Jordan Crandall
Since the beginning
Works in La Jolla, California United States of America

Discussions (8) Opportunities (1) Events (2) Jobs (2)
OPPORTUNITY

Digital Art and Culture '09 Conference


Deadline:
Fri May 01, 2009 00:00

Location:
United States of America

Digital Art and Culture '09 Conference
After Media: Embodiment and Context

Theme:
Sex and Sexuality

This theme brings together artists and researchers interested in
exploring the interconnections of sexuality, sexual acts and digital
media: the ways in which digital media shapes and channels sexual
desires and identifications, as well as the kinds of sexual dynamics
that become attached to encounters with and though media technologies.
Possible directions range from (but are not limited to) the aesthetics
of sex art to online cultures of sexuality, porn distribution, sexual
politics, and sensuous intimacies with new technologies.

Theme leaders:
Jordan Crandall, UCSD, Visual Arts Department
Susanna Paasonen, Helsinki Collegium for Advanced Studies

Deadline for abstracts: May 1, 2009

DAC09 Submission and Review will take place entirely online, in a
two-stage selection and review process - abstracts of proposed papers
will be submitted in the first round, then, pending selection, full
papers. Aspiring presenters will lodge a proposal abstract, identifying
chosen theme, by May 1. Please note that you must associate each
submission with a conference Theme.

Reviewers will assess abstracts and subsequently, invitations to submit
papers will be sent by email. Papers deadline will be June 1, 2009. A
second round review process will then occur. Notification of accepted
paper will be sent by email by September 1, and final formatted papers
will be due by October 1 for compilation into the DAC09 Proceedings
which will be distributed at the conference


EVENT

Version


Dates:
Mon Mar 09, 2009 00:00 - Mon Mar 09, 2009

v.

version

http://version.org

announcing the launch of the new online journal Version
with contributions by Benjamin Bratton, Alphonso Lingis, Masao Miyoshi, Allen Shelton, Lesley Stern, Kathleen Stewart, Michael Taussig, and John Welchman

-

Version is a new online journal for short-form writing and media work. It presents scenes, incidents, encounters, and sensory experiences drawn from everyday life, in which concepts are not only elaborated but enacted.

Version works in close-up, cultivating moods, atmospheres, and various forms of bodily apprehension and awareness. It aims for a quality of intimacy, presence, and affective charge: a material openness to unexpected forms of encounter. At the same time, it works laterally, conducting transversal operations across object-boundaries, attuned to the rhythms, flows, and layered ecologies that constitute the phenomenal world.

Each Version editorial item adheres to the following formal constraint: a maximum of 500 words, 5 images, or 50 seconds.

With its formal and rhetorical approach, Version embodies new patterns of readership and network-enabled economies of attention, which can involve time-constrained multitasking and transversal readings across media venues. It spans specialized discourses, genre categories, and disciplinary divides, while encouraging the reception, rearrangement and redistribution of its material in new social networks and assemblages. It is less a bounded publication than an editorial ecology -- a dynamic system through which unexpected editorial properties and forms can emerge.

-

Version is produced by the Visual Arts Department, University of California, San Diego; the UCSD Division of Arts and Humanities; the California Institute for Telecommunications and Information Technology (CAL-IT2); and the Software Studies Initiative.

Editors: Jordan Crandall and Caleb Waldorf. Website Design and Development: Caleb Waldorf and John W. Pattenden-Fail.

Additional support provided by the UCSD Center for the Humanities; the University of California Institute for Research in the Arts (UCIRA); the Center for Research in Computing and the Arts (CRCA); and the University of California Digital Arts Research Network (UC DARnet).


JOB

Media Artist search - UCSD


Deadline:
Fri Dec 14, 2007 17:04

Location:
United States of America

MEDIA ARTIST UNIVERSITY OF CALIFORNIA, SAN DIEGO - Visual Arts Department

http://visarts.ucsd.edu/

Assistant Professor, tenure-track, to Associate Professor, tenured, beginning July 1, 2008. Rank and salary commensurate with qualifications and experience and based upon UC pay scales. We seek an artist with a significant exhibition record whose work exhibits an in-depth understanding of film, video, and/or installation practice and its relationship to contemporary art and media discourses. UCSD is a research university that actively promotes and supports creative work in media within a broadly interdisciplinary arts department that includes studio, computing, art history, theory and criticism. Teaching will include both graduate seminars and undergraduate courses, large and small. The candidate will actively participate in the ongoing development of curriculum and facilities. MFA or equivalency and teaching experience required. Applicants are welcome to include in their cover letters a personal statement summarizing teaching experience and leadership efforts and/or contributions to diversity Send letter of application, curriculum vitae, names and addresses of three references (do not send letters of recommendation and/or placement files) and evidence of work in the field. This evidence may be in the form of slides, tapes, discs, publications and/or public lectures and should be accompanied by return mailer and postage. Media Search Committee (Position #M-08) University of California, San Diego Visual Arts Department Mandeville Center (0327) 9500 Gilman Drive La Jolla, California 92093-0327 All applications received by January 25, 2008, or thereafter until position is filled, will receive thorough consideration. Please reference position #M-08 on all correspondence. UCSD is an Equal Opportunity/Affirmative Action Employer with a strong institutional commitment to the achievement of diversity among its faculty and staff. Proof of U.S. citizenship or eligibility for U.S. employment will be required prior to employment (Immigration Reform and Control Act of 1986).


JOB

Artist in Computing


Deadline:
Tue Dec 11, 2007 18:02

Location:
United States of America

Artist in Computing

UNIVERSITY OF CALIFORNIA, SAN DIEGO - Visual Arts Department

http://visarts.ucsd.edu

We seek an artist with a proven exhibition record whose work exhibits an in-depth understanding of computing and its relationship to contemporary art and its discourses. UCSD is a research university that actively promotes and supports creative work and advanced research in computing within a broadly interdisciplinary arts department that includes studio, media, and art history, theory and criticism. Opportunities for developing research include grants, state-of-the-art facilities including CRCA (Center for Research in Computing and the Arts), San Diego Supercomputer Center, California Institute for Telecommunications and Information Technology (www.calit2.net), and cross-campus collaborations. Teaching will include both graduate seminars and undergraduate courses, including courses in an Interdisciplinary Computing and the Arts Major with the department of Music.

Assistant Professor, tenure-track to Associate Professor, tenured, beginning July 1, 2008. Salary commensurate with qualifications and experience and based upon UC pay scales.

Candidates must demonstrate in their work and teaching a substantial engagement with the computing arts and their relationship to broader discourses of contemporary art and culture. Candidate will actively participate in the ongoing development of curriculum and facilities. Teaching will draw upon knowledge of networked cross-platform (Linux, Macintosh, NT/Windows PC) environments. Areas of expertise might include any of the following: locative media, social media, network art, digital imaging; graphics or sound programming; virtual environments; computer based installation; electronics and robotics; history and theory of new media. MFA or equivalency and teaching experience required.

Applicants are welcome to include in their cover letters a personal statement summarizing teaching experience and leadership efforts and/or contributions to diversity.

Send letter of application, curriculum vitae, names and addresses of three references (do not send letters of recommendation and/or placement files) and evidence of work in the field. This evidence may be in the form of websites, DVDs, tapes, publications and/or public lectures and should be accompanied by return mailer and postage.

Computing Search Committee (Position #C-08)
University of California San Diego
Visual Arts Department
Mandeville Center (0327)
9500 Gilman Drive
La Jolla, CA 92093-0327

All applications received by January 25, 2008, or thereafter until position is filled, will receive thorough consideration. Please reference position #C-08 on all correspondence. UCSD is an Equal Opportunity/Affirmative Action Employer with a strong institutional commitment to the achievement of diversity among its faculty and staff. Proof of U.S. citizenship or eligibility for U.S. employment will be required prior to employment (Immigration Reform and Control Act of 1986).


EVENT

Under Fire: invitation to participate


Dates:
Fri Oct 20, 2006 00:00 - Thu Oct 19, 2006

Under Fire is an ongoing art and research project for the analysis of war and political violence. It explores the organization, representation, and materialization of armed conflicts: their structural, symbolic, and affective dimensions.

The next Under Fire will take place during the period 16 October - 10 December 2006, as a project for the International Biennial of Contemporary Art of Seville.

At the core of this project is an online forum. We invite you to subscribe to the forum and participate in the discussion. To subscribe, send a blank email to: underfire-join@underfire.eyebeam.org

Further information: http://underfire.eyebeam.org

SCHEDULE

OCT 16 - OCT 21
PRELUDE
AMIR PARSA

OCT 22 - OCT 28
WAR INFRASTRUCTURES
ALAIN JOXE
with JOHN ARMITAGE and PAUL N. EDWARDS
Intervention: KELLER EASTERLING (on the global industry of subtraction); RAQS MEDIA COLLECTIVE (on the act of 'turning a deaf ear')
Insertions: MANUEL DELANDA (on war ecologies); CHALMERS JOHNSON (on military baseworlds)

OCT 29 - NOV 4
VIOLENCE AS SYSTEMIC CONSEQUENCE
LORETTA NAPOLEONI
with JAMES DER DERIAN and NABEEL ZIAD
Intervention: TREVOR PAGLEN (on stealth installations)
Insertion: MAHMOOD MAMDANI (on the legacy of the Cold War and the roots of terror)

NOV 5 - NOV 11
CULTURAL FICTIONS AND SYMBOLIC REALITIES
NEGAR MOTTAHEDEH
with RYAN BISHOP, RADHIKA SUBRAMANIAM, and ANANYA VAJPEYI
Intervention: CALEB WALDORF (on ecologies of suspicion)
Insertions: JEAN BAUDRILLARD (on the irreducible singularity); TERRY EAGELTON (on terror as symbolic form); KLAUS THEWELEIT (on war as symbolic system of desire)

NOV 12 - NOV 18
RELIGION, POLITICS, MEDIA, AND WAR
MELANI MCALISTER
with MARY KELLER, JOHN WILLIAM PHILLIPS, and ANA VALDES
Insertion: TALAL ASAD (on the inseparability of modern politics and religion)

NOV 19 - NOV 25
SECULARISM AND RELIGIOUS REVIVALISM
BARBARA VICTOR
with SABA MAHMOOD and HAREL SHAPIRA
Insertion: JACQUELINE ROSE (on Zionism); ARTHUR KROKER (on born again ideology)

NOV 24 - NOV 25
SEVILLE ENACTIONS
TARIQ ALI, GEMA MARTIN MUNOZ, and EYAL WEISMAN
with CALEB WALDORF and ANA VALDES

NOV 26 - DEC 2
POWER, SPECTACLE, AND REVOLUTIONARY MOVEMENTS
RETORT
with IAN DOUGLAS and THOMAS KEENAN
Intervention: SLAVOJ ZIZEK (on traversing the fantasy)

DEC 3 - DEC 10
VIOLENCE, SENSATION, AND POLITICAL SPACE
NIGEL THRIFT
with BRIAN HOLMES, ANAHID KASSABIAN, and AMIT RAI
Interventions: ARIELLA AZOULAY (on the visual presence of death); RULA HALAWANI (on sites of intimacy)
Insertions: BRIAN MASSUMI (on the politics of affect); FRIEDRICH KITTLER (on love)

In structural terms, Under Fire is a programmatic zone that allows for three different modes of engagement: discussion, enaction, and assembly. Each of these modes involves varying degrees of materiality, incorporating both online and onsite locations. A continuous flow of discussion runs through the core of the project, yet this discursive material gets assembled and enacted in varying forms and rhythms to meet very specific conditions of reception -- whether in terms of geographical context, media environment, or social setting. Each enaction and assembly provides a vital platform, to help synthesize the material and bring it to a new level of organization, as well as to catalyze new relationships between participants.

What emerges is a communications ecology of actors, intensities, and rhythms both synchronous and dissonant. It is a communications ecology that connects people in very real historical circumstances, who participate from different cultural locales and disciplinary perspectives, ranging from the humanities to the social and political sciences to journalism and activism. It allows for the manifestation of agencies, identities, and drives and the development of interdisciplinary, cross-cultural social networks, cultivating new forms of assembly.

This instantiation of Under Fire is a project for the International Biennial of Contemporary Art of Seville (http://www.fundacionbiacs.com).
Additional support provided by Eyebeam, New York.
http://underfire.eyebeam.org

THEMES

At the structural level, Under Fire foregrounds the structural conditions of violence. It addresses issues of economic production, territory, and operations of power. It looks to the history of the western military-industrial complex and its expanding network of extraterritorial enclaves and communications infrastructures. It looks at the rise of the privatized military industry and the global commercialization of arms, espionage, security, and military force. It looks at the production of militancy and its construction of the enemy other. It understands acts of violence as symptoms or effects of structural conditions, and situates cycles of conflict within the workings of a global system. In this way it probes the nature of power and its resistance. Yet, at the same time, it also aims to understand the intersection of space, system, and power in non-socioeconomic and semiotic terms. To this end, it draws from the physical sciences, philosophy, and science studies to incorporate recent theories of emergent organization and the ontogenic, nonlinear generation of behaviors and forms.

At the symbolic level, Under Fire looks at the representation of violence and the role that images play as complex registers of symbolic meaning. It aims to decode media using the tools of semiotic analysis, focusing on the social and cultural construction of knowledge. In this way it furthers development of a critical spectatorship. Yet at the same time, it explores non-linguistic-based networks of interpretation. Here representation is understood less in terms of a discrete visual artifact and more in terms of a dynamic, processual assembly -- or what could be called a media ecology. The image becomes a malleable, reproducible, and re-frameable event, produced by a multiplicity of human and technological applications. Such a media ecology involves not only perception but sensation. It operates at the symbolic, imaginative, and affective levels. It necessarily incorporates material, intensive realities that resist symbolization, but which in every case play a powerful role in shaping consciousness and the belief systems that motivate action.

Following from this, at the affective level, Under Fire does not simply focus on meaning but on the affective and motivational realms of human experience. These include the embodied qualities, sensations, magnitudes, and textures that form the substrata of communication, argument, and judgment. In other words, on par with the content of a particular message, equal attention is given to the quality of embodied resonance it engenders. Under Fire explores the ways that affects are harnessed and molded -- through drill, routine, and symbolic ritual -- in the training technologies of war, marketing, and religion. It therefore explores the role that affects play in the production of collective identifications, aggressions, and "militarized subjectivities." As such, it explores the politics of affect -- whether in terms of the politics of fear, desire, or otherwise. It positions the affective realm as a biopolitical frontier. It seeks to understand how power operates at the level of the affective, and, in turn, how the affective becomes political.

This leads to important questions. How, then, is politics is constituted in this space between affect and discourse? In other words, how is politics constituted between ineffable states of embodied expression on the one hand, and larger rhetorical strategies on the other? Under Fire follows this line of questioning. It asks: When is expression or action rendered intelligible as a political force? When does expression cease to simply turn around and around itself, and instead erupt into the arena of the political? What are the operations of power that determine its legitimacy? What is the role of the imaginary? What is the difference between violence and politics; when does violence become political? How are new political spaces opened or invented? And in turn, how is subjectivity constituted therein -- in terms of self-affectivity or discursive construction? In terms of the repetitive, embodied internalization of expressive acts, or symbolic insertions into the public arena?

Addressing these and other questions Under Fire inquires into the status of political speech and moves toward what could be understood as a performative politics -- a politics that can incorporate a multiplicity of somatic and symbolic registers, filtered by cultural fictions, imaginaries, intensities, and arts of the self. A performative politics that has the potential of inventing a new form of public speech and existence.

Under Fire brings together a diverse cross-section of artists, media makers, educators, activists, political analysts, media researchers, writers, performers, cultural theorists, social scientists, architects, organizers, networkers, and other scholars and practitioners who are interested in contemporary media culture, political violence, technology, power, social movements, and global politics.