Dennis Summers
Since 2005
Works in United States of America

Dennis Summers has exhibited artwork in a wide range of genres and media internationally 20 years. His on-going global memorial artwork “The Crying Post Project,” was begun in 2001 ( In stark contrast, in 2005 he began a series of digitally created abstract “color field” videos. One of these was a purchase prize winner in the Bienal Internacional de Arte Contemporáneo, in Spain, 2006. These videos have been described as mesmerizing, beautiful and complex. His artists books and videos are in the collections of several major museums.
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Call for Papers FLUID 28th Annual Conference for the Society for Literature, Science, and the Arts October 9-12, 2014 Dallas, Texas

Wed Apr 30, 2014 10:35

Dallas, Texas
United States of America

Call for Papers
28th Annual Conference for the
Society for Literature, Science, and the Arts
October 9-12, 2014
Dallas, Texas

The concept of fluid in the arts, sciences, and humanities evokes multiple, overlapping definitions that work across and around the edges of disciplinary boundaries. Fluid can describe the property of flow, particles that move freely among themselves and that form and deform under pressure. It can refer to liquids both bodily and cultural, for example, blood and capital. It evokes anything that is not solid, fixed, or stable.

For this year’s conference, we encourage presentations, papers, and artworks that explore fluid as a word, idea, and process applied to borderlands, canvases (and other media in other art forms), philosophical indeterminacies, or dynamic systems, to offer a few suggestions. This is a deliberately expansive topic intended to appeal to a broad range of work in fields, including

critical media theory
medical humanities
new frontiers in digital media
animal studies
liminal studies
environmentalism and ecological studies
science and critical race studies
the history and philosophy of science
gender and/in science studies

This list is suggestive, not exhaustive. Other topics falling within the boundaries of SLSA work will also be welcome.

Abstracts of 150-250 words are due by April 30. Panel proposals must include full contact information for all panelists.


Call For Papers and Art: Collage & Assemblage (SLSA) (10/3/13-10/6/13)

Fri Mar 01, 2013 10:15

United States of America

Call For Papers and Art: Collage & Assemblage at the 27th Annual Meeting of the Society for Literature, Science, and the Arts (SLSA) (10/3/13-10/6/13)

VENUE: The Campus of the University of Notre Dame
DATES: October 3-6, 2013

In cultural production, the process of collage and assemblage, be it in music, visual art, literature, theory, or film, has an implicit relationship with technology. Bioart, transplantation, and other post-natural developments bring collage & montage into the realm of flesh and environment. The collage/montage process extracts elements from preexisting works and texts, and then integrates those recontextualized fragments into new works—integrated works that can draw out, or occlude the severances and ruptures implicit in the method; works that can reflect the violent discontinuities, or foreground the homogeneity in the new creation. How does our response change when the seams are hidden compared to when the seams are foregrounded? How do collage and montage figure in the way ideas are disseminated, sold, promoted, received, and critiqued or discouraged?

Historically, in the wake of WWI Dada artists and writers began creating literature, photomontages, and assemblages as a way of responding to the impact of technology and politics on the individual subject. From the politicized inclusion of newspaper fragments into paintings, to the playful, and sometimes pointed inclusion of reproduced images of politicians and celebrities, collage both reflects and critiques the culture of mechanized reproduction, the culture of mass media, and sometimes the culture of other technologies, like war machinery. In literature, the same post-war period yielded Ezra Pound's Cantos, and T.S. Eliot’s famous poem, “The Waste Land,” a landmark work comprised of disparate fragments responding, in part, to the overwhelming impact of war technologies on individual subjectivity and spirituality. The novels of John Dos Passos, which include stream of consciousness riffs of headlines and popular culture citations, provide a convenient example of collage techniques in fiction. Examples of cultural collage range from sampling lyrics and riffs in hip-hop and rap music, to the montage of disparate footage in film. In 1994, the film Forrest Gump added another dimension to montage possibilities by combining the then-new technology of digital film manipulations with the insertion of seamless assemblages of the fictional character Gump into iconic historical footage. In another, more current development, Independent artists are now making remixes of films, musical mashups, and other media combinations, and putting these montage video art works on youtube. 

In addition to analyses of collage/montage in the arts, this session means to open the use of collage/montage/assemblage to its broader metaphorical and philosophical dimensions. Can we use an understanding of collage to examine the new hybridized forms of humanity? Prosthetic limbs, for example, in the growing coverage of amputee veterans returning from war, might be illuminated when considered in the context of collage and its relationship with technology. Some possible topics in this vein might include organ transplantation, xenotransplants (using animal organs/tissue in humans), recombinant genomic engineering, the plastinated corpses of Gunther von Hagens—reassembled in artistic assemblage presentations, and other forms of bioart. Concerning collage as metaphor, theory has a long tradition of using collage/montage as pointed allegory, from the theatrical interruptions of Bertolt Brecht, to the postmodern examinations of identity through collage/montage in works by Roland Barthes, Gregory L. Ulmer and others. 

We are seeking submissions of papers and art to propose a panel(s) and a roundtable for the thread of Collage and Assemblage at the 2013 Meeting of the Society for Literature, Science and the Arts, which has "Post-Natural" as its theme.

Panel participants have 15 minutes for delivery of a scholarly paper; or presentation of art, writing, music, film, or new media, with an accompanying artist's statement or essay. For consideration in the panel, please submit a paper abstract of 250 words, and if relevant a sample of your related creative work.
Roundtable participants share a brief example of their work accompanied by a condensed artist's statement regarding the role of collage and montage. After self-introductions, the emphasis shifts to an open discussion among participants and the audience. For consideration in the roundtable, please submit an artist's/writer's/composer's/filmmaker's statement of 250 words with a sample of your work.
Please include your name, department and institutional affiliation, email address, phone, and any needed audio-visual equipment needs.
All submissions are due by March 1, 2013 to both and

Michael Filas, Ph.D.
Professor of English
Westfield State University
577 Western Avenue
Westfield, MA 01086
(413) 572-5683

Dennis Summers, cco
Strategic Technologies for Art, Globe and Environment

Society for Literature, Science and the Arts


Call for Submissions/SLSA 2013

Fri Mar 01, 2013 00:00

The 27th Annual Meeting of the Society for Literature, Science, and the Arts (SLSA)
VENUE: The Campus of the University of Notre Dame
DATES: October 3-6, 2013
SLSA 2013 Site Organizer: Laura Dassow Walls, University of Notre Dame (
Program Chair: Ron Broglio, Arizona State University (
What does it mean to come “after” nature? In 2012, Arctic ice melted to the lowest level in human history; with ice everywhere in retreat, island nations are disappearing, species vectors are shifting, tropical diseases are moving north, northern natures-cultures are moving into extinction. Acidification of ocean water already threatens Northwest shellfish farms, while historic wildfires, droughts, floods, and shoreline erosion are the norm. Reality overshoots computer models of global warming even as CO2 emissions escalate. Yet none of this has altered our way of living or our way of thinking: as Fredric Jameson noted, we can imagine the collapse of the planet more easily than the fall of capitalism. What fundamental reorientations of theory—of posthumanity and animality, of agency, actants, and aporias, of bodies, objects, assemblages and networks, of computing and cognition, of media and bioart—are needed to articulate the simple fact that our most mundane and ordinary lives are, even in the span of our own lifetimes, unsustainable? If we have never been natural, are we now, at last, ecological?
Proposals and papers on the theme or on any other SLSA-related topic are welcome. Proposed topics may take up any work in literature and science, history of science, philosophy of science, science and art, or science studies. “Postnatural” has been chosen as a theme to organize ongoing conference threads and to invite a range of proposals from various dimensions of ecocriticism and environmental literature and history.
Presentation proposals will be accepted through the SLSA website, beginning in February, 2013. Individual proposals consist of a 250-word abstract with title. Pre-organized panels for consideration can contain an additional summary paragraph along with proposed session title.
SLSA MEMBERSHIP: Participants in the 2013 conference must be 2013 members of the Society for Literature Science and the Arts. For more information about SLSA, please visit the organization website at
Travel Awards
SLSA provides a limited number of travel awards for underfunded individuals attending the annual conference. Members of SLSA who present at the annual conference may apply for travel subventions. An applicant should email name, title of SLSA presentation, an indication of how long one has been a member of SLSA, and any information about funding for the conference to the Executive Director at by August 1. Please provide estimated travel expenses and the amount of support (if any) anticipated from other sources. If you have received travel support from SLSA in the past, please include information about that support (when and how much). SLSA officers will review applications and approve funds for as many as our budget permits; preference will be given to students and those most in need. Each person awarded funds will be presented with a check for $200 at the conference business meeting.
Art Exhibit
SLSA also encourages artists to submit both to the conference and to an art exhibition to be held in conjunction. There will be a curated exhibition for SLSA 2013, for which a small number of SLSA attendees may be included. To be considered please submit 5 pdf images that are sized for email, 72 dpi, statement and short bio to Maria Tomasula at Please note that the deadline for art submissions is earlier than that for the conference. It is March 1, 2013 (not April 15, 2013).


Dennis Summers: Phase Shift Videos

Mon Oct 29, 2007 00:00 - Thu Oct 18, 2007

November 3 - December 15, 2007
College for Creative Studies
Center Galleries
301 Frederick Douglas
Detroit, MI 48202

Dennis Summers - Phase Shift
Michigan multi-media artist Dennis Summers unveils a series of digitally created abstract video paintings, initially inspired by the music of Steve Reich.

Opening Reception Friday November 2, 6-8pm
One night only projection on the outside of the Manoogian Visual Resource Center.

Artist's Lecture:
Saturday, December 15 at 2pm
Detroit Institute of Arts Lecture Hall
In conjunction with the Phase Shift exhibition, Dennis Summers will discuss his abstract video works and how the relate to works in the DIA collection, including those be El Greco, Duchamp, Albers, Rothko, Irwin and others. Free and open to the public.