Amy Alexander
Since 2009
Works in United States of America

Amy Alexander is a new media, audiovisual and performance artist who has also worked in film, video, music and information technology. Her current and recent work approaches digital media art from a performing arts perspective, often sitting at the intersection of art and popular culture. Amy’s projects have been presented on the Internet, in clubs and on the street as well as in festivals and museums. She is an Associate Professor of Visual Arts at the University of California, San Diego. In summer and fall 2012, she'll be Artist-in-Residence at iotaCenter in Los Angeles.

Amy – who has also worked under the names Cue P. Doll and VJ Übergeek – was a dinos^H^H^H pioneer in the development of software-based net art, beginning in 1996 with the Webby-nominated Multi-Cultural Recycler, a project that spoofed both net celebrity and faux multi-culturalism on the web. In addition to her art projects, she was also a co-founder and moderator of the software art repository and has been active in software art curation.

Amy’s projects have been exhibited at venues ranging from The Whitney Museum, Prix Ars Electronica, Transmediale, SIGGRAPH, and the New Museum to club performances at Sonar (Barcelona), First Avenue (Minneapolis) and Melkweg (Amsterdam). She has performed on the streets of Los Angeles, San Diego, San Jose, Zürich, and Aberdeen, Scotland. Her work has been discussed in publications including Wired, The New York Times, Slashdot, Ecrans, Leonardo, The Boston Globe and the Washingon Post.

Amy’s work has been influenced by her background in musical performance, and she’s recently expanded her performance endeavors by studying and performing standup comedy. Besides continuing her VJ performances, she’s recently published texts on audiovisual performance history. In collaboration with Annina Rüst and composer Cristyn Magnus, she created Discotrope, an audiovisual performance involving solar energy and various histories of dance in cinema. She is currently working on a research and performance project that combines performative cinema with various forms of percussion gestures.
Discussions (24) Opportunities (4) Events (9) Jobs (0)

Discordia welcomes Guest Host Sophia Rawlinson on Senior Citizens and Computing/Social Software

This week Discordia welcomes Sophia Rawlinson as our current Guest Host!

Please join us for a discussion on senior citizens and
computing/social software at:

The discussion will focus mainly on an investigation into appropriate
software & hardware for senior citizens, in an attempt to work towards
developing a form of social software.

Along with ongoing discussions with Discordia's Guest Hosts, you are
invited to join in experimenting with different forms of "push/pull"

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Et vous etes toujours bienvenu pour signaler vos pensees sur des
matieres de Discordia en n'importe quelle langue :
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Discordia welcomes Guest Host Stella Rollig on Curating

This week Discordia welcomes Stella Rollig as our current Guest Host!

Please join us for a discussion on the field of critical
curating launched by Curating Degree Zero Archive: A Touring
Exhibition, Archive and Web-Resource Exploring the Field of Critical

The discussion will focus mainly on how to curate critique: is this
only a question of content or is it equally a question of
structuring/disturbing the space of representation and therefore of
the exhibition space?

Also this week on Discordia:

Group activity: Amy Alexander invites you to rewrite the histories of
the Apple computer and of Internet art.

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Discordia welcomes Guest Host Joe Rabie

This week Discordia welcomes Joe Rabie as our current Guest Host!
Please join us for a discussion on agitprop and virtual demonstrations

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Re: Re: software art vs. programmed art

Just one quick comment to insert: There are many distinctions, but some commonalities too: I find that software art is art by people who don't like to use software.

andreas wrote:

> i completely agree that not all artworks that are somehow based on
> programming should deal with software - that would be a
> late-modernist position which would be easy to argue, but of course
> it excludes a lot of worthwhile work, so i am not interested in such
> a limitation. i cannot remember making such a claim, the only thing i
> wanted to say was that 'software art' *should*.
> what you, antoine, are suggesting is what i have also tried to argue:
> call 'software art' the artistic engagement with the social, cultural
> and aesthetic meaning of programming and software.
> where i am in doubt is regarding your term 'programmed art' - i don't
> think that this is much different from conceptual art, and i would
> argue that artworks that simply use software programmes as one of
> their materials, balloons, projections, sounds, etc., as other
> materials, they should be discussed in the context where they engage
> their artistic material most strongly - as sound art, interactive
> art, dance performance, etc. i'm not sure what kind of work you would
> refer to as 'programmed art' that would not sit more comfortably
> under one of the already existing art categories.


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Discordia is a critical weblog working at the intersections of art,
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