Olson has served as Editor & Curator at Rhizome, the inaugural curator at Zero1, and Associate Director at SF Camerawork. She's contributed to many major journals & books and this year Cocom Press published Arte Postinternet, a Spanish translation of her texts on Postinternet Art, a movement she framed in 2006. In 2015 LINK Editions will publish a retrospective anthology of over a decade of her writings on contemporary art which have helped establish a vocabulary for the criticism of new media. Meanwhile, she has also curated programs at the Guggenheim, New Museum, SFMOMA, White Columns, Artists Space, and Bitforms Gallery. She has served on Advisory Boards for Ars Electronica, Transmediale, ISEA, the International Academy of Digital Arts & Sciences, Creative Capital, the Getty Foundation, the Rockefeller Foundation, the Kennedy Center, and the Tribeca Film Festival.
Olson studied Fine Art at Goldsmiths, History of Consciousness at UC Santa Cruz, and Rhetoric & Film Studies at UC Berkeley. She has recently been a visiting artist at Yale, SAIC, Oberlin, and VCU; a Visiting Critic at Brown; and Visiting Faculty at Bard College's Milton Avery Graduate School of the Arts and Ox-Bow. She previously taught at NYU's Tisch School of the Arts' new media graduate program (ITP) and was Assistant Professor of New Media at SUNY-Purchase's School of Film & Media Studies. She was recently an Artist-in-Residence at Eyebeam & is currently Visiting Critic at RISD.
KDM100 on the road soon
From September 19 to the 25 I will be in Leonding Austria for Leonart 05. MTAA will be showing the KDM100
This is our 2nd Mac Mini driven artwork and I excited to hook it all up and see it run. I am also excited to explain to customs that the small mac-mini in my bag is art. That statement and my weird passport photo might be a problem. If you have any travel or art or tourism tips, please send them on or just wish me luck.
Convergence To Reassess Claims for New Media Writing
The trAce Online Writing Centre has announced a call for papers for a new issue of Convergence called “An End to the New? Re-assessing the claims for New Media Writing(s)“. This special edition will seek to re-assess the claims made for these forms over the last decade, to challenge the dominant ideologies and terminologies of this [...]
Control electric guitar with your face
<p>With the <a href="http://web.media.mit.edu/~dmerrill/mas963/">Facial Control for Electric Guitar</a> project, <a href="http://web.media.mit.edu/~dmerrill/">David Merrill</a> mapped the output of a real-time face-tracker onto the parameters of an audio effects processor. </p>
A modified real-time head-tracker communicates via a TCP/IP socket connection to a custom server program. The server manages the mapping of sensed gesture onto control messages, which it sends to a guitar effects processor via MIDI messages.
Pupil positions and sizes are tracked using a difference images, and eyes/eyebrows are tracked using templates. Detection of head nods, head shakes, and eye blinks is also implemented.
Reminder: 9/16 deadline: CAA-New Media Caucus panelist proposals
Marisa Olson:
Hello, again. I've received a few interesting proposals for this panel, but I'm still looking for more. The call is below. Thanks! - Marisa
CALL FOR PAPERS
The New Media Caucus panel at the College Art Association’s 93rd annual conference
Panel title: "From database and place to bio-tech and bots: relationality vs autonomy in media art
Report from Unyazi
nathaniel stern:
Electronic Music Symposium and Festival 2005
Wits School of the Arts, University of the Witwatersrand
Johannesburg, South Africa
September 1-4, 2005
by nathaniel stern--http://nathanielstern.com
Positioning itself as ‛the first festival of electronic music and sonic art in Africa,’ the main successes of Unyazi can be summed up in two words: listening and exchange. Director Dimitri Voudouris and Associate Director Christo Doherty hoped that the festival would open up more potential for experimental sound art in South Africa, by introducing it to the international scene. It also became a platform for the re-examination of the polyphyletic origins of electronic music as rooted in listening, performance, and improvisation--exactly the things that African culture has to offer. [More...]
