Ceci Moss
Since 2005
Works in Oakland, California United States of America

Ceci Moss is the Assistant Curator of Visual Arts at Yerba Buena Center for the Arts in San Francisco. She launched YBCA’s exhibition series “Control: Technology in Culture” which showcases work by emerging and mid-career artists who engage the social, cultural, and experiential implications of technology on the museum’s second floor. In its first year, the series includes solo exhibitions by Jacqueline Kiyomi Gordon, Lucy Raven, Nate Boyce and Shana Moulton. Taking its title from Gilles Deleuze’s 1992 essay “Postscript on the Societies of Control,” the series seeks to prompt timely questions about the profound and far-reaching influence of a control society in the 21st century by focusing on artists whose work spans a multitude of disciplines and relates to a diverse set of issues, including architecture, acoustics, psychology, labor, consumerism, the environment, and the military. Beyond the “Control” series, she curated a large scale public art installation by Kota Ezawa in YBCA’s sculpture court, the solo exhibition Brenna Murphy: Liquid Vehicle Transmitter, the video installation Erin Shirreff: Lake, and co-curated with Betti-Sue Hertz the exhibition portion of YBCA’s signature triennial Bay Area Now 7. She also co-curated with Astria Suparak the touring group exhibition Alien She that examines the lasting influence of the punk feminist movement Riot Grrrl on contemporary artists, and originated at the Miller Gallery, Carnegie Mellon University.

Currently a PhD candidate in Comparative Literature at New York University, her academic research addresses contemporary internet-based art practice and network culture. Her PhD dissertation “The Informational Milieu and Expanded Internet Art” examines the expansion of internet art beyond the screen in the 2000’s, especially towards sculpture and installation, as a product of what theorist Tiziana Terranova called an “informational milieu.” Combining art history and media theory through the analysis of case studies that range from internet art and social media in the 2000’s to Jean-François Lyotard’s groundbreaking new media exhibition at the Centre Pompidou in 1985 Les Immatériaux, her dissertation asks how the widespread technological capture of information affects cultural production, specifically contemporary art, and the kind of critical response it necessitates.

Her writing has appeared in Rhizome, ArtAsiaPacific, Artforum, The Wire, Performa Magazine, and various art catalogs. Prior to her position at YBCA, she was the Senior Editor of the art and technology non-profit arts organization Rhizome, and an Adjunct Instructor at New York University in the Department of Comparative Literature. From 2000-2014, she programmed a radio show dedicated to experimental music, Radio Heart, on the independent radio stations KALX, East Village Radio and Radio Valencia.

Up in the AIR: How will tech residencies reshape Bay Area art?

Image from Art+Tech: Virtual Reality, November 2014. (Photo: Codame).

Over the past year, San Francisco and the Bay Area have come to be defined in the national sphere by the think piece. In the constant stream of articles about gentrification, the Ellis Act evictions, artist displacement, and arts non profits closing left and right in response to the city's rising population and booming tech industry, it might be surprising to note that a number of tech companies are investing increasingly in artist residency programs. In fact, two of the biggest tech companies in the region—Facebook and Autodesk—maintain active residency programs. For companies without the infrastructure for such endeavors, local art and technology non-profit CODAME offers to pair tech companies with artists for individual projects through their "Adopt An Artist" program. While there is a lot of conversation (and concern) in the Bay Area regarding the tech industry's lack of support and philanthropy for the arts, the questions seem skewed towards trying to figure out how to cater to tech wealth, rather than thinking through art's role in the tech industry itself. This text surveys corporate residency programs in the Bay Area which exemplify how artists engage with this industry, and begins to sketch out possible implications—or potential—for the art infrastructure and its relationship with tech creativity.

Autodesk's Pier 9 Artist-in-Residence program is housed in the corporation's immense facility in Pier 9 along the waterfront in downtown San Francisco. Artists apply for four-month residencies at the space, which provides access to their workshop, a stipend, and the ability to work directly with the company's engineers on their projects. The program maintains a diverse pool of applicants who range from fashion designers to chefs, architects, and technologists as well as fine artists, who have access to Autodesk's high-end equipment, materials, and software, plus training and skillshare programs. Although it is not an explicit part of the program, the focus on "makers" over "fine artists" benefits Autodesk as well. The company launched Autodesk 123D in 2009 as free 3D modeling software designed for the general consumer, and they acquired the DIY info sharing website Instructables in 2011. The AIR program began at Instructables before their purchase by Autodesk, who developed it into a much larger initiative. All AIR residents are required to post their projects to the website, so there is a direct tie into the site's content. Envisioning how people create with their tools, or their competitor's tools, in a variety of scenarios is clearly a valuable asset to the company, especially as the mainstream culture moves into a maker culture.

Autodesk Pier 9 Workshop.

Autodesk's Pier 9 AIR Program Manager Vanessa Sigurdson describes the environment at Autodesk as an "office full of artists, not an office with artists" and they aim to have active interchange between the resident artists and engineers. Former resident artists Joseph DeLappe and Adrien Segal felt that the environment was very supportive and encouraging for visiting artists, with an "anything goes" atmosphere. DeLappe created rubber stamps for In Drones We Trust, while Segal used water consumption statistics to build a canyon-like bench. Both mentioned that the workshop helped to foster the company's culture of bustling, creative energy. Sigurdson referenced the Xerox PARC artist-in-residence (PAIR) program as an important inspiration for the residency, a project that similarly brought artists and technologists together in collaboration.

Continuous Partial Listening: Holly Herndon in Conversation

After completing her informal education in Berlin's underground club scene, artist and musician Holly Herndon relocated to the Bay Area to pursue an MFA at Mills College's esteemed music program. Now continuing her studies in computer-based music at Stanford, Herndon has an inquisitive approach to technology, finding common threads among often-divided disciplines and communities: electronic music, academia, the tech sector, and contemporary art. As a result, her work is not easily categorized, whether she's composing music for brass ensembles or working on robotic sculptures with artist Conrad Shawcross, touring festivals in Europe or making dance music with heavily processed recordings of the human voice. This week, she released a 12" entitled Chorus on RVNG Intl

Ceci Moss: Your new 12" Chorus comes out this week. The title track recalls the experience of continuous partial attention in online browsing, using audio samples derived from your own daily browsing. Chorus begins chaotically, taking form with the addition of percussion. Could you discuss the ideas behind this composition? Also, what did you use to sample your browsing history, and how did you technically create the track?

Expanded Internet Art and the Informational Milieu

Ben Aqua, NEVER LOG OFF, 2013 (Limited edition t-shirt designed for #FEELINGS)

We are no longer mostly dealing with information that is transmitted form a source to a receiver, but increasingly also with informational dynamics—that is with the relation between noise and signal, including fluctuations and microvariations, entropic emergences and negentropic emergences, positive feedback and chaotic processes. If there is an informational quality to contemporary culture, then it might be not so much because we exchange more information than before, or even because we buy, sell or copy informational commodities, but because cultural processes are taking on the attributes of information—they are increasingly grasped and conceived in terms of their informational dynamics.

- Tiziana Terranova, Network Culture: Politics for the Information Age

Post internet[1], post media [2], post media aesthetics[3], radicant art[4], dispersion[5], formatting[6], meme art[7], circulationism[8]—all recent terms to describe networked art that does not use the internet as its sole platform, but instead as a crucial nexus around which to research, transmit, assemble, and present data, online and offline. I think all of the writers advancing these terms share a sense that since the rise of mainstream internet culture and social media, art is more fluid, elastic, and dispersed. As Lauren Cornell astutely points out in the recent  "Post Internet" roundtable for Frieze, terms are always placeholders for more complex ideas, and when successful, can instigate further, deeper conversation. Towards that end, I'd like to introduce another word to the list—expanded. Drawing from the definition of expansion as "the action or process of spreading out or unfolding; the state of being spread out or unfolded," I consider "expansion" not as an outward movement from a fixed entity, but rather, in light of data's dispersed nature, a continual becoming.[9] Expanded internet art is not viewed as hermetic, but instead as a continuously multiple element that exists within a distributed, networked system. In order to elaborate this term, and to take small steps towards thinking through the changing conditions for art production in the early 21st century, I will use Tiziana Terranova's notion of an "informational milieu" to describe the dynamic process of exchange among artist, artwork, and network.

Questioning the World as Image: The 55th Venice Biennale and "The Whole Earth"

Photo of Earth by the crew of Apollo 8. December 22, 1968

The central theme for this year’s Venice Biennale exhibition, curated by Massimiliano Gioni, comes from an obscure patented design for an encyclopedic palace by the self-taught Italian-American artist Marino Auriti. Envisioned as a 136-story building that would take over sixteen blocks of Washington, D.C., Auriti’s palace was to house all the available knowledge in the world. Titling the show "Il Palazzo Enciclopedico" after Auriti’s unrealized model, Gioni and his team selected an eclectic group of artists, psychologists, mystics and more whose work resonates with Auriti’s desire to create a total image of the world. In many ways, the exhibition can be seen as a response to the exhaustive overabundance of information available on the internet. As Gioni pointedly asks in his essay, "…what is the point of creating an image of the world when the world itself has become increasingly like an image?"

Wavelength: "The Paris, Texas of the Second Empire" by Lawrence Kumpf

The Paris, Texas of the Second Empire

Compiled July 2012 by Lawrence Kumpf

The flâneur is someone abandoned in the crowd. He is thus in the same situation as the commodity. He is unaware of this special situation, but this does not diminish its effects on him, it permeates him blissfully, like a narcotic that can compensate him for many humiliations. The intoxication to which the flâneur surrenders is the intoxication of the commodity immersed in a surging stream of customers. -- Walter Benjamin, 1938

A phantasmagoric journey through mid-20th century Country-Western music inspired by Walter Benjamin’s "The Paris of the Second Empire in Baudelaire."

Like the poet as flâneur in Benjamin’s essay, the country singer holds a position as the susceptible vessel that embodies the incongruities and ruptures characteristic of modern life. Neither an active symptom nor proprietor of a solution for the social ills, the singer finds himself drawn into the intoxicating world of empathetic relations to, with and as commodity. We hear, perhaps more clearly then in Baudelaire, a voice speaking not from the elevated position of a social commentator or critic, but as the desire of the commodity and commodified. Connoisseurs of narcotics sing empathetic odes to inanimate objects and intoxicants, fortifying themselves in homes that are really bars. Hobos, trashmen and ragpickers walk the street collecting and picking through the worn out, exhausted items that have escaped our economy of exchange: the antiques of modernity, the images of obsolescence. The perpetual peregrinator, a rambling man, heroically stripped of the comforts of modern life finds himself stalking graveyards and mourning a loss that has yet to occur, the final refuge of his own death. In a way these songs embody the last gasp of a failed American politics, the moment before county western music slips into an emphatic listing of personal property as banal as Rick Ross’ "Trilla." The tragedy of our era is that the latent revolutionary desires present in Hank Williams Jr.’s "Fax Me a Beer" (not included in this mix) are forever doomed to find their outlet in an inane fantasy of endless technological advancement.

1.Porter Wagoner - The Wino
2.Jim Ed Brown- Bottle, Bottle
3.Porter Wagoner – Shopworn 4.Hank Williams – Men with Broken Hearts
5.Leon Rausch – Glass of Pride
6.Don King – Live Entertainment
7.David Allen Coe – Sad Country Song
8.Don Silvers – Play me another Hank Williams
9.Porter Wagoner – Bottom of the Bottle
10.Merle Haggard – Swinging Doors
11.Porter Wagoner – I Just Came to Smell the Flowers
12.D. Sheridan – Don’t Make Me Laugh (While I’m Drinkin’)
13.The Willis Brothers – Gonna Buy Me A Jukebox
14.David Frizzell – I’m Gonna Hire A Wino to Decorate our House
15.Frank Lowe - "Trash Man"

Lawrence Kumpf is a curator at Issue Project Room in Brooklyn, NY.

Discussions (52) Opportunities (6) Events (10) Jobs (3)

Job announcement, UMass-Amherst Communication Dept.

From Screen-L:


The Department of Communication of the University of Massachusetts
Amherst invites applications for three tenure-track positions.

Position: Information and Communication Technologies (ICTs) and
Public Policy (Assistant or Associate Professor). Research focus could
include qualitative or quantitative approaches to ICT uses or impacts in
local and transnational contexts, or investigation of ICTs in relation to
identity, social equality, the public sphere, or political formation. ICT
practices examined may cover computer-mediated communication, on-line
communities, text messaging, blogging, or other developments in digital
media. The appointment will be in Communication and the Center for Public
Policy and Administration (as part of a new College initiative in Science,
Technology, and Society) with the tenure line in the Department of
Communication and teaching duties in both units. Grant-seeking and
participation in the University's Information Technology program are

For each position duties will include maintaining an active research
program and supervising students at B.A., M.A., and Ph.D. levels.
Completed Ph.D. by September 1, 2006 appointment is required. Salary is
competitive, and each position is contingent upon funding. Review of
applications will begin on November 15, 2005, and will continue until each
position is filled.

Direct three letters of reference and send a letter of interest, a
curriculum vitae, and an article-length example of research to:

Michael Morgan, Chair
Department of Communication
Machmer Hall
240 Hicks Way
University of Massachusetts
Amherst, MA 01003-9278.

Go to www.umass.edu for information on UMass Amherst, the flagship campus
of the University of Massachusetts system. The university is an Equal
Opportunity/Affirmative Action employer; applications from women and
members of minority communities are strongly encouraged.

Ceci Moss
Sales Associate, Rhizome.org
tel. 212.219.1288 x211
fax. 212.431.5328
email. ceci@rhizome.org


New Media Arts Programs- correction

I posted a few days ago regarding the list of New Media Art programs we're
devising for Rhizome. We would like the list to be as exhaustive as
possible- so if you are aware of new media art programs in high schools,
middle schools, and community colleges, or other accredited programs, we
would like to include them on the list.
Thank you so much!

Ceci Moss
Sales Associate for Organizational Subscriptions, Rhizome.org
tel. 212.219.1288 x211
fax. 212.431.5328
email. ceci@rhizome.org


New Media Arts Programs

We at Rhizome are currently developing a list of B.A./B.F.A./M.A./M.F.A./PhD
programs relevant to new media art. We hope this list will serve as a
resource to our members. Please get in touch with me if you would like to
contribute to the list. I will need the name of the University, the
department, the location, the name of the
program/major/concentration/minor/etc., the program


Multiple Faculty Openings @ University of South Carolina

Repost from Screen-L

Please forward and post [attached as a flier]:
====================================================== The University of
South Carolina, Columbia announces

Assistant Professor of New Media Studies
The Film Studies Program and the Media Arts area of the Department of Art
seek a cutting-edge scholar of new/digital media and culture. Teaching
duties include relevant courses in media theory, criticism, and /or history
at both the graduate and undergraduate levels. An ideal candidate might
also bring expertise in television studies, film studies, global media,
and/or media production (new and/or traditional). Qualifications include a
PhD in media studies (or equivalent) with demonstrated excellence in
research and teaching. Application review begins November 15, 2005.

Assistant Professor of New Media Design
The Department of Art seeks a cutting-edge new media artist with creative
research in digital/new media, including computer animation, motion
graphics, web design, and/or other aspects of digital media production.
Teaching duties include courses in digital media production and design. The
successful candidate will bridge the disciplines of graphic design and media
production. The ideal candidate might also bring expertise in traditional
media production (film, video, audio) or print-based communication
(typography, theoretical, and practical design and graphic design history).
Qualifications include an MFA or PhD in digital media (or equivalent) with
demonstrated excellence in research and teaching. Application review begins
November 15, 2005.

Associate or Full Professor of Performance for Media
The Department of Theater and Dance seeks a master acting teacher to join
its professionally active faculty in a nationally competitive department.
Primary responsibility for teaching acting to advanced undergraduate and MFA
students with an emphasis in period styles. Duties include classroom
instruction and coaching in the extensive production program that is
exceptionally well integrated into the curriculum. Experience in
performance for media is needed, as the position will help develop an
interdisciplinary Center for Emerging Electronic Media. MFA or equivalent
professional experience in acting and established and ongoing record of
professional activity required. Interest in, and potential for, assuming
future leadership of the MFA Acting program desirable. Application review
begins December 5, 2005.

Assistant, Associate, or Full Professor of Film Studies/History/Moving Image
This is an interdisciplinary, open rank search for an innovative scholar in
one or more of the following areas: film/TV history; 20th century cultural
history, with an emphasis in moving image culture; moving image archiving.
The institutional configuration of this hire will be determined by the
strengths of the successful candidate, with a joint-appointment shared among
some combination of: the Film Studies Program; the Department of History;
the School of Library and Information Science; and/or the Newsfilm Library,
USC*s film archive. Teaching duties will include graduate as well as
undergraduate courses. We are also interested in candidates whose research
expertise complements the holdings of the Newsfilm Library, which include
the Fox Movietone News Collection (with elements from the 1920s through the
mid 1940s), local TV news (1960s-70s), home movies, and science films by
Roman Vishniac. Depending upon expertise, the scholar hired for this
position might also work on these collections in a curatorial/consulting
capacity. The qualified applicant might hold a PhD in Film Studies (or
related discipline), History, or LIS, with research emphasis in one or more
of the above-specified areas. Application review begins October 31, 2005.

The University of South Carolina is an Affirmative Action/Equal Opportunity
Institution. Women and minorities are encouraged to apply.
COMPLETE ADS & APPLICATION INFORMATION at: http://www.cas.sc.edu/film/

Susan Courtney, Associate Professor
Film Studies and English
University of South Carolina
Columbia, SC 29206

p: (803) 777-2361
f: (803) 777-9064
e: courtney@sc.edu


FW: Archiving the Alternative / Avant-Garde in the United States

--- e-Flux <info@mailer.e-flux.com> wrote:

> Date: Fri, 07 Oct 2005 00:00:43 -0400
> From: e-Flux <info@mailer.e-flux.com>
> Subject: Archiving the Alternative / Avant-Garde in
> the United States
> Art Spaces Archives Project [AS-AP]
> Art Spaces Archives Project [AS-AP]
> Launches a New National Initiative to Document
> and Preserve Endangered Archives
> Get Paid to be Preserved
> http://www.as-ap.org
> Recently a consortium of American visual arts
> organizations met to discuss documenting and
> preserving the history of the avant-garde and
> alternative movement in the United States. This
> history is now increasingly recognized for its
> importance to the worldwide community of artists,
> scholars, art historians, educators and aficionados.
> If your organization was founded in the United
> States between 1950 and 2000 please help us by going
> to the AS-AP website https://www.as-ap.org and
> adding your organization, or checking to see if
> AS-AP has already indexed it, and then completing
> our archival survey.
> AS-AP is not currently investigating organizations
> founded after 2000.
> AS-AP is interested in all aspects of art
> presentation -- including for-profit, non-profit and
> unincorporated organizations. We also wish that
> institutions holding of archives related to the
> alternative / avant-garde movement also register
> individual holding with us.
> We will collect and analyze information from
> thousands of organizations in order to quantify the
> need for archival services to the field.
> The survey may be completed on-line or on paper by
> downloading a RTF or PDF version of this survey from
> AS-AP's website at http://as-ap.org/as-ap_survey.pdf
> However, we hope organizations or their
> representatives will complete it online.
> This survey is an ongoing effort -- our database is
> already open for scholars to review, but also for
> new data to be inserted and changes to be made to
> existing records. Unlike a frozen, printed document,
> the AS-AP database will be living. Your
> participation is vital in relaying history to future
> scholars!
> This survey will take approximately 20 minutes to
> complete. The first 1,000 organizations to complete
> this form will receive $50, which is made possible
> through a grant from The Andy Warhol Foundation for
> the Visual Arts.
> In the future we would like to financially assist
> your organization with your archival needs. All
> organizations that complete this survey will become
> eligible for future funding when it becomes
> available.
> Please email us at info@as-ap.org or call us at
> (212) 330-7688 if you have any questions whatsoever
> regarding AS-AP or this survey.
> More information about AS-AP can be found on our
> website:
> http://www.as-ap.org
> David Platzker, Project Director / david@as-ap.org
> Rebecca Cederholm, College Art Association
> Linda Earle, Skowhegan School of Painting and
> Sculpture
> Milan R. Hughston,The Museum of Modern Art
> Elizabeth Merena, New York State Council on the Arts
> Betsy Sussler, Bomb Magazine
> Marvin Taylor, New York University, Fales Library,
> Downtown Collection
> Martha Wilson, Franklin Furnace Archive
> Art Spaces Archives Project [AS-AP] has received
> generous support
> from The New York State Council on the Arts [NYSCA],
> The National
> Endowment for the Arts [NEA], and the Andy Warhol
> Foundation for the
> Visual Arts. AS-AP also gratefully acknowledges
> operating assistance
> from the College Art Association.
> info@as-ap.org
> Art Spaces Archives Project [AS-AP]
> PO Box 20261
> New York, NY 10011
> 212 330 7688 tel.
> http://www.as-ap.org
> For more information go to: http://www.as-ap.org
> AOL users <a href="http://www.as-ap.org">click
> here</a>
> for more information.
> Electronic Flux Corporation
> 295 Greenwich st, #532, NYC NY 10007
> To unsubscribe go to:
> AOL users <a
> here</a>
> to unsubscribe.

Yahoo! Mail - PC Magazine Editors' Choice 2005

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