BIO
Dale Hudson teaches film and new media studies at New York University Abu Dhabi (NYUAD). His research, teaching, and curating examine film and new media through transnational and postcolonial frameworks, bringing film and new media theory in dialogue with globalization, critical race, and animal studies.

He is co-author with Patricia R. Zimmermann (Ithaca College) of Thinking through Digital Media: Transnational Environments and Locative Places (forthcoming in 2015), which examines digital media domains for media practices that are based on explorations of code and user interface, interrogations and applications of archives and databases, automated recombinatory techniques, and provocative performances that implicate audiences as participants.

His other work appears in journal such as American Quarterly, Cinema Journal, French Cultural Studies, Journal of Film and Video, Screen, Studies in Documentary Film, and elsewhere, and his reviews in Afterimage, African Studies Review, and Jadaliyya.

He is a digital curator for the Finger Lakes Environmental Film Festival (FLEFF), where he has curated Distributed Microtopias in association with EngageMedia, Indonesia (2012) and Viral Dissonance (2014). With Sharon Lin Tay (Middlesex University, London), he co-curated Undisclosed Recipients (2007), ubuntu.kuqala (2008), sticky-content (2009), Map Open Space (2010), Digital Checkpoints (2011), and Trafficked Identities in association with the Global Alliance Against the Trafficking of Women, Thailand (2011).

He also programs films from the MENASA regions for the NYUAD Institute and serves on the pre-selection committee for the Abu Dhabi Film Festival (ADFF).
Discussions (0) Opportunities (5) Events (5) Jobs (0)
EVENT

Viral Dissonance at FLEFF 2014


Dates:
Sun Jun 15, 2014 00:00 - Wed Apr 01, 2015

Location:
Ithaca, New York
United States of America

FLEFF is pleased to announce its 9th exhibition of digital media: Viral Dissonance.

Brannon Dorsey’s Zetamaze was selected for the jury prize; Robert Spahr’s Data Loss Cruft (Corruption), for special mention. Other artists featured in the exhibition include Mez Breeze and Andy Campbell; Ben Grosser; Markus Keim and Beate Hecher; Hye Young Kim and Tohm Judson; Brenda Longfellow, Glen Richards, and Helios Design Labs; and Miyö Van Stenis.

Viral Dissonance is available on the FLEFF website and is curated by Dale Hudson of New York University Abu Dhabi (United Arab Emirates/United States) with Claudia Costa Pederson of Ithaca College and Wichita State University (United States) and was juried by Eduardo Cachucho (Belgium/South Africa) and Babak Fakhamzadeh (Uganda/Netherlands).

In its 17th annual edition, FLEFF (Finger Lakes Environmental Film Festival) situates sustainability and environmentalism within global conversations that embrace political, economic, social, and cultural issues, including labor, health, immigration, intellectual property, trade, and war. Issues related to women’s rights, indigenous rights, human rights, animal rights, and environmental rights are investigated in FLEFF programming that includes concerts, workshops, master classes, performances, and films.

FLEFF: A DIFFERENT KIND OF ENVIRONMENT


OPPORTUNITY

Opportunity to contribute feedback on forthcoming book: Thinking through Digital Media


Deadline:
Fri Mar 07, 2014 00:00

Location:
New York
United States of America

Thinking through Digital Media: Transnational Environments and Locative Places
Patricia R. Zimmermann (Ithaca College) and Dale Hudson (NYU Abu Dhabi)

Thinking through Digital Media charts the intersections between histories and theories for conventional forms of documentary and experimental practices developed from analogue media and one for current digital forms, particularly ones that run across distributed networks like the Internet or partly transcend screens altogether as locative media. New media domains for documentary and experimental practice are increasingly based on explorations of code and user interface, interrogations and applications of archives and databases, automated recombinatory techniques, and provocative performance.

See complete proposal as part of Palgrave’s experiment in open peer review and add your comments and suggestions, including ones for works of new media art, locative and tactical media.

http://palgraveopenreview.com/works/culture-media/zimmerman-hudson/

PALGRAVE MACMILLAN LAUNCHES OPEN PEER REVIEW TRIAL FOR BOOK PROPOSALS

27 January 2014 – An open and transparent peer review trial for academic books in the humanities and social sciences has been launched today by Palgrave Macmillan.

The trial, which is live at www.palgraveopenreview.com, will run for six weeks and is the first open peer review trial for book proposals. Academics from all disciplines, in all locations and at all stages in their career are encouraged to take part.

Open peer review can refer to any model, which increases transparency in the peer review process. We’ve placed selected book proposals and associated sample chapters on this publicly-accessible website and are inviting comment from anyone who feels they can contribute to the development of these works.

We see this trial as an opportunity to learn about what sort of feedback is possible and useful in this context and to contribute to the academic community’s understanding of open peer review.


OPPORTUNITY

Call for submissions: Viral Dissonance at FLEFF 2014


Deadline:
Wed Jan 15, 2014 23:59

Location:
Ithaca, New York
United States of America

The 17th annual Finger Lakes Environmental Film Festival (FLEFF) will begin its yearlong exploration of “Dissonance” with concerts, workshops, master classes, performances, and films. FLEFF invites submissions of new media art, tactical media, radical cartography, computer games, and locative media for the online exhibition “Viral Dissonance” and prize of USD250.

“Going viral” is often equated with viral videos. It is associated with internet memes: ideas replicate themselves and spread, jumping between social networks. Viruses themselves often frighten for their unpredictable movements. They travel quickly against dominant flows and often defy attempts at isolation and containment. Epidemics viruses like SARS, H1N1, and MERS emerge at the intersections between human and nonhuman, casting chickens, pigs, camels, and bats as “natural” transmitters. They also emerge at the intersections of science and superstition. Computer viruses spread through self-replicating malware programs, disabling proper functionality—or even shutting it down through “worms” like Code Red, Nimda, and ILOVEYOU.

During the past few years, grassroots forms of dissonance have erupted everyday from Egypt and Syria to Spain, Greece, the United States, and Brazil. People have gathered in the streets and in squares to demand to be heard and to be seen. They refuse to be silenced or erased. News media have occasionally offered them time and space to make their voices heard and faces visible. People have also mobilized digital technologies like SMS and social networking, working around and within the control of state and corporate control. They have spoken against data mining of citizens and against the financialization and militarization of everyday life for millions, but they have also spoken against corporate cooption of dissonance as Twitter or Facebook revolutions.

Dissonance emerges as clash, tension, disharmony, and disequilibrium to make visible and audible an ever-expanding multiplicity of clashes, tensions, disharmonies, and disequilibriums have become so integral to everyday life that they can easily pass unmarked and seem unremarkable. Dissonance thrives on contradictions, moving restlessly towards irresolution. It calls out imbalance. Neither noise, nor cacophony, dissonance pairs together the incompatible with results that surprise, offend, invite, disturb, and excite, spurring action and creativity. Dissonance sparks and ignites.

Viral Dissonance seeks projects that run online or on mobile devices, ones that provoke and educate to expand dissonance virally as knowledge producing and agentive. Please send submissions with a brief bio (75 words) in an email to FLEFF Digital Curator Dale Hudson of New York University Abu Dhabi (UAE/USA) at fleff.digital.curators@gmail.com no later than 15 January 2014.

Claudia Costa Pederson of Ithaca College (USA) serves as FLEFF Assistant Curator for New Media on this project, which will be juried by Eduardo Cachucho (Belgium/South Africa) and Babak Fakhamzadeh (Uganda/Netherlands). The exhibition is scheduled to go live in March 2014. For additional information about FLEFF, including past exhibitions Digital Checkpoints, Trafficked Identities, and last year’s Distributed Microtopias, please visit http://www.ithaca.edu/fleff/.

FLEFF: A DIFFERENT ENVIRONMENT


OPPORTUNITY

Call for submissions: Distributed Microtopias


Deadline:
Wed Aug 15, 2012 00:00

Location:
Ithaca, New York
United States of America

The 15th annual Finger Lakes Environmental Film Festival (FLEFF) began its yearlong exploration of Microtopias with concerts, workshops, master classes, performances, and films during the spring. The exploration continues this fall with a juried competition and online exhibition.

FLEFF invites submissions of new media art, tactical media, radical cartography, computer games, locative media, and interactive video for Distributed Microtopias, a juried competition and online exhibition for which one prize of USD250 will be awarded.


Micro means small, utopia identifies imagined, cooperative systems of harmony.

Microtopias ask us to imagine the world otherwise, without constraints and limitations, to improve the immediate environment. Microtopias congregate people, ideas, and practices on a local, sustainable, decentralized scale. Microtopias catalyzes social interaction, collective participation, and changes in the landscape. Microtopias transform the world by making policed boundaries more permeable.

If utopia resides nowhere, microtopias emerge everywhere. If utopia suggests perfection, microtopia defines adaptation. If utopia is remote, microtopia mesmerizes. Utopias never change; microtopias never stay the same. Tactical, temporary, disruptive, distilled, microtopias show us how to inhabit the world in a better way. Ephemeral and transitory openings, microtopias map the realm of the possible, an invitation to live in a shared world. Rather than a grand narrative and a large scale, microtopias propose temporary, dynamic, shared worlds, a field of forces shaped on a sustainable scale.

Distributed Microtopias seeks projects that run across distributed networks like the Internet to provoke and educate from remote locations on a sustainable scale, that expand knowledge rather than contain it, and that invite participation and exploration, and that unhinge familiar habits of thinking to envision new possibilities for historical and cultural clarity.

Enrico Aditjondro of EngageMedia (Indonesia) will serve as the juror for the competition with FLEFF Digital Curator Dale Hudson of New York University Abu Dhabi (UAE/USA).

Please send submissions with a brief bio in an email to distributed.microtopias@gmail.com no later than 15 August 2012. The exhibition is scheduled to go live in September 2012.

For additional information about FLEFF, including last year’s Digital Checkpoints and Trafficked Identities online exhibitions, please visit festival web site.

FLEFF: A DIFFERENT ENVIRONMENT


EVENT

Trafficked Identities at FLEFF 2011


Dates:
Tue Mar 15, 2011 00:00 - Tue Nov 16, 2010

Location:
United States of America

Call for New Media Art: Trafficked Identities


Subject:Call for New Media Art: Trafficked Identities exhibition for FLEFF 2011
(deadline: 15.03.2011)

Types:Call for new media art, locative media, tactical media, electronic civil disobedience, experimental coding, radical cartography, opportunity, announcement, festival, prizes, competition

In collaboration with the Global Alliance Against Traffic in Women (GAATW) based in Bangkok, Thailand, the Finger Lakes Environmental Film Festival (FLEFF) is looking for submissions of digital art for the exhibition Trafficked Identities in conjunction with the festival theme of Checkpoints for 2011.

The Finger Lakes Environmental Film Festival (FLEFF) provides a vibrant space for debates and dialogues of environmentalism according to twenty-first-century global perspectives that embrace the complex nexus of political, economic, social, and aesthetic dimensions, such as public health, genetically modified seeds, endemic disease, indentured labour, militarized international borders, civil war, biological war, neoliberal economic policies, intellectual property, free trade zones, bioengineered foods, informal economies, rare minerals, women’s rights, and human rights.

The Global Alliance Against Traffic in Women (GAATW) is an alliance of more than 90 non-governmental organisations from across the world that deal with migrant rights, human rights, anti-trafficking, women’s rights, and labour issues. GAATW promotes and defends the human rights of all migrants and their families against the threat of an increasingly globalised labour market and calls for safety standards for migrant workers in the process of migration and in the formal and informal work sectors - garment and food processing, agriculture and farming, domestic work, sex work - where slavery-like conditions and practices exist.

Teaming up for the first time, FLEFF and GAATW are interested in discovering the ways in which digital art would explore, visualise, engage, intervene in, map the complexities of, and/or allow viewers to embody and experience migration, human trafficking, and labour issues, where people’s identities and experiences can be fragmented, dissected, and pigeon-holed by authorities and policy makers.

A person can simultaneously be a refugee, a worker, a trafficked person, a family breadwinner, a community leader, and an undocumented migrant. Yet policies created to help one identity may end up endangering another identity, such as when repatriation policies for trafficked persons endanger refugees trying to escape conflict and abuse. How may art practices address the fragmentation and limitation of people’s identities in anti-trafficking and migration policies?

Anti-trafficking campaigns often rely on victimisation narratives that leave structural barriers, such as racial discrimination and restrictive migration policies, unchallenged. How may activist campaigns against human trafficking avoid glamourising the victimization of trafficked persons and instead use digital media as a platform to promote the recognition of trafficked persons’ rights, strengths and power? How may campaigns call attention to gross exploitation while highlighting victims’ resilience and agency? How may the bodies that are smuggled past, or that covertly pass, political checkpoints be represented in ways that educate about the intersection of geopolitical complexities with labour, whether sexual, manual, domestic, forced, or voluntary?

We invite submissions of new media art, database documentaries, locative and tactical media with a distributed network component, digital video designed for online exhibition platforms, experimental coding, data-visualization applications, experimental archiving, and other web-based media that engage the theme of “Checkpoints” for FLEFF 2011’s online exhibition, Trafficked Identities. One prize of 250USD will be awarded. It is envisioned that the winning entry could be used for GAATW’s campaign purposes.

The Trafficked Identities exhibit will go live in April 2011 in conjunction with the festival in Ithaca (New York), USA. Visit the FLEFF web site at www.ithaca.edu/fleff for details, links to previous new media art exhibitions and blogs, including the curators’ blog Digital Spaces: Speculations on Digital Art and Viral Spaces. Please also read about other events associated with FLEFF and its global network of partners in the Open Cinema Project.

Please send links to submissions with a brief bio in an email to curators Dale Hudson (UAE/USA) and Sharon Lin (UK/Singapore) at digifleff.gaatw@gmail.com no later than 15 March 2011.

Only projects that can be exhibited online can be considered for this exhibit. Media artists working in off-line formats, should visit the FLEFF web site for other calls. Unfortunately, we cannot consider projects previously curated in FLEFF exhibits, nor can we consider projects by Ithaca College students, faculty, or staff.

CURATORS’ BIOS

Dale Hudson
(UAE/USA) teaches film and new media studies at New York University Abu Dhabi. His work on global cinema and new media appears in Afterimage, Cinema Journal, Journal of Film and Video, Screen, Studies in Documentary Film, and elsewhere. He is preparing a book manuscript entitled Blood, Bodies, and Borders.

Sharon Lin Tay (UK/Singapore) teaches film and digital theory at Middlesex University in London. She is on sabbatical in 2010 and is currently a Visiting Associate Professor at Nanyang Technical University in Singapore. Her new book about women filmmakers and digital artists, entitled Women on the Edge: Twelve Political Film Practices (2009), is published by Palgrave Macmillan.

Hudson and Tay have co-curated four previous exhibitions at FLEFF: Undisclosed Recipients (2007), ubuntu.kuqala (2008), sticky-content (2009), and Map Open Space (2010). They are also co-curating the Digital Checkpoints exhibition for FLEFF 2011.