The Archive of Digital Art expands its field and includes scholars in its documentation. Scholars are invited to become members of the online community and set up their own ADA entry!
Scholars have the possibility to upload publications and text pdfs, announce upcoming events, post comments, document exhibitions, conferences and other relevant events and be represented in the Archive.
The community features also allow the active exchange of professional information with peers and the new “Light box” tool facilitates the examination and comparison of images for research and teaching.
To ensure a high academic standard 5 published articles and/or curated exhibitions are requisite for scholars to become members of the ADA community. Interested scholars may apply for an account here.
Christopher Salter is a media artist, performance director and composer/sound designer based in Montreal, Canada and Berlin, Germany.
His artistic and research interests revolve around the development and production of real time,
Tabea Hamperl 24.11.2017 Next Friday NOME will open the group show "Evidentiary Realism" featuring artists engaged in investigative, forensic, and documentary work, curated by Paolo Cirio.
On display are works by Sadie Barnette, Josh Begley, James Bridle, Ingrid Burrington, Harun Farocki, Navine G. Khan-Dossos, Hans Haacke, Khaled Hafez, Jenny Holzer, Mark Lombardi, Kirsten Stolle, and Thomas Keenan & Eyal Weizman. https://www.facebook.com/events/158920834711842/
Oliver Grau 22.11.2017 LIVE STREAM of Re:Trace—7th International Conference on the Histories of Media Art, Science and Technology
November 23–25, 2017
Re:Trace will be hosted by the Department for Image Science and held jointly at Danube University, Göttweig Abbey and the Austrian Academy of Sciences, Vienna. Following Banff 2005, Berlin 2007, Melbourne 2009, Liverpool 2011, Riga 2013 and Montreal 2015, the Media Art History Boards and Co-Chairs invite you to attend Re:Trace 2017 in Krems/Göttweig/Vienna in person or virtually.
Over three days (November 23 to 25, 2017), the following 5 keynotes and other lectures will be live-streamed from the conference at three venues in the UNESCO World Heritage Wachau region of Austria, at Danube University Krems, Göttweig Abby, and the Austrian Academy of Sciences in
Vienna. You will have access to the live streaming via the conference website (http://www.mediaarthistory.org/retrace) or department website (www.donau-uni.ac.at/dis).
Re:Trace keynote lectures live streaming
Thursday, November 23, 2017 (Danube University)
3:20am NY / 9:20am Austria / 3:20pm Bangkok / 7:20pm
Ryszard KLUSZCZYNSKI (University of Lodz, PL): Monument as Archive: Artistic Strategies from Anti- to Meta-Memorial
11:30am NY / 5:30pm Austria / 11:30pm Bangkok / 3:30am (Friday) Sydney
Morten SONDERGAARD (Aalborg University, DK): Archiving Agencies: Tracing the Implied Producers of Media Art Collections
Friday, November 24, 2017 (Göttweig Abbey)
3:45am NY / 9:45am Austria / 3:45pm Bangkok / 7:45pm Sydney
Wendy Hui CHUN (Brown University, US): Approximate Repetitions: Latent Big Data
Saturday, November 25, 2017 (Austrian Academy of Sciences, Vienna) 4am NY / 10am Austria / 4pm Bangkok / 8pm Sydney
Sarah KENDERDINE (École Polytechnique Fédérale de Lausanne, CH): Postdigital Pasts
noon NY / 6pm Austria / midnight (Sunday) Bangkok / 4am (Sunday) Sydney
Martin KEMP (Oxford University, UK): Computerising Leonardo: A Visual Dialogue from 1988 to Now
More information about the keynote lectures–including presenter bios and presentation abstracts–can be found on the RE:TRACE homepage
Other live streaming sessions and presenters
(daily 5–11am NY, 11am–5pm Austria, 5–11pm Bangkok, 9pm–3am Sydney)
Media Art & Politics (Steve Dixon, Andres Burbano, Kevin Hamilton, Gerald Nestler), Politics - Ambitious goals with tactical media (Dmitry Galkin, Polonia Tratnik), Politics - Ecology, politics, and aesthetics I (Aaron Burton, Jens Hauser, Yvonne Volkart, Viola Rühse), Political and aesthetic impacts of automated classifications (Maciej Ożóg, Jennifer Gradecki/Derek Curry, Devon Schiller), Internet infrastructure under scrutiny (David Gauthier /Michael Dieter/Marc Tuters, Natalia Fedorova, Martín Nadal/César Escudero Andaluz, Andre Mintz), DH: Preservation strategies: Performing and rethinking materiality (Laura Leuzzi, Margrét Elísabet Olafsdóttir, Denisa Kera /Cynthia Selin), Dariah Connectivity Part I: Collection - Archiving – Preservation (Francesca Franco, Giselle Beiguelman, Janina Hoth, Annet Dekker), Dariah Connectivity Part II: Preservation strategies: Dynamic archiving (George Legrady, Ann-Marie Duguet)
The entire online program with speakers and presenters from more than 50 nations is available here:
Conference Co-Chairs: Oliver Grau and Inge Hinterwaldner
Re:Trace partners: Austrian Academy of Sciences, Vienna / Lower Austria / Humboldt University, Berlin / Archive of Digital Art / DARIAH-EU / Erasmus Mundus Media Arts Cultures / Academia Europaea / Leonardo / Kunsthalle Krems
Re:Trace host: The Department for Image Science at Danube
University–located in the UNESCO world heritage Wachau–is an internationally unique institution for research and innovative teaching with an international faculty, with 120 scholars from various disciplines (www.donau-uni.ac.at/dis). The innovative approach of the Department for Image Science with the close connection to practice has developed the Archive of Digital Art and in 2006 founded the low-residency MediaArtHistories-Advanced, MA (www.donau-uni.ac.at/mah), and the low-residency Exhibition Development, CP
Ash Eliza Smith 22.11.2017 The Culture, Art and Technology Program, UCSD is hiring a Writing Director. This is a split appointment with a Lecturer Position and an opportunity to create your own amazing courses. Please share. https://apol-recruit.ucsd.edu/apply/JPF01622
Thomas Dreher 21.11.2017 "The Aesthetics of the [Non-]Proof" discusses the problems of documentary photography and documentation systems (among others) to refer to parts of the world (like objects and events). Referential, emotive, phatic and poetic communicative functions are related to each other in constructivistic photomontages (Alexander Rodchenko, Gustav Klucis, Laszlo Moholy-Nagy, John Heartfield), photographs (Bernd & Hilla Becher, Axel Hütte, Candida Höfer, Thomas Ruff, Thomas Struth) and conceptual documentation systems (Douglas Huebler), among others (Martha Rosler, Robert Rauschenberg, Jasper Johns, John Baldessari, Joseph Kosuth). I discuss these problems in using linguistic and philosophical approaches by Roman Jakobson, William Van Orman Quine, Jean Baudrillard and Jacques Derrida.
I prepare "A (Provisonal) History of Intermedia Art". It will a need a longer time span until the pbulication of ths bool-length text chapter by chapter. https://www.facebook.com/photo.php?fbid=10155973015189954&set=gm.1264867493619987&type=3
Daria Vdovina 19.11.2017 RE:TRACE, the 7th International Conference for Histories of Media Art, Science and Technology
Keynote Speaker: MORTEN SØNDERGAARD
Associate Professor, Aalborg University
Keynote: Archive Agencies. Tracing the Implied Producers of Media Art Collections
Nov 23rd, 05:00 pm
Morten Søndergaard (MA & PhD) is Associate Professor and Curator of Interactive Media Art at Aalborg University, Denmark. He is a member of the Media Art Histories Faculty and the co-founder and AAU-coordinator of Erasmus Master in Media Arts Cultures. He is the co-founder (with Peter Weibel) of ISACS – International Sound Art Curating Conference Series and (with Laura Beloff) the upcoming EVA-Copenhagen symposium. He was deputy director and curator at The Museum of Contemporary Art in Roskilde, Denmark 1999-2008. As Media Art Curator, he has operated in mixed and public spaces since 1995. Upcoming curatorial projects includes C / Borg – Parliament of Robots by Ken Rinaldo at the DIAS Gallery, which is situated in a S-train station in Copenhagen. His latest research is published / under publication at MIT Press, Routledge, De Gruyter, Continent.cc, MT Press (Copenhagen University), and Mediekultur.dk (among others).
Keynote Information: http://www.mediaarthistory.org/keynote_speakers
Donato Maniello 19.11.2017 ** LABORATORIO DI ALTA FORMAZIONE / 2018 **
Spatial Augmented Reality: il video mapping applicato alla comunicazione artistica e museale.
INFO E ISCRIZIONI
19 e 20 Gennaio 2018 / Orario: 9-13 e 14-18 per 16 ore totali.
A CHI SI RIVOLGE
Studenti, Ricercatori, Archeologi, Artisti, Architetti, Ingegneri, Informatici.
N° max partecipanti: 10
Grow Lab (www.grow-lab.it), Corso Vittorio Emanuele n°63, Barletta (BT)
Daria Vdovina 17.11.2017 RE:TRACE, the 7th International Conference for Histories of Media Art, Science and Technology
Keynote Speaker: RYSZARD W. KLUSZCZYNSKI
Full Professor, Head of Department of Electronic Media, University of Lodz
Opening Keynote: Monument as Archive: artistic strategies from anti- to meta-memorial
Nov 23rd, 09:00 am
Kluszczynski (PhD, media art scholar, writer and curator) investigates issues of new media arts and cyberculture, contemporary art theory, avant-garde, and recent art practices with the focus on interactions between art, science and technology. His recent book publications: Human Traits. Patrick Tresset and the Art of Creative Machines (2016); Guy Ben-Ary: Nervoplastica. Bio-robotic Art and its Cultural Contexts (2015); Ken Feingold: Figures of Speech (2014); Meat, Metal & Code / Contestable Chimeras: Stelarc (2014); Robotic Art and Culture. Bill Vorn and His Hysterical Machines (2014); Wonderful Life: Laurent Mignonneau + Christa Sommerer (2012); Crude Life. The Tissue Culture & Art Project: Oron Catts + Ionat Zurr (2012); Towards the Third Culture. The Co-Existence of Art, Science and Technology (2011); Interactive Art. From Artwork-Instrument to Interactive Spectacle, 2010.
In 1990-2001 Kluszczyński was a Chief Curator of Film, Video and Multimedia Arts in the Centre for Contemporary Art – Ujazdowski Castle in Warsaw. In 2010 co-curated with Tsutomu Mizusawa Beyond Mediations, the main exhibition of The Second International Biennale of Contemporary Art in Poznan, Poland. Since 2011 he has held the position of the Artistic Director of Art + Science Meeting Project in the Centre for Contemporary Art in Gdansk. His most recent exhibition there has been Masaki Fujihata’s Augmenting the World (2017).
Keynote Information: http://www.mediaarthistory.org/keynote_speakers
Allegra Solitue 17.11.2017 Bassett & Lubelski, the <3 <3 of the East Coast /NYC sub-underground will land in Berlin again closing their Tour with this concert!
Marcia Bassett has performed in experimental music projects for over twenty years including "Un", "GHQ", "Hototogisu", "Double Leopards" and her solo project "Zaimph".
Samara Lubelski is best known as a solo artist with eight full-length releases, but she has also been involved in various art-music provocations, "Hall of Fame", "Tower Recordings", as a member of Thurston Moore’s band, and in her associations with the long-standing German collective "Metabolismus".
Opening act by Berlin based artists Jd Zazie & Heidrun Schramm improvising on material from their recent and first collaborative project "Railroad Concrete". https://www.facebook.com/events/1943000205973793/
Daria Vdovina 15.11.2017 RE:TRACE, the 7th International Conference for Histories of Media Art, Science and Technology
Keynote Speaker: SARAH KENDERDINE
Professor of Digital Museology, École polytechnique fédérale de Lausanne
Keynote: Postdigital Pasts
Nov 25th, 10:00 am
Professor Dr. Sarah Kenderdine researches at the forefront of interactive and immersive experiences for galleries, libraries, archives and museums. Her internationally exhibited and critically acclaimed works amalgamate cultural heritage and new media in the fields of interactive cinema, augmented reality and embodied narrative. Most recently, Kenderdine was the founding director of the Expanded Perception and Interaction Centre (EPICentre) at UNSW Australia, where she pioneered new visualization frameworks for medicine, engineering and the arts. In 2017, she was appointed Professor of Digital Museology at the École polytechnique fédérale de Lausanne (EPFL) where she is building a new laboratory to explore the convergence of aesthetic practice, visual analytics and cultural data.
Keynote Information: http://www.mediaarthistory.org/keynote_speakers
Vinzenz Hediger 15.11.2017 Great topic, great people, great location: A summer school on media history on Monte Verità
Media History from the Margins
CSF Summer Seminar at Monte Verità, Switzerland
August 19-24, 2018
Co-organized by the Universities of Lausanne and Luxembourg, and USI Università della Svizzera Italiana
- Weihong Bao, University of Berkeley
- Jérôme Bourdon, University of Tel Aviv
- Lisa Parks, MIT
- Trevor Pinch, Cornell University
The summer seminar aims to rethink media history from the margins and to place at the center of our attention neglected, alternative, or censured media texts, uses, and technologies. By shifting the discussion from hegemonic actors, dominant institutions, and successful mass media to the fringes of media history, it pursues the double objective of rewriting media history into media histories, and of opening a space to rethink historiographical practices and methods. The writing of marginal histories is inseparable from a reflection on the modes of operation and politics of historical writing: bringing together established and emerging scholars, the seminar investigates what has been left over by hegemonic mass media and hegemonic historical narratives.
Traditionally, media history has been conceived as a ‘grand narrative’ of singular media and national institutions: the ‘birth’ of cinema at the end of the 19th century and its subsequent ‘coming of age’ with the conversion to talkies; the history of public broadcasters in European countries; the dominance of post-war TV; and more recently the hegemony of digital media. Given the importance of media for the construction and consolidation of national mediascapes, media history has furthermore received mostly attention from a national angle, notwithstanding the importance of transnational communication in a globalized world.
More recent historiography has challenged these narratives by highlighting the importance of transnational circulations and intermedial relations. Instead of studying singular media within national boarders, it focuses on the “entanglement” of actors, practices, and technologies approached from the perspective of dynamic relationships and interdependences. Building upon this scholarship, the seminar favors a multilayered perspective emphasizing transient media experiences, material and conceptual hybridity, and marginal events. More particularly, it proposes to critically reflect upon centers and peripheries in media history: the expression ‘from the margins’ is borrowed from postcolonial history exploring the peripheries of world history in order to “de-center” Western histories, as well as to stimulate a debate on history as a discipline. Here, rather than retelling the past, history functions as an act of resistance countering dominant narratives.
The seminar is structured in three sections expanding on three days, to which is added a one-day graduate symposium. Titled Marginal Spaces, Marginal Objects, Marginal Times, the thematic axes pay particular attention to geographical and spatial, material and technological, and historiographical aspects of marginal media histories.
• Marginal Spaces looks at media and communication realms located outside the axes of traditional media history, and below or beyond national actors or geographically situated objects. We look for papers that rewrite the geography of producers, users, and discourses, and that revisit the logic of center-periphery and of inside-outside mainstream media by focusing, for instance, on migrating media objects, or alternative and activist media. We wish to discuss organizations and media makers working outside dominant media structures and to study, for instance, media making in the scientific and military sphere.
• Marginal Objects analyzes the diversity of technologies for recording, reproducing, projecting, and storing sound and images, text and data at various historical conjunctures. Embracing concrete and imaginary devices, successful machines and forgotten gadgets, the papers consider a variety of sources that exceed the technical discourse and relocate media materialities within their social, political, and economic contexts. We look in particular for papers that present original media objects and technologies from the perspective of an intermedial and hybrid media history, and that take the singular dispositif as a starting point for a broader theoretical discussion. In other words, we are interested in marginal objects that help reframe our methodological and theoretical perspectives.
• Marginal Times emphasizes media histories from a longue durée perspective that pays attention to the long life of once “new media”, and that looks at media practices in times of reconfiguration of the mass media ensemble. This section reconsiders “classic” periodizations in media history, and historically rethinks notions such as convergence or transmedia that structure current debates on contemporary media. It is interested in historical media and objects that “travel” across decades, and even centuries, acquiring new meanings and forms through such “time travel”. The notion of “times” finally refers to trends and “non-trends” in media history: which episodes or phases in media history have been neglected so far, and which disciplines or theoretical approaches might offer new perspectives in understanding media changes and continuities?
Situated on the top of a hill overlooking the lake of Lugano, the location at Monte Verità is unique and offers a setting favorable for exchange and discussion (http://www.monteverita.org/en/24/conference-centre-monte-verita.aspx). We aim to take full advantage of this place to create a space for collaboration and dialogue. Rather than being conceived as a conference of one-way presentations, we consider the event as a collective exploration of the fringes of our field.
In consequence, we are interested in contributions that associate historical case studies with broader historiographical analysis, and that think about their own margins and blind spots. We welcome papers that address the overall theme by asking questions rather than giving answers, and that include the audience from the start on. We further look forward to proposals from scholars working outside the field of media studies and whose research challenges our own work. Finally, we encourage collaborative submissions that investigate innovative forms of academic work, and that communicate in formats other than the traditional talk.
Graduate Students Symposium
We invite Ph.D. students working on related topics to apply for the one-day graduate symposium. Held on the first day of the event, the graduate student workshop brings together Ph.D. students and seminar participants, and aims at facilitating exchange between emerging and established scholars on research-related issues. The graduate students will pre-circulate a short paper related to their thesis, which will be discussed in small groups. The discussion-based format of the workshop allows for Ph.D. students to interact with participants and receive concrete feedback on their research.
In order to create the best possible conditions for the summer seminar, we require the presence of all participants during its entire duration.
The provisory program is as follows: Sunday, August 19: Arrival of participants
Monday, August 20: Welcome event and Graduate Students Seminar
Tuesday, August 21: Marginal Spaces
Wednesday, August 22: Group discussions (morning); excursion (afternoon – evening) Thursday, August 23: Marginal Objects
Friday, August 24: Marginal Times, Conclusion, Departure of participants
The seminar is organized at the Conference Centre Monte Verità, Ascona, Switzerland, the venue of choice for Congressi Stefano Franscini, the international conference platform of ETH Zurich. It is generously supported by the Congressi Stefano Franscini and the universities of Lausanne and Luxembourg. For participants who may not be able to cover their expenses via their universities, we may provide a stipend. The costs are as follows: Full Board and Accommodation Single Room : ca. 172.- / night / person
Full Board and Accommodation Double Occupation : ca. 85.- / night / person
François Vallotton and Anne-Katrin Weber, University of Lausanne
Gabriele Balbi, USI Università della Svizzera Italiana
Andreas Fickers, University of Luxembourg
Deadline for the summer seminar and the graduate student symposium: We look forward to abstracts of maximum 500 words and a short bibliography until January 31, 2018. Participants will be notified by March 1st, 2018. Please include in your message whether you apply for financial assistance.
To apply for the graduate students symposium, we ask for a summary of the doctoral thesis and a short abstract of the questions / topic / primary sources you would like to discuss with the other participants. The short input papers will be circulated beginning of August 2018. Please include in your message whether you apply for financial assistance.
Please submit your abstract including a short biographical note to François.Vallotton@unil.ch and Anne-Katrin.Weber@unil.ch http://www.monteverita.org/en/24/conference-centre-monte-verita.aspx
Randall Packer 13.11.2017 This Saturday, live and online, Furtherfield co-founders Ruth Catlow & Marc Garrett discuss their seminal contribution to the media arts that spans over 20 years on Networked Conversations. Please see the announcement to login and participate via Adobe Connect Web-conferencing :::