczko heads the Interrogative Design Group and is Director of the Center for Art, Culture, and Technology, formerly known as the Center for Advanced Visual Studies, at the Massachusetts Institute of Technology. His work has appeared in many international exhibitions, including the São Paulo Bienale (1965, 1967, 1985); Documenta (1977, 1987); the Venice Biennale (1986, 2000); and the Whitney Biennial (2000). Wodiczko received the 1999 Hiroshima Art Prize for his contribution as an artist to world peace, and the 2004 College Art Association Award for Distinguished Body of Work.
(in collaboration with FAV and the Year of Sound)
Ed Osborn’s sound pieces take many art forms including installation, sculpture, radio, video, performance, and public projects. His works combine a visceral sense of space, aurality, and motion with a precise economy of materials. Ranging from rumbling fans and sounding train sets to squirming music boxes and delicate feedback networks, Osborn’s kinetic and audible pieces function as resonating systems that are by turns playful and oblique, engaging and enigmatic. Osborn has performed, exhibited, and lectured, and held residencies throughout the United States, Canada, Europe, Australia, New Zealand, and South America. The recipient of many awards including a DAAD Artists-in-Berlin Stipendium and a Guggenheim Fellowship, he is represented by the Catharine Clark Gallery in San Francisco, Galerie Haferkamp in Cologne, and is on the faculty of Brown University.
This lecture will be held at the RISD Museum/Metcalf Auditorium.
Natalie Bookchin is an artist with a background in photography and film. Her recentrent conditions of global connectivity and the impact of everyday uses of new technologies on how we see, represent, and understand ourselves and the world around us. Her work has been exhibited at PS1, Mass MOCA, the Generali Foundation, the Walker Art Center, the Pompidou Centre, MOCA Los Angeles, the Whitney Museum, the Tate, and Creative Time. She has received grants from Creative Capital, California Arts Council, the Guggenheim Foundation, the Durfee Foundation, the Rockefeller Foundation, California Community Foundation, New York State Council for the Arts, Daniel Langlois Foundation, and a COLA Artist Fellowship. Bookchin studied at the School of the Art Institute of Chicago, the Whitney Independent Study Program, and SUNY Purchase. She lives and works in Los Angeles, where she is co-Director of the Photography & Media Program in the Art School at CalArts.
This lecture will be held at the the RISD Museum/Metcalf Auditorium
Kelly Dobson is an artist and engineer. Working in the realms of technology, medicine, art, and culture, her projects involve the parapraxis of machine design — what machines do and mean for people other than the purposes for which they were consciously designed. Her areas of research include voice, prostheses, re-appropriation and performance with domestic machines, machines in public space, and companion projects. She is currently working with machines that call into question our shiftable notions of being and care. Her work has been published and exhibited internationally, including at Eyebeam in New York, The Kitchen in New York, Future Film Festival in Bologna, ISEA in Helsinki and Tallinn, Witte de With in Rotterdam, and the Millennium Museum in Beijing among others. She has been awarded a Rockefeller Foundation Media Arts Fellowship, a Franklin Furnace Fund for Performance Art award, and a research affiliation at the Center for Advanced Visual Studies at MIT. She received a Master of Science in Visual Studies from the MIT Visual Arts Program and a PhD from the MIT Media Lab. Kelly Dobson is 2009-2010 Visiting Assistant Professor in Digital+Media at RISD.
Beatriz da Costa is an interdisciplinary artist based in Los Angeles. She works at the intersection of art, politics, engineering and the life sciences.
Professor Freeman uses digital technologies to produce exhibitions made up of projected virtual reality environments that lead the user from global satellite perspectives to virtual reality scenes on the ground.
His work has been exhibited internationally including at The Museum of Contemporary Art, Beijing, the Kunstraum Walcheturm in Zurich, Eyebeam in New York, City, the Zacheta Narodowa Galeria Sztuki Warsaw, Kaliningrad Branch of the National Center for Contemporary Arts in Russia, Art Basel Miami, Ciberart Bilbao and the Girona Video and Digital Arts Festival in Spain, La Biblioteca National in Havana, the Contemporary Art Center in Atlanta, the Nickle Arts Museum in Calgary, the Center for Experimental and Perceptual Art (CEPA) in Buffalo, Art interactive, Mobius and Studio Soto in Boston, the Centro de la Imagen in Mexico City, Ambrosino Gallery in Miami, the Photographers Gallery in London, and the Friends of Photography’s Ansel Adams Center in San Francisco.
Paul DeMarinis has been working as an electronic media artist since 1971 and has created numerous performance works, sound and computer installations and interactive electronic inventions. He has performed internationally, at The Kitchen, Festival d’Automne a Paris, Het Apollohuis in Holland and at Ars Electronica in Linz and created music for Merce Cunningham Dance Co. His interactive audio artworks have been shown at the I.C.C. in Tokyo, Bravin Post Lee Gallery in New York and The Museum of Modern Art in San Francisco. He has been an Artist-in-Residence at The Exploratorium and at Xerox PARC and has received major awards and fellowships in both Visual Arts and Music from The National Endowment for the Arts, N.Y.F.A., N.Y.S.C.A., the John Simon Guggenheim Foundation and the Rockefeller Foundation. Much of his work involves speech processed and synthesized by computers, available on the Lovely Music Ltd. compact disc “Music as a Second Language”, and the Apollohuis CD “A Listener’s Companion” Major installation works include “The Edison Effect” that uses optics and computers to make new sounds by scanning ancient phonograph records with lasers, “Gray Matter” that uses the interaction of body and electricity to make music, and “The Messenger” that examines the myths of electricity in communication. Public artworks include large scale interactive installations at Park Tower Hall in Tokyo, at the 1996 Olympics in Atlanta and Expo 1998 in Lisbon and an interactive audio environment at the Ft. Lauderdale International Airport in 2003.
Vito Acconci was born in 1940, in the Bronx, NY. His family was of Italian descent. His father sewed bathrobes for a living. In his early years, at around 13 or 14, he started to write poetry and short stories. These items he would pass around to his family members to read. The name “Vito” came from his Grandfather, for whom he was named, and who, around the time of his birth, grew extremely ill, and was about to pass on. When Vito was born, his Grandfather did not die as expected, so the family had two Vitos.
Vito grew to despise his Italian heritage. He thought that Italians couldn’t create good art. Eventually, he accepted his heritage, And went on with his life. He would later abandon poetry, for it had too many restrictions. He felt that the parameters were too constrained and rule-bound. He felt that performance art was free of boundaries, and could accept all expression in their raw forms. HIs performace art would eventually shock and absorb its audience all at the same time. His monotone vocal aspects would later reveal that he was totally against any emotion in his particular art form. He felt that emotion was too general a feeling to express in art.
His sense of privatism would envelop his art. At some points, he would massacre his own body to express his art. He would pull at His breasts to try and make them female breasts. He would burn the hair off his chest to express a female chest. He would sit in a pile Of garbage, naked, and dress his penis in doll clothes. He would sit in a dark hallway of a building with a lead pipe and a wrench, blind folded, chanting. One of his most famous works, The Following Piece, would eventually become a staple in Vito’s work. His fondness for John Ford films would make its way into his work.
Acconci is a believer in the home environment. He believes that the home is a place of sanctuary, but it is also a very confined space that will eventually swallow you up unless you break free. His Following Piece, was a piece designed to follow anyone at any time, until they reached a sacred ground such as a private residence.
He would eventually leave performace art and create art that the public could be apart of. He did an art piece that involved welding several cars together. He would invite people to sit inside. He did a piece that was called House up the Wall. 1985. An exhibit that called forth an elaborate set up. Although the construction looked inviting, the actual set up was quite cramped, with small entrances that could only be accessed by crouching. Today, Acconci is still active in the art community, and his work can be seen and interacted with throughout New York.
Warren Sack is a software designer and media theorist whose work explores theories and designs for online public space and public discussion. His field of expertise is social computing. As a field of research, social computing explores two issues: (A) How can the insights of social, critical, cultural, and media theory be incorporated into and used to critique and evaluate software? and, (B) How can new media be designed to address outstanding social and political issues? Current and past projects include work in news media, Open Source software development, locative media, computer-supported translation, systems for visualizing and facilitating online discussions, and the design and analysis of network-based learning environments.
John Cayley is a London-based poet, translator, sinologist and publisher, born in Ottawa, Canada. He is the founding editor of Wellsweep, a small press which has specialised in literary translation from Chinese, and he is known internationally for his writing in networked and programmable media (www.shadoof.net/in). Cayley is the recent winner of the Electronic Literature Organization‘s Award for Poetry 2001. Wellsweep has published pioneering selections from individual Chinese poets and the first ever English translation of a Chinese martial arts and fantasy novel. His last book of poems, adaptations and translations is Ink Bamboo (London: Agenda & Belew, 1996). Cayley has lectured on the writing programme at the University of California, San Diego, where he was also a Research Associate of the Center for Research in Computing and the Arts (CRCA). He is now an Honorary Research Associate in the Department of English, Royal Holloway College, University of London, and an Honorary Fellow of Dartington College of Arts, in close association with their degree-level course on Performance Writing.
Digital media artist, Jane D. Marsching’s current project, Arctic Listening Post, explores our past, present and future human impact on the Arctic environment through interdisciplinary and collaborative practices, including video installations, virtual landscapes, dynamic websites, and data visualizations.
Recent exhibitions include: the ICA Boston; MassMoCA; North Carolina Museum of Art; San Jose Museum of Art, CA; Photographic Resource Center, Boston, MA; and Sonoma Museum of Art, CA.
She has received grants from Creative Capital, LEF Foundation, Artadia, Massachusetts Cultural Council, and Artists Resource Trust.
With Mark Alice Durant in 2005, she curated The Blur of the Otherworldly: Contemporary Art, Technology, and the Paranormal, at The Center for Art and Visual Culture, Baltimore, MD; a catalog of the exhibition was published in June 2006 with essays by Marsching, Durant, Marina Warner and Lynne Tillman.
She is currently Assistant Professor at Massachusetts College of Art in Studio Foundation. She received her MFA in photography from The School of Visual Arts, New York City, in 1995.
She is represented by Allston Skirt Gallery, Boston, MA.
Frauke Behrendt’s research interests include the areas of digital cultures, sound studies, mobility and media theory. Her research combines empirical and theoretical investigations of the link between mobility, sound and media and how this is articulated both in contemporary art and in everyday live.
Frauke is on the Steering Committee of the European COST Action on ‘’Sonic Interaction Design’ and of the International Workshop of Mobile Music Technology. In addition, she is a member of NYLON (international research network in sociology, history and cultural studies), and the ‘Centre for Material Digital Culture’ (Sussex University).
She is a Research Fellow at the Cultures of the Digital Economy Institute (CoDE), Anglia Ruskin University, Cambridge. Previously, Frauke has held positions at the University of Sussex and as Visiting Assistant Professor at the Rhode Island School of Design (US). She completed her PhD on ‘Mobile Sound. Media Art in Hybrid Spaces’ at the University of Sussex and holds an MA in Cultural Studies from Leuphana University in Germany.
Douglas Kahn is Director of Technocultural Studies at University of California at Davis. With research concentrations in auditory culture, the history and theory of sound in the arts, and new media arts, he is the author of Noise, Water, Meat: A History of Sound in the Arts (MIT Press, 1999), coeditor of Wireless Imagination: Sound, Radio and the Avant-garde (MIT Press, 1992), and editor of an ongoing book series, “Auditory Culture”, from MIT Press. His catalogue essays, journal essays, book chapters and magazine articles on contemporary media artists, sound artists and musicians have appeared internationally, and have included writings on Christian Marclay, Paul DeMarinis, James Tenney, Joyce Hinterding, Nigel Helyer, and Rosemary Laing. He edited a special issue of Leonardo Music Journal on Australian new music and sound art, and organized “Audio Ideas”, a symposium and performance series on post-techno electronic music, at Artspace Sydney. He produced radio art and “new documentary” for ABC-Radio (Australia), was a frequent commentator on national radio in Australia, and collaborated with Frances Dyson in writing and media production through the company Liminal Product. He has a Ph. D. in art history, an M.F.A. in “post-studio arts” (Cal Arts), and an M.A. in experimental music composition from Wesleyan University, where he studied with Alvin Lucier and Ron Kuivila.
A registered architect in the US and Canada, Peter Yeadon maintains an innovative, research-based professional practice. Critics and curators have described his projects as being closely aligned with Visionary Architecture, the speculative architecture of future possibilities. Yeadon is currently researching the architectural implications of a variety of spectacular developments that are emerging from nanoscience and bio-nanoscience laboratories. He is particularly interested in the future of molecular self-assembly, self-replication and programmable matter. Yeadon’s body of built and conceptual work ranges from large institutional buildings and monuments to subatomic nanostructures. Together with Martina Decker, he recently received an award from the Boston Society of Architects for a World Trade Center memorial design proposal.
George Fifield is a new media curator, a writer about art and technology and teacher. He is the founding director of Boston Cyberarts Inc., a nonprofit arts organization, which produces the Boston Cyberarts Festival. This international biennial Festival of artists working in new technologies involves numerous exhibitions of visual arts; music, dance, and theatrical performances; film and video presentations and symposia at numerous arts and educational organizations throughout Massachusetts. He is also an independent curator of New Media with numerous projects here and abroad. His most recent exhibition was Act React: Interactive Installation Art at the Milwaukee Art Museum from October 2008 to January 2009. For thirteen years until 2006, Fifield was Curator of New Media at the DeCordova Sculpture Park and Museum in Lincoln, MA. He continues to work with the DeCordova on a number of projects. He is adjunct faculty at Rhode Island of Design’s Digital + Media graduate program and teaches at Massachusetts College of Art. He was executive co-producer for The Electronic Canvas, a hour-long documentary on the history of the media arts that aired on PBS in 2000. Fifield writes on a variety of media, technology and art topics for numerous publications. In 2006, Fifield was honored with the First Annual Special Award for Distinguished Contribution to the Boston Arts Community by the International Association of Art Critics (AICA) Boston Chapter. In 2007, the Boston Cyberarts Festival was honored with the Commonwealth Award by the Commonwealth of Massachusetts in the category of Creative Economy.
Spurse is an open-ended group of individuals and organizations that work together as a type of experimental consultation service towards the development of new forms of engagement, practices and knowledges. We believe that there is a necessity today of working collectively to rethink all of the givens of our modes of being in the world so to develop new forms of practices and knowledges. We are creatures who are not alone — and we, as creatures, are a type of collective — a complex entanglement of many other creatures (bacteria, fungi, protocistae etc.), systems, habits, matters of concern and forces at varying scales. This world, is a world that we are not simply “in” but we are, rather, an intra-actively co-emerging part of this dynamic world. It is a world of irreducible messiness, complexity and open-ended multiplicity.
Wendy Chun is Professor of Modern Culture and Media at Brown University. She has studied both Systems Design Engineering and English Literature, which she combines and mutates in her current work on digital media. She is author of _Control and Freedom: Power and Paranoia in the Age of Fiber Optics_ (MIT, 2006), _Programmed Visions: Software and Memory (forthcoming MIT 2010), and co-editor (with Thomas Keenan) of _New Media, Old Media: A History and Theory Reader (Routledge, 2005). She has been a fellow at the Radcliffe Institute for Advanced Study at Harvard and a Wriston Fellow at Brown, as well as a visiting associate professor in the History of Science Department at Harvard. She is currently working on a monograph entitled _Imagined Networks_.
Sal Randolph lives in New York and produces independent art projects involving internet-mediated gift economies, social architectures and one-on-one interactions. She is the founder of Opsound, an open sound exchange of copyleft music (opsound.org). Other recent projects include The Free Biennial (freebiennial.org) and Free Manifesta (freemanifesta.org) which brought together several hundred artists in open shows of free art in the public spaces of New York and Frankfurt am Main, Germany, as well as Free Words (freewords.org) in which 3000 copies of a free book have been infiltrated into bookstores and libraries worldwide by a network of volunteers. Her recent project Free Press created an open access publishing house at Röda Sten Contemporary Art Space in Göteborg, Sweden. She is currently developing work in the areas of experiential and participatory art including a series of works where she gives away money. She works with sound as situationalaudio and as a member of the band Weapons of Mass Destruction, and she is also part of the psychogeographical artist network, Glowlab.
Scott Snibbe is a media artist, filmmaker, and researcher in social interactivity. Whether on mobile devices or in large public spaces, his interactive art spurs people to participate socially, emotionally, and physically. His works are strongly influenced by cinema: particularly animation, silent, and surrealist film; and sometimes mix actors’ filmed performances with real-time audience interaction. His artwork is in the permanent collections of the Whitney Museum of American Art (New York) and The Museum of Modern Art (New York). His work has been shown in over one hundred solo and group exhibitions since 1989 including the Institute of Contemporary Arts (London), The Berkeley Art Museum (California), InterCommunications Center (Tokyo); and Ars Electronica (Austria). His has received grants and awards from the National Science Foundation, Renew Media, the Rockefeller Foundation, the Ford Foundation, Prix Ars Electronica, and the National Endowment for the Arts. He is the founder of two organizations: Snibbe Interactive, Inc., which distributes social interactive media; and Sona Research, which engages in educational and cultural research.
Michael Snow, CC (born December 10, 1929) is a Canadian artist working in painting, sculpture, video, films, photography, holography, drawing, books and music. Michael Snow was born in Toronto and studied at Upper Canada College and the Ontario College of Art. He had his first solo exhibition in 1957. Since then, his work has appeared at exhibitions across Europe, North America and South America. His works were included in the shows marking the reopening of both the Centre Pompidou in Paris in 2000 and the MoMA in New York in 2005. In March 2006 his works were included in the Whitney Biennial.
Jim Campbell was born in 1956 in Chicago, Illinois. He received degrees in both electrical engineering and mathematics from the Massachusetts Institute of Technology in Cambridge, Massachusetts in 1978, and is currently living and working in San Francisco, California. As an engineer, Campbell holds more than a dozen patents in the field of image processing and is currently working on HDTV-related products in a laboratory in California.
Originally a filmmaker, Campbell turned to science after having worked for several years on a personally difficult film on mental illness. Eventually Campbell fused his artistic and scientific backgrounds and in 1988 began creating interactive installations using what he terms “custom electronics” that he designs for the unique purpose of each installation. His electronic artworks have been exhibited in museums throughout the United States and Europe, including the San Francisco Museum of Modern Art, and the Arizona State University Art Museum.
Marie Sester is a French media artist based in Los Angeles. She began her career as an architect, having earned her master’s degree from the Ecole d’Architecture in Strasbourg. Her interest, however, shifted from how to build living structures to how architecture and ideology affect our understanding of the world. Her work investigates the way a civilization originates and creates its forms. These forms are both tangible -such as signals, buildings, and cities- and intangible, such as the aspects of values, laws and culture.
After graduating from the academy of fine arts in Berlin, Joachim Sauter studied at the ‘German Academy for Film and Television’, Berlin.
Since the early 1980s, he has been working as a media artist and designer. From the beginning, Joachim Sauter has focussed on digital technogies and is experimenting how they can be used to express content, form, and narration.
Fuelled by this interest, he founded ART+COM in 1988 together with other artists, designers, scientists, and technologists. Their goal was to practically research this new up-and-coming medium in the realm of art and design. Until now, he is leading this interdisciplinary group.
Silvia Rigon is an Italian visual artist and designer. She has a background in Painting from the Venezia Academy of Fine Arts, and an MFA from the Department of Design| Media Arts at UCLA. Her interactive installation Venus Villosa won the Excellence Prize at the Bunka—Japan Media Art Festival 2003, and has been exhibited in The Metropolitan Museum of Photography in Tokyo in 2004. She participated in ISEA 2004 (International Society of Electronic Art), showing her work at the Center for Contemporary Art in Tallin, Estonia.
Golan Levin develops artifacts and events which explore supple new modes of reactive expression. His work focuses on the design of systems for the creation, manipulation and performance of simultaneous image and sound, as part of a more general inquiry into the formal language of interactivity, and of nonverbal communications protocols in cybernetic systems. Through performances, digital artifacts, and virtual environments, often created with a variety of collaborators, Levin applies creative twists to digital technologies that highlight our relationship with machines, make visible our ways of interacting with each other, and explore the intersection of abstract communication and interactivity. Levin has exhibited widely in Europe, America and Asia.
In ten installations created over the past twenty years, Rachel Berwick has focused our attention on human interactions with and understandings of the natural world. Her past works have examined species that are extinct (the Tasmanian tiger and passenger pigeon), nearly extinct (Lonesome George, the last surviving member of his subspecies of Galapagos tortoise), and reborn (the Coelacanth, a 400-million year old species of fish that was thought to be extinct and then re-discovered living at depths of approximately 1000 feet and classified as a “living fossil”).
Machiko Kusahara is a researcher in media art and theory, who has been publishing and curating in the interdisciplinary field connecting art, science, technology, culture, sociology and history. She is given Ph.D in engineering from University of Tokyo for her theoretical research in this field. Before joining Waseda University Kusahara taught at UCLA’s Department of Design|Media Arts as a visiting professor from April 2002 to March 2003. As a part of the research Kusahara created a virtual museum on “Utsushi-e”, Japanese phantasmagorie (fantasmagoria) like pre-cinema animated magic lantern show, for the Ministry of Culture’s Virtual Museum. In 2001 she curated a large-scale media art /technology exhibition Fushigi Jungle for the City of Kobe. Now Fushigi Jungle 3D Virtual Museum is on the web with Deutche Welle.
Erkki Huhtamo: B.A., M.F.A., Phil. Lic., University of Turku, Finland. Media Archaeologist, Writer, and Exhibition Curator. Numerous PUBLICATIONSs on media archaeology and media arts, published in 12 languages. Most recent book “Mariosophy: The Culture of Electronic Games” (in Finnish). Recent articles in “Future Cinema: The Cinematic Imaginary After Film,” (2004) “Handbook of Computer Game Studies,” (2005) and “Allegories of Communication.” (2005) Director and scriptwriter of three acclaimed TV series for YLE, the Finnish national television. Curator of several international media art exhibitions, including Alien Intelligence (2000), Paul DeMarinis (2000), Perry Hoberman – Unexpected Obstacles (1997), Digital Mediations (1995), Toshio Iwai (1994), The ISEA 94 Exhibition (1994), The Interactive Garden (1993). Creator of media-archaeological installation The Ride of your Life (ZKM, 1998). Member of many media festival juries and organization committees worldwide, including ISEA 2004, the ICC Biennale (Tokyo), The Interactive Media Festival (Los Angeles), and Portraits in Cyberspace (The MIT Media Lab). Research topics include the moving panorama as a forgotten mass medium of the 19th century, peep media and the archaeology of interactivity.
Michelle Fornabai received her Masters of Architecture from Princeton University. She has exhibited in such venues as the Whitney Museum of American Art at Altria and Storefront for Art and Architecture in New York. She currently teaches at the Graduate School of Architecture, Planning and Preservation at Columbia University and has taught previously at the Rhode Island School of Design, the University of California, Los Angeles, and Tulane University. Her practice, ambo.infra design, was established in 2001. Her current research for the Soft Structures: Pattern-Book is supported in part by the Graham Foundation for Advanced Studies in the Fine Arts and the LEF Foundation.
Violeta Vojvodic, an artist, born in 1971, Serbia. Works in Urtica, an art and media research group www.urtica.org . She received a BA from the Academy of Arts, Novi Sad in 1995, an MA from the Faculty of Fine Arts, Belgrade in 2000, and a European Diploma in Cultural Management in 2006. Her interests bridge the fields of art, social sciences, and cultural management. Together with Eduard Balaz, she co-founded Urtica art and media research group in 1999. She was one of the co-founders of New Media Center kuda.org (Novi Sad, Serbia), where she worked as a project manager from 2001–2002. She also worked as an editor at www.labforculture.org from 2005–2007. She has been working in the group Urtica since1999.
Paul D. Miller known by his stage name DJ Spooky, That Subliminal Kid (born in 1970), is a Washington DC-born electronic and experimental hip hop musician whose work is often called by critics as “illbient” or “trip hop”. He is a turntablist, a producer, and an author. He borrowed his stage name from the character The Subliminal Kid in the novel Nova Express by William S. Burroughs. He is a Professor of Music Mediated Art at the European Graduate School.
The ideal artist-as-curator is an artist who has deeply mined a certain vein of artistic practice, and has reached a reflective, introspective point in his or her career. Already established, s/he is able to disengage from the day-to-day struggles of art practice, and take a longer view toward the history of his or her medium, and an insider’s view of what really matters. The ideal artist-as-curator appreciates the complementary nature of the three increasingly merging aspects of today’s art world: artist, critic, and curator. Engaging with and working in each modality expands our idea of what is possible, and ultimately strengthens our work with other perspectives.
Ben Rubin is a media artist based in New York City. He is the co-creator of “Moveable Type” (2007), a large-scale public artwork in the lobby of the New York Times headquarters building. He is currently developing a site-specific sculpture called “Shakespeare Machine” for the Public Theater in New York and a luminous rooftop beacon for a new museum in Philadelphia. Other recent public artworks include “San Jose Semaphore” for the city of San Jose, California, and “Four Stories” for the Minneapolis Public Library, both completed in 2006. Rubin’s work has been shown at the Whitney Museum of American Art, the Reina Sofia Museum in Madrid, the Fondation Cartier in Paris, Aarhus Art Museum in Denmark, the MIT List Visual Arts Center, the Skirball Center in Los Angeles (in a show organized by the Getty Museum), the Brooklyn Academy of Music and the San Jose Museum of Art. He has collaborated with artists and performers including Laurie Anderson, Diller+Scofidio, Ann Hamilton, Arto Lindsay, Steve Reich, and Beryl Korot. Rubin’s installation Listening Post (2002, with statistician Mark Hansen) won the 2004 Golden Nica Prize from Ars Electronica as well as a Webby award in 2003. Mr. Rubin received a B.A. from Brown University in 1987 and an M.S. in visual studies from the MIT Media Lab in 1989. Mr. Rubin teaches at the Yale School of Art, where he was appointed critic in graphic design in 2004.
David Small (creative director of Small Design) completed his Ph.D. at the MIT Media Laboratory in 1999, where his research focused on the display and manipulation of complex visual information. This was his third degree from MIT. He began his studies of dynamic typography in three dimensional landscapes as a student of Muriel Cooper, founder of the Visible Language Workshop, and later joined the Aesthetics and Computation Group under the direction of John Maeda. His thesis, Rethinking the Book, examined how digital media, in particular the use of three-dimensional and dynamic typography, will change the way designers approach large bodies of information. His work has been exhibited at the Museum of Modern Art, Documenta11, the Centre Pompidou, and the Cooper-Hewitt. He is the principal and founder of Small Design Firm. From 2008 to 2010 he was an Associate Professor at the Massachusetts Institute of Technology where he directed a research group at the MIT Media Lab.
Victoria Vesna is a media artist and Professor at the UCLA Department of Design | Media Arts and Director of the Art|Sci center at the School of the Arts and California Nanosystems Institute (CNSI). She is currently a Visiting Professor and Director of Research at Parsons Art, Media + Technology, the New School for Design in New York and a senior researcher at IMéRA – Institut Méditerranéen de Recherches Avancées in Marseille, France and Artist in Residence at the Institute of Advanced Studies, University of Bristol. Her work can be defined as experimental creative research that resides between disciplines and technologies. With her installations she explores how communication technologies affect collective behavior and how perceptions of identity shift in relation to scientific innovation. Victoria has exhibited her work in over twenty solo exhibitions, more than seventy group shows, has been published in excess of twenty papers and gave 100+ invited talks in the last decade. She is the North American editor of AI & Society and in 2007 published an edited volume – Database Aesthetics: Art in the age of Information Overflow, Minnesota Press. In Press is Context Providers: Conditions of Meaning in Media Arts. Edited with Christiane Paul and Margot Lovejoy. Intellect Press, 2011.
An internationally known media artist and scholar, Seaman has had over thirty major installation works and commissions around the world, a dozen solo exhibitions, and numerous performance collaborations, video screenings, and articles/essays/reviews in books and catalogues. His work explores an expanded media-oriented poetics through various technological means. A self-taught composer and musician, he also collaborates with dancers and choreographers to create evocative multimedia performance pieces. He has been commissioned on a number of occasions. He is currently working on a series of art/science collaborations — poetic installations, scientific / conceptual art research papers and a book in collaboration with the scientist Otto Rössler surrounding the concept of Neosentience as well as the production of an Electrochemical Computer. He is also collaborating with artist/computer scientist Daniel Howe on works exploring AI and creative writing/multi-media – “the Bisociation Engine” and “A China of Many Senses”[working title] (both in progress); neural scientist and artist Timothy Senior on the development of a biologically inspired “Thought Module” (a novel approach to neural nets); computer scientist and experimental writer Patrick Harron on a transdisciplinary relational database / search engine project ; Thom LaBean on nano-scale computational/sensing research; and with Gideon May and Rachel Brady on re-articulating “The World Generator / The Engine of Desire” a virtual world building system.
Luc Courchesne took part in the emergence of media arts thirty years ago when, as a video artist inspired by a generation of experimental filmmakers such as Michael Snow and Hollis Frampton, he adopted computer technologies. First delving into interactive portraiture, a great artistic tradition re-articulated in a new mould, his work has recently turned to another important genre, that of landscape. With his installations, “panoscopic” images, and a device of his own making used to create a sense of visual immersion, he transforms spectators into a visitors, actors and inhabitants of his experiential crafts. Born 1952 in Québec, Courchesne received a Bachelor’s degree from the Nova Scotia College of Art and Design, Halifax (1974), and a Master of Science in Visual Studies from the Massachusetts Institute of Technology, Cambridge (1984).
Marcos Novak is visiting Associate Professor at the Department of Architecture and Urban Design at UCLA. He is a transarchitect: an architect, artist, composer and theorist who employs algorithmic techniques to design actual, virtual and hybrid intelligent environments. Seeking to expand the definition of architecture to include electronic space, he originated the concept of “liquid architectures in cyberspace” and the study of a dematerialize architecture for the new, virtual public domain. Novak is the founding director of the Laboratory For Immersive Virtual Environments and the Advanced Design Research Program at the School of Architecture at the University of Texas at Austin. His writings have appeared in numerous books and journals and have been translated into several languages. Interviews and documentaries on his work have appeared in several countries on CNN, PBS, BBC, NHK on television and radio. He lectures and exhibits internationally.
Camille Utterback is an internationally acclaimed artist whose interactive installations and reactive sculptures engage participants in a dynamic process of kinesthetic discovery and play. Utterback’s work explores the aesthetic and experiential possibilities of linking computational systems to human movement and gesture in layered and often humorous ways. Her work focuses attention on the continued relevance and richness of the body in our increasingly mediated world. Utterback holds a BA in Art from Williams College, and a Masters degree from the Interactive Telecommunications Program at New York University’s Tisch School of the Arts. She lives and works in San Francisco.
Grahame Weinbren, recognized as a pioneer of interactive cinema, has made films and installations for over 30 years. His high definition short films “Letters” were exhibited in the 2006 Tribeca Film Festival and the 2008 Berlin Film Festival.He teaches at the School of Visual Arts in New York, and is the senior editor of the Millennium Film Journal.
Christiane Paul has written extensively on new media arts and lectured internationally on art and technology. An expanded edition of her book Digital Art (Thames& Hudson, UK, 2003) as well as her edited anthology New Media in the White Cube and Beyond (UC Press) were published in 2008. As Adjunct Curator of New Media Arts at the Whitney Museum of American Art, she curated several exhibitions—including Profiling (2007), Data Dynamics (2001) and the net art selection for the 2002 Whitney Biennial—as well as artport, the Whitney Museum’s website devoted to Internet art. Other recent curatorial work includes Feedforward – The Angel of History (co-curated with Steve Dietz; Laboral Center for Art and Industrial Creation, Gijon, Spain, Oct. 2009); INDAF Digital Art Festival (Incheon, Korea, Aug. 2009); and Scalable Relations (Beall Center for Art and Technology, Irvine, CA; as well as galleries at UCSD, UCLA and UCSB, 2008-09). Dr. Paul has previously taught in the MFA computer arts department at the School of Visual Arts in New York (1999-2008); the Digital+Media Department of the Rhode Island School of Design (2005-08); the San Francisco Art Institute and the Center of New Media at the University of California at Berkeley (2008).
George Legrady is Professor of Interactive Media, and director of the MAT Experimental Visualization Lab. He holds a joint faculty appointment in the Media Arts & Technology doctoral program and in the Department of Art at the University of California, Santa Barbara.
As Associate Director of the Academy of Electronic Media, Diana Slattery researches, designs, and produces highly interactive, game-like multimedia environments for education, entertainment, and the arts. Her Ph.D. research in visual language and interactive narrative informs the Glide project, which was shown at 7th Biennial Symposium on Art & Technology at Connecticut College, March, 1999; at the IEEE Symposium on Visual Language, Tokyo, 1999; at the FILE Art festival, Sao Paulo Brazil, 2001; and at the Technopoetry Festival at Georgia Tech in April, 2002. Her publishing credits (print fiction and poetry) include Georgia Review, New England Review, Breadloaf Quarterly, Fiction International, Exile, Groundswell, Kansas Quarterly. Online publications include Journal of Postmodern….Journal of Postmodern Culture (“Alphaweb: A Poetry Hypertext”), Riding the Meridian (“Glide: An Interactive Exploration of Visual Language”). Her work has also been in the following anthologies: New World Writing, New Campus Writing, Outlaw Visions, and Golden Horses.
Todd Winkler is a composer and multimedia artist on the faculty at Brown University, where he is Co-Director of Multimedia and Electronic Music Experiments (MEME). His creative work and research work explores ways in which human actions can influence sound and images produced by computers in multimedia dance productions, interactive video installations, and concert pieces for computers and instruments.
Since the late 60′s Jeffrey Shaw has pioneered the use of interactivity and virtuality in his many art installations. His works have been exhibited worldwide at major museums and festivals.
From 1991 till 2003 he was director of the Institute for Visual Media at the ZKM Center for Art and Media Karlsruhe, Germany. Since 2003 he is founding co-director of the Center of Interactive Cinema Research (iCinema) at the University of New South Wales, Sydney, Australia.