MarkDavid Hosale
Since 2004
Works in Toronto Canada

PORTFOLIO (4)
BIO
Dr. MarkDavid Hosale (b. 1971) is a media artist and composer. MarkDavid holds a Ph.D. in Media Arts and Technology from the University of California, an MM in Music-Composition and Theory from UIUC, and a BA in Music Composition from the College of Creative Studies, UC Santa Barbara. Currently he holds a position as an Assistant Professor in Digital Media in the Fine Arts Faculty of York University, Toronto, Ontario, Canada. MarkDavid has had works exhibited and performed internationally works in media arts and music at conferences, universities, and festivals and has given lectures and taught internationally at institutions in Denmark, The Netherlands, Norway, and the United States.

MarkDavid's interests are interdisciplinary, but the connecting tissue comes from thinking of art and music as a narrative. In particular, the kind of narrative that is structured using nonlinear representations of information, time, and space. Nonlinear narrative is an inherent aspect of new media that provides a common baseline whereby media artworks can be evaluated and understood. His dissertation, Nonlinear Media As Interactive Narrative (University of California, Santa Barbara: 2008), is an exploration of the question, “what is the form of nonlinear interactive narrative?” providing the impetus for a theoretical discussion, and a formal approach to the understanding his works, while providing a basis for the creation of new works that have a dynamic nonlinear structure and reflect on our modern understanding of knowledge and nature.

In addition to non-linear narrative, MarkDavid’s interdisciplinary interest in art and music comes from the exploration of the connection between the physical and the virtual world. Whether as part of an installation or performance work, the virtual spaces he creates are technologically transparent, sophisticated and virtuosic, as well as intuitive to experience and use.

more at: http://www.mdhosale.com/
Discussions (3) Opportunities (2) Events (1) Jobs (0)
OPPORTUNITY

Worldmaking as Techné: DEADLINE EXTENDED


Deadline:
Thu Jan 05, 2012 23:55

DEADLINE EXTENDED TO JANUARY 5th, 2012

The editors of this book project were drawn together by a common outlook that the creation of work is the creation of concepts, joining the efforts of theory and praxis in one process (techné), and that the results of our works are the expression of an ontological proposition (worldmaking).This connection was the catalyst to host the panel discussion, The Volatility and Stability of Worldmaking as Techné, at the Inter-Society of Electronic Arts conference 2011 (ISEA 2011). Along with invited panelists, Roy Ascott, Jerome Decock, and Marcos Novak, the panel presented a wide range of perspectives on the topic that covered theory and practice in the areas of art, architecture, and music. While well received the discussion was all too short and only scratched the surface. Thus the inspiration to launch this book project comes from a desire to further explore WorldMaking as Techné in participatory works.

The book, Worldmaking as Techné: Exploring Worlds of Participatory Art, Architecture, and Music will focus on the involvement of the techné of worldmaking in participatory art practice. Such practice can be found in all areas of art, however, under scrutiny for this particular book are: interactive, generative, and prosthetic art, architecture, and music practices that depend for their vitality and development on the participation of their observers. The book editors are seeking contributions that will challenge the level of involvement and integration of the observer within the generative praxis in a technoscientific agenda. In this spirit, contributions that cover philosophical, theoretical, and practice-based research are all welcome.

Questions that could be addressed could follow, but are not limited to:

◦ What is the aesthetic and historical context for the techné of worldmaking in relation to practice in art technology?

◦ What role does a generative and/or cybernetics-inspired approach (as compared to traditional notions of making) play in your own practice/research?

◦ What are the implications of worldmaking practice in the real world?

◦ What are the pitfalls and what role do these pitfalls play in the theoretical and/or practical approach to worldmaking?

◦ What is your interpretation of

techné and/or worldmaking and how do you apply that to your practice/research?

◦ Do you see the re-emergence of the concept of techné as integrally related to the emergence of new technology in the 20th and 21st centuries? If so, then how? If not, then why not? And why discuss this now?

◦ In the current technoscientific culture do you see participatory works as being elevated to a higher level of complexity or has yet it to realise its potential?

Keywords:

Active Observer, Autopoiesis, Embodiment, Emergence, Generative Praxis, Machine Aesthetics, Microcomposition, Second-Order Cybernetics, Technoscience, Transvergence

Schedule and Process:

Abstract submission [500 words] will be accepted until the 5th of January 2012, followed by a notification of acceptance to be sent out by the end of January 2012. Upon acceptance full chapters [6000-8000 words] will be due in late April 2012. There will be a blind peer review process for all full chapter submissions. The book is targeted to launch in early January 2013.

For submissions of abstracts please send to: submissions@worldmakingastechne.net

Please do not hesitate to contact us with any queries you may have to: editors@worldmakingastechne.net

and for further information please check out our website: http://worldmakingastechne.net/

We look forward to hearing from you,

Dr. Alberto de Campo

http://medienhaus.udk-berlin.de/pages/Dr._Alberto_De_Campo

Dr. MarkDavid Hosale

http://www.mdhosale.com

Dr. Sana Murrani

http://sanamurrani.me.uk


OPPORTUNITY

Reminder: CALL FOR SUBMISSIONS, Worldmaking as Techné: Exploring Worlds of Participatory Art, Architecture, and Music


Deadline:
Thu Dec 15, 2011 23:59

The editors of this book project were drawn together by a common outlook that the creation of work is the creation of concepts, joining the efforts of theory and praxis in one process (techné), and that the results of our works are the expression of an ontological proposition (worldmaking).This connection was the catalyst to host the panel discussion, The Volatility and Stability of Worldmaking as Techné, at the Inter-Society of Electronic Arts conference 2011 (ISEA 2011). Along with invited panelists, Roy Ascott, Jerome Decock, and Marcos Novak, the panel presented a wide range of perspectives on the topic that covered theory and practice in the areas of art, architecture, and music. While well received the discussion was all too short and only scratched the surface. Thus the inspiration to launch this book project comes from a desire to further explore WorldMaking as Techné in participatory works.

The book, Worldmaking as Techné: Exploring Worlds of Participatory Art, Architecture, and Music will focus on the involvement of the techné of worldmaking in participatory art practice. Such practice can be found in all areas of art, however, under scrutiny for this particular book are: interactive, generative, and prosthetic art, architecture, and music practices that depend for their vitality and development on the participation of their observers. The book editors are seeking contributions that will challenge the level of involvement and integration of the observer within the generative praxis in a technoscientific agenda. In this spirit, contributions that cover philosophical, theoretical, and practice-based research are all welcome.

Questions that could be addressed could follow, but are not limited to:

◦ What is the aesthetic and historical context for the techné of worldmaking in relation to practice in art technology?

◦ What role does a generative and/or cybernetics-inspired approach (as compared to traditional notions of making) play in your own practice/research?

◦ What are the implications of worldmaking practice in the real world?

◦ What are the pitfalls and what role do these pitfalls play in the theoretical and/or practical approach to worldmaking?

◦ What is your interpretation of

techné and/or worldmaking and how do you apply that to your practice/research?

◦ Do you see the re-emergence of the concept of techné as integrally related to the emergence of new technology in the 20th and 21st centuries? If so, then how? If not, then why not? And why discuss this now?

◦ In the current technoscientific culture do you see participatory works as being elevated to a higher level of complexity or has yet it to realise its potential?

Keywords:

Active Observer, Autopoiesis, Embodiment, Emergence, Generative Praxis, Machine Aesthetics, Microcomposition, Second-Order Cybernetics, Technoscience, Transvergence

Schedule and Process:

Abstract submission [500 words] will be accepted until the 15th of December 2011, followed by a notification of acceptance to be sent out by mid-January 2012. Upon acceptance full chapters [6000-8000 words] will be due in late April 2012. There will be a blind peer review process for all full chapter submissions. The book is targeted to launch in early January 2013.

For submissions of abstracts please send to: submissions@worldmakingastechne.net

Please do not hesitate to contact us with any queries you may have to: editors@worldmakingastechne.net

and for further information please check out our website: http://worldmakingastechne.net/

We look forward to hearing from you,

Dr. Alberto de Campo
http://medienhaus.udk-berlin.de/pages/Dr._Alberto_De_Campo

Dr. MarkDavid Hosale
http://www.mdhosale.com

Dr. Sana Murrani
http://sanamurrani.me.uk


DISCUSSION

Quasar


The content of Quasar is an stratified system of processes, ranging from low to high intensity, augmented by data collected from our universe expressed as light and sound. Users can interact with the work actively and passively in the form of interruptions that change the behavior of the processes. Actively they can trace gestures on the Quasar via a touchpanel interface, altering the light patterns that occur across it. Passively a user's presence alters the intensity mode, which affects the nature of the currently occurring light and sound patterns. Presence is detected via distance sensors in the individual electro-luminescent wires running from floor to ceiling. To see more, here is a video:
http://vimeo.com/675887

DISCUSSION

Quasar


To make the work as suggested, viewing only, would create a disconnect between the observer and the work. In this case Quasar would simply be a visualization of solar and nuclear data. The interactive aspect of Quasar provides the viewer with a medium whereby they can collaboratively interact with these otherwise unseen processes. Just as with the Heisenberg uncertainty principle it is not possible to observe Quasar without changing it. This connection therefore expresses something our deep connection to the universe. The universe is not an alien object to be observed, but is part of us as much as we are part of it.

DISCUSSION

Quasar


Quasar

http://www.quasarexhibition.com

Quasar is an immersive light and sound space made from prototype membranes and realized as an interactive light/sound object and comprised of a dense array of interlinked elements describing an intricate three-dimensional structure. The gallery is fitted with sensors that draw real-time data from the installation and the people within the exhibition, which is then synchronized with streamed real-time data of solar activity and nuclear processes provided by SLAC and NASA. This information is then fed back into the object through layers of LED strands, re-visualizing the space in order to create an interactive spatial experience.

Jean-Michel Crettaz
Aaron Bocanegra, MarkDavid Hosale, Duly Lee
Opening Reception Jan. 25th 7-9pm
Exhibition Discussion Feb. 15th 7-9pm

Southern California Institute of Architecture
960 East 3rd Street, Los Angeles, CA 90013
directions: http://www.sciarc.edu/portal/about/directions.html


SAVED WORKS (4)