Big thanks to Travess Smalley for his help with the clip.
The Public Art Fund's annual commission for New York-based emerging artists In the Public Realm is currently seeking proposals for new public artworks. Each artist will receive up to $15,000 towards fabrication, installation, and de-installation based on an approved project budget and an artist’s fee of $2,500. Previous experience working in public space is not necessary. The deadline is February 16, 2010. Information and application available through the link below.
This past month, Reno hosted the “Prospectives 09” festival, directed by Joseph DeLappe, Associate Professor of Art in the Digital Media area at the University of Nevada, Reno (UNR). The festival featured the work of 37 international artists and performers who are all current graduate and PhD candidates, working in various modes of digital practice. There were exhibitions, performances, a curated collection of internet art, symposia, video projections at UNR’s planetarium, and even a nocturnal array of illuminated floating pig bladders (a work by Doo-Sung Yoo, whose Pig Bladder Clouds references human-animal hybrids).
It would be a fool’s errand to try and propose some overarching principle that would legitimately tie together such a broad expanse of work. Limiting myself to the works on display at the “Prospectives 09” exhibition in UNR’s Sheppard Fine Arts Gallery, it seemed there was a common desire to enlist the spectator as a participant. Open until December 16, 2009, the works included in the show involved a fair amount of “play,” but the artists seemed attuned to the complexities involved with the interaction between machine and participant, thus it’s play inflected with critique.
John Walters’ interactive sculpture Waste Oil Mirror I & II (2008) is stately, beautiful and troubling. Two black rectangles stand against the wall, each seven feet tall, at first glance as minimalist as the monolith from Kubrick’s 2001. Triggered by the body heat in the gallery, a mechanical purring noise starts, and a soft gliding motion comes over the surface of the obelisks. The sculpture then draws up used motor oil from a reservoir at the bottom of the obelisks, cascading a ...
The University of California Santa Cruz's Film & Digital Media Department have introduced a new Ph.D. in Critical Practice of Film and Digital Media. They are welcoming applications for admission to their inaugural 2010 class and the deadline is January 15, 2010. Information about the program below originally from the post to Rhizome's Announce section:
The program will house creative practice and theoretical knowledge as related forms of intellectual work and provide the underpinnings for students to realize a wide range of possible projects employing a diverse set of methods including those of cultural dissent, cultural studies, documentary, ethnography, feminist studies, historiography, media cultures, narrative, platform studies, psychoanalysis, queer epistemology, the reinvention of the archive, reverse anthropology, science studies, software studies, transnational and postcolonial studies.
Research within the program will span a large number of topics including avant-garde and experimental film and video; silent and classical cinema; digital, electronic, and new media; documentary; gender and sexuality; international cinema; participatory culture; public media art; race, ethnicity, nationality, colonialism and their intersections.
The flexibility of the program allows students to work closely with their advisers and the director of graduate studies to craft a personalized course of study that advances their intellectual and professional goals.
More information and an application available here.
Originally via Channel 53.
Last Midi Background (LMB) is a project by Sebastian Schmieg, a Berlin-based student focusing on new media and stuff.
It is an internet radio, a cyberspace shuttle, and a kind of archive. LMB takes you on a journey through an almost forgotten web that is loud, colorful, often "personal", and doesn't care about standards. Though it might be forgotten by many, some parts of it are still there, waiting to be explored. And maybe we can learn something along the way.
LMB plays a continous stream of MIDI music. However these aren't just random tunes, instead the songs are taken from websites where they are being played as background music.
While playing a song the LMB cyberspace shuttle flies through a stream of images that have been taken from the website you're (kind of) listening to.
Meredith Monk, composer, singer, director, choreographer, performs "Our Lady of Late" at Naropa University in Boulder, Colorado on July 23, 1975. Monk's vocals are accompanied by wine glass and percussion.
Recording from the Naropa Poetics Audio Archives on The Internet Archive. Image above sourced from "Radical Glass Music #3" on continuo's weblog
The classic experimental music band, The Glass Orchestra, performs in 1979 with the original members. Eric Cadesky, Paul Hodge, John Kuypers, Miguel Frasconi, and Marvin Green. An excerpt from the CBC-TV show "Music to See."
Juried Exhibition: Earth, at 440 Gallery, Brooklyn
Digital Arts and New Media (DANM) Technical Coordinator