Juliet Davis
Since 2002
Works in Saint Petersburg, Florida United States of America

PORTFOLIO (4)
BIO
Juliet Davis (www.julietdavis.com) is an intermedia artist, writer, and researcher teaching theory and practice in interactive media, visual culture, and media writing, with particular interest in cyberfeminism.

Her academic writing appears in peer-reviewed journals such as Leonardo, The Journal of Film and Video, Media-N and Intelligent Agent, as well as Rhizome Digest commissions. Her artwork has exhibited in SIGGRAPH, ISEA, FILE (Sao Paolo/Rio), the Institute of Contemporary Art (ICA London), MAXXI Museum (Rome), International Museum of Women (web), Web Biennial, The Tampa Museum of Art, and many other spaces. Neal Benezra, Director of the San Francisco Museum of Modern Art, has honored her work for its "freshness and originality."

Davis is currently writing a book called Exploring Writing for Interactive Media (Thomson Delmar).

cv: www.julietdavis.com/resume.pdf

Discussions (3) Opportunities (7) Events (0) Jobs (0)
DISCUSSION

Re: Rhizome re-design


Great job! Love the new design (and the new RhizPaper). I agree that it's a big improvement over the old site. Still experiencing a few glitches as others seem to be (I'm having trouble changing my profile and email login, looking for the "submit" button, etc.), but no rush! The dotted lines in combination with the new font are a little wiggy on my eyes. Otherwise, looking cooooooool! Dynamic RhizPaper sounds like a great idea.

Juliet

OPPORTUNITY

Call For Participation - UFVA Conference New Media Exhibition


Deadline:
Sun Jan 01, 2006 00:00

UNIVERSITY FILM & VIDEO ASSOCIATION CONFERENCE
August 1-5, 2006
Chapman University
Orange, California
www.ufva.org

CALL FOR NEW MEDIA EXHIBITION SUBMISSIONS

SUBMISSIONS DUE: February 15, 2006

1) Application Form
.pdf: http://www.ufva.org/NewMediaForm2006.pdf
.doc: http://www.ufva.org/NewMediaForm2006.doc

2) Any additional project documentation needed for consideration (for example, CD-ROM, DVD, JPEGS—no slides, please).

3) Participation in the program requires active membership in the UFVA and pre-registration for the conference.

NOTIFICATION OF ACCEPTANCE: Early May

SEND SUBMISSIONS TO:

Juliet Davis
Dept. of Communication
University of Tampa
401 West Kennedy Blvd. Box 106-F
Tampa, FL 33606
phone: 727.418.8511
fax: 813-253-6246
julietdavis@tampabay.rr.com

QUESTIONS? Contact Juliet Davis at Juliet.davis@ut.edu or info@julietdavis.com.


DISCUSSION

Let's Call It Art: CAA Recognizes the New Media Caucus


Re: Follow-up on CAA Review - Just to Make Sure You Got It
Let's Call It Art: CAA Recognizes the New Media Caucus
Juliet Davis

Who would have imagined the Atlanta Marriott Marquis would become home to b=
oth the CAA Conference and the National Cheerleading Championship? What di=
vine fate brought girls in sponge curlers and pink fuzzy slippers saunterin=
g past a gender studies presentation entitled "Looking for Lolita?" Some w=
ould say plenty of strange bedfellows congregated at the conference Feb.16-=
19. Balancing the traditional art history sessions were a series of "first=
s," including two new panels sponsored by the New Media Caucus (one that dr=
ew a standing-room-only crowd); a panel and mentorships sponsored by Leonar=
do; two sessions on the Patriot Act (a fund-raiser for Steve Kurtz and CAE =
was held Saturday night); and CAA's first new media gallery entitled "ArtSp=
ace." As for things pink and fuzzy (as well as poofed and fishnetted), Sim=
eon Hunter's panel flaunted costumes in "Play, Pleasure, and Perversion: In=
subordinate Refusals of Discipline in the Practices of Art and Theory," whi=
ch openly satirized art history academy practices past and present. (This i=
s not your grandfather's CAA.)

In his 2003 Ars Electronica review entitled "Don't Call It Art" (Rhizome Di=
gest 9.17.03), Lev Manovich argued that much of digital art is fundamentall=
y at odds with contemporary art because the very term "digital art" (and, b=
y extension, "cyberart", "new media", etc.) presumes a formalistic preoccup=
ation with medium. Therefore, he argued, digital art is not compatible with=
contemporary art, which comes from a conceptual art tradition. As one of =
many counterpoints to this argument, the CAA New Media Caucus, while asking=
some of the same questions Manovich has raised ("What exactly is [sic] the=
phenomena of . . . 'digital art,' 'new media art,' 'cyberart,' etc.?), pre=
sented us with digital work that operates in a larger field of cultural pro=
duction.

For example, a session entitled "Screenshots and Audio Effects: Electronic =
Events," chaired by Caucus President Doreen Maloney (University of Kentuck=
y, Lexington) and Rachel Clarke (California State University, Sacramento), =
featured a mix of traditional and nontraditional approaches to situating ne=
w media in art-and-theory contexts. CADRE artist and theoretician Susan Ott=
o described a horizontal axis of emerging technologies shifting and interse=
cting with a vertical axis of "private intent of information and public con=
sumption of data." The moment of this shift, she claims, is "a moment of c=
ultural production," which she demonstrated through several of her own work=
s that use scientific strategies and data collection to examine cultural my=
thologies and intersections of public and private space (for example, her c=
ollection of snake drawings by random male bystanders indexed and exhibited=
with the use of a database; her x-rays of post-operative gunshot wounds se=
t to ambient music; her project asking scientists to plot what-if scenarios=
for a Sasquatch--http://cadre.sjsu.edu/people/susan/ ). Even Zachary Lieb=
erman's interactive language visualization project (which might be termed "=
software art") was an appropriate litmus tests for CAA, precisely because i=
t is so culturally relevant (who is going to say Austrian children creative=
ly interacting with visual representations of language is not culturally re=
levant?). And who would argue the legitimacy of Nomi Talisman's project en=
titled "Everything I Knew About America I Learned From the Movies" as it pl=
ots a relationship between home movies and mainstream film? Exposing the m=
aterial substance of film (sprocket holes, etc.), Talisman ran home movie c=
lips alongside feature film clips, on the same screen, to make visual conne=
ctions between the "cultural role of cinema" and "everyday life." Children =
mugged for the home movie camera on one side of the screen as movie stars s=
truck poses on the other; a family-man smoked a cigarette beside a movie-st=
ar cowboy (http://www.mills.edu/MCAM/mfa2003/talisman.html <http://www.mill=
s.edu/MCAM/mfa2003/talisman.html> ). All of this art seems to come from a =
conceptual art tradition and engages us in critical dialogue.

Theorist Judy Rudinsky (University of North Carolina, Chapel Hill) built up=
on Talisman's presentation by asserting that, because new media art and ent=
ertainment share markers such as medium of presentation (e.g., sharing the =
"screen" with television and the Internet), there is a "constructed overlap=
" that produces ambiguity and discord. This overlap, according to Rudinsky=
, becomes further problematized by the "complex and varied" narrative forma=
tions of new media, which, instead of "unifying sequences over time," tend =
to "expand over sequences" and alter the relationship between author and au=
dience.

Panelist Conrad Gleber (Florida State University) seemed to be opening up t=
he whole notion of "new media," suggesting that it is not so much a media-s=
pecific term as it is a culturally-specific term. As he interviewed artist=
s such as Lane Hall and Lisa Moline (University of Wisconsin, Milwaukee--ww=
w.badscience.org <http://www.badscience.org/> ), he asked the question: "Wh=
at shapes the desire to come to new media?" Gleber reported that all of the=
artists interviewed expressed "a desire to integrate audience into the wor=
k," expand their public, and engage in intervention both inside and outside=
the gallery. Gleber concluded that some of the distinctive characteristics=
of new media art include its continual "ephemerality, obsolescence and ubi=
quity;" the fact that it is "made out of" technologies (something like a ve=
rnacular language); and the idea that it is situated in a "sociocultural dy=
namic of cultural emergence. . . . always in flux, always new."

Perhaps predictably, the conference had a way of bringing to life topics so=
me might have thought were a thing of the past (e.g., utopian/dystopian dia=
lectics). In a relatively controversial panel called "Interrogating Interf=
aces," when two presenters suggested that adaptable VR interfaces resemblin=
g video games would "make it easier" for CEOs to make decisions about busin=
ess strategies and military figures to make decisions about going to war, a=
lively discussion erupted, with one audience member politely asking if som=
eone could please "comment on the space between video games and Guantanamo =
Bay." Meanwhile, panelist Michele White (Wellesley College), focusing on t=
he common hand-pointer, examined how race, class, and gender are rendered t=
hrough the interface, and added her concern about the power structures that=
would be creating so-called interface "adaptability." Ensuing debates abo=
ut interface design seemed to indicate that a second panel on this topic wo=
uld be productive, and Chairs Laurie Beth Clark (University of Wisconsin) a=
nd Alec MacLeod (California Institute of Integral Studies) are calling for =
position papers for "Interrogating Interfaces: Part 2."

While the conference featured little art that would be as debatable as the =
technically/formalistically-absorbed Ars Electronica software art of 2003 (=
albeit Zachary Lieberman's work was indeed featured at that conference), th=
e New Media Caucus panels and exhibition point to the idea that tensions be=
tween art and technology are not quaint, that a hybrid "third space" is not=
easily defined, and that continuous dialogue is needed. In a spirit of re=
lated inquiry, the new media exhibition called "Soft Science" (in the new "=
ArtSpace") featured works that might actually be considered "low-tech" to s=
ome, but high in critical content. Curator Rachel Mayeri explained that sh=
e was interested in "people who are the objects of their own experiments." =
The resulting DVD was screened at the conference and will be distributed by=
Video Data Bank. The collection ranges from Peter Brinson's "It Did It," =
a fictional character's story before and after Brinson took Prozac, to Susa=
n Rynard's "Bug Girl," which showed a potential loss of a story-book-like i=
nnocence as a young girl swallows a bee (and as we track it flying down her=
system in x-ray-like graphics). Perhaps the most provocative piece was cr=
eated by curator Mayeri herself: "Stories from the Genome" was a satirical=
, playful, and unsettling look at our questionable understandings of geneti=
cs, human cloning, psychoanalysis, and nature vs. nurture.

The New Media Caucus is currently calling for panel proposals for CAA 2006 =
(Boston) and for juried panel proposals for CAA 2007 (NYC), and is planning=
exhibitions for both conferences. A peer-reviewed journal entitled Media-=
N has been developed by Conrad Gleber (Florida State University), who is al=
so editor of the International Digital Media Arts Association Journal, and =
Rachel Clarke (California State University, Sacramento). Realizing that ne=
w media faculty can have difficulty gaining recognition for their accomplis=
hments on their way to tenure, a caucus task force is reviewing and suggest=
ing updates for CAA's "Guidelines for Faculty Teaching Computer-Based Media=
in Fine Art and Design" (published in 1995), which already articulates iss=
ues regarding faculty hiring, workload, evaluation, and compensation for fa=
culty in computer-based media. New Media Caucus mentorships are also being=
planned.

Concluding his 2003 article, Lev Manovich expressed optimism for the legiti=
macy of new media as art, saying: "At the end of the day, if new media arti=
sts want their efforts to have a significant impact on cultural evolution, =
they need to generate not only brilliant images or sounds but more importan=
tly, solid discourse." If the CAA conference is any indication of the kinds=
of exchanges that are possible regarding an intersection of technology and=
culture, then let's, at least sometimes, call it art.

_______

The New Media Caucus was founded in 2003 and currently lists 173 members.=

New Media Caucus Web Site: www.newmediacaucus.org <http://www.newmediacaucu=
s.org/>
CAA 2006 Call For Session Proposals: http://www.collegeart.org/annualconfer=
ence/2006/sessionproposals.html
Calls for 2006 ArtSpace submissions and for Media-N will be forthcoming. =

OPPORTUNITY

Multimedia Lab Coordinator-Univ. of Tampa


Deadline:
Tue Apr 20, 2004 00:00

The College of Liberal Arts and Sciences is seeking a Multimedia Lab Coordinator to provide supervision and technical support for a 42-seat Computer Lab for Art and Communication classes.


DISCUSSION

"Militantly Marginal": The First IDMAA Conference


Militantly Marginal": The First IDMAA Conference
by Juliet Davis and Suellen Regonini
____________________________________________________________________________

Gather 25 digital media educators into a room and urge them to confess thei=
r secret doubts: that they might be marginalized in their departments; that=
people "don't really get" what they do; that administrators aren't sure ho=
w to assign value to their work; that curriculum changes so fast that the c=
atalogs are out of date as soon as they're printed; that their field harbor=
s an uncertain intellectual core. Then, watch these same people brainstorm,=
collaborate, mutate across disciplines, seek common ground, and strive to =
legitimize. If this sounds as much like a support group as a conference wor=
kshop, then you've already grasped an unusual aspect of the new Internation=
al Digital Media and Arts Association (IDMAA) and its first conference, hel=
d in Orlando March 10-12. "It's about support," says Ray Steele, the Direct=
or of the Center for Media Design at Ball State, who started the associatio=
n with part of a grant from the Lilly Foundation and sponsorship from such =
industry notables as Electronic Arts and Pearson Prentice Hall. It's also u=
ndeniably political (conference title: "For the Militantly Marginal"). One =
gets the sense that this group is going to move and shake this field with o=
r without you.

This impression might be owed in part to a list of founding members that se=
ems anything but marginal, including Ball State, Bowling Green State Univer=
sity, Columbia College, Florida State, Stetson, SUNY, Union, and the Univer=
sities of Central Florida, Denver, Florida, Georgia, Montana, Warwick, and =
Wisconsin. Furthermore, IDMAA officers and board members come from leading-=
edge positions in their fields (http://www.idmaa.org/board.htm ).

"We're really an odd bunch."
The term "militantly marginal" could appeal on many levels to people in dig=
ital media and art. It acknowledges rebellion against tradition, giving a n=
od to digital dilettantes who have crossed disciplines, broken with academy=
traditions, and reinvented themselves as rogues of raster, vagabonds of ve=
ctor. "We're really an odd bunch", Steele commented in his closing statemen=
ts. At the same time, the term suggests a movement toward institutionalizin=
g the future. As all good students of revolution know, today's militantly m=
arginal are tomorrow's monoliths; fortunately, this irony was not lost on t=
he IDMAA group, which seems to embrace disparate voices and be wary of quic=
k solutions.

IDMAA acknowledges that the digital media and art programs created by unive=
rsities and colleges around the world involve diverse and ever-changing tec=
hnologies, markets, values, and goals; and that these programs tend to emer=
ge more organically than strategically from partnerships of Art, Communicat=
ions, Science, English, Music, Theater, Film, Journalism, and other discipl=
ines. The IDMAA web site furthermore points out that "these programs often =
don't fit within the neat and tidy confines of traditional university struc=
tures--their creators and champions often forge interdisciplinary partnersh=
ips to create opportunities, attract money, and stimulate explosions of cre=
ativity. The International Digital Media & Arts Association was organized b=
y and for people working in these margins. Margins are frontiers, but they =
are also uncertain places. Marginal people upset the establishment, take ri=
sks and make new things happen."

Sue Regonini and I have had the opportunity to develop (or help develop) se=
ven digital media arts programs since 1997, yet we still feel at times as t=
hough we're operating on the fringe-and perhaps we're not alone in this fee=
ling. Approximately 200 people attended this conference to access its 30 wo=
rkshops, three presentations by industry and academic leaders, gallery exhi=
bit of experimental digital work, new peer-reviewed journal, and array of n=
etworking opportunities. Differences in this conference from SIGGRAPH or si=
milar gatherings became obvious. Rather than sitting in a big hall, absorbi=
ng information being disseminated by the speaker/panel in a (mostly) one-di=
rectional outpouring of content, the IDMAA conference participants became p=
art of a melange of discussions, mediated by workshop leaders, on a wide =
range of topics, from funding for digital media projects, to game technolog=
y and theory; curriculum design to interactive performance. For a complete =
list of workshops (summaries of which will soon be posted to the IDMAA web =
site), see http://www.idmaa.org/idmac2004/workshops.html .

Call for Standards?
If the conference was "designed to answer the key questions for faculty and=
administrators building Digital Media and Digital Arts academic programs a=
round the world," it probably asked more questions than it answered. While =
we were not able to get around to all 30 workshops in the two-and-a-half da=
ys, we did notice some common themes among those we did attend. "Who are we=
?" was a question that arose many times. "What do we call what we do?" Term=
s such as "new media" and "digital media" seem to fall apart under scrutiny=
, as they are based on specific and changing technologies. And what of the =
diplomas we hand out to our students that say "M.F.A. in New Media" today, =
only to sound old tomorrow? Jan Cannon-Bowers, mediator of the workshop ent=
itled "Graduate Programs in DM&A", reported that USC is working with the te=
rm "Dynamic Media", which ironically seems to fix, by means of terminology,=
a state of continuous and energetic change. "Convergent media" has become =
a popular term as well.

Perhaps even more important is the question of what we should be teaching-f=
or example, in associate, bachelor, master, and doctoral programs. How do w=
e incorporate the teaching of technology, project management, aesthetics, c=
ritical theory? Or, as one participant put it: "How do you teach Flash with=
out, well, teaching Flash?" Is it even appropriate to incorporate the teach=
ing of technologies per se at the university level, or should it be relegat=
ed to workshops outside of class meetings? And what should we expect studen=
ts to teach themselves? At what level? When we develop graduate programs, w=
hat foundations should we assume students to have when they enter? While so=
me workshop participants seemed to feel that a call for standards is needed=
to legitimize digital media/arts in the academy, others felt that the prot=
ean and interdisciplinary nature of the field was essential to its nature, =
and that the field should stay in flux. Can a room full of programmers, art=
ists, and social scientists really agree on these issues? Should we really =
be able to?

Having recently returned from visits to two universities that are collapsin=
g the walls of departments in an effort to encourage interdisciplinary work=
, I have observed an interesting movement toward fluidity. Michigan State U=
niversity has newly established its C.A.L.M. department (Communication, Art=
s, Letters, and Music), which merges previously sectioned-off departments s=
uch as Telecommunications, Art, Theater, Music, English, and Journalism. At=
University of Texas at Dallas, the School of Arts and Humanities, under th=
e leadership of Dean Dennis Kratz, has collapsed its walls so that it has n=
o departments per se. A dance professor teaches animation because she under=
stands how the body moves. An artist shows students how to slosh paint on a=
digital scanner. A philosopher teaches a video class, emphasizing critical=
theory. It's every accreditation team's nightmare (a thought delightfully =
subversive in and of itself). While we think of knowledge as becoming more =
and more specialized, we also see a trend toward generalizing and "cross-po=
llinating."

What Employers Want

"We aren't even looking for specialists who know specific technologies any =
more; we're looking for artists." -Jim Spoto, Computer Graphics Supervisor =
for Electronic Arts (EA)

From the opening plenary session of the conference, it was obvious that maj=
or concerns of participants included the increasing speed of technological =
change and the cultivation of curricula and methodologies that allow studen=
ts to become creative thinkers and problem-solvers, rather than software sp=
ecialists. Art David of Wave Light Digital Images, Inc., who has worked in =
compositing and digital shot clean-up on several major motion pictures such=
as The Matrix, Judge Dredd, Contact, and Starship Troopers, said in his pr=
esentation that "students need to develop problem-solving skills" in order =
to be competitive in a rapidly shifting technological environment. David il=
lustrated the challenges of the digital effects industry by discussing the =
dramatic changes in staffing at ILM and other digital effect houses worldwi=
de over a period of just eight years. He also emphasized that the workload =
is being redistributed to smaller firms and to various locations worldwide,=
and that students must be willing to adapt to the industry if they want to=
remain viable.

Jim Spoto, Computer Graphics Supervisor for Electronic Arts (EA), the world=
's largest computer game and electronic entertainment company, brought a si=
milar message. "You can't commodify creativity," said Spoto, as he describe=
d the profile of workers that EA wants to attract. Technical jobs, he expla=
ined, can be shipped overseas. Creativity can't be. Art can't be. Storytell=
ing can't be. Spoto believes that we are seeing a shift from an "informatio=
n economy" to a "creative economy" as information technologies become commo=
dified. EA is seeking to enhance customer experience by developing new game=
designs, genres and models; developing greater immersion in virtual experi=
ences through more meaningful and emotional interaction with "digital human=
s" (photorealistic characters with sophisticated artificial intelligence); =
designing more complex interfaces that allow users wider ranges of interact=
ion; and promoting more convergence with film to create higher overall prod=
uction values.

"We Tell Stories"
Perhaps one of the most resonant moments we witnessed came with a comment f=
rom Jeff Rush, Senior Associate Dean for Academic Affairs in the School of =
Communications and Theater at Temple University, who suggested that what we=
all have in common is that "we tell stories." The popularity of workshops =
involving narrative theory and gaming seemed to suggest a lot of excitement=
about the future of digital story-telling. We even met English-professors-=
turned-experimental-video-game-developers. IDMAA directors have instituted =
an annual Award for Positive Innovation in Media, which was presented to Jo=
e Lambert and Emily Paulos of the Center for
Digital Storytelling at Berkeley, in memory of Dana Atchley, founding
Director of the Center. In accepting the a=
ward, Lambert discussed the importance of digital media in helping people l=
earn how to present their stories and preserve them for the future. "We add=
ress the sunshine as well as the shadow side", said Lambert, "and question =
where we are going." The presenters of the award, Caroll Blue of the Univer=
sity of Central Florida, and Nancy Carlson of Ball State University, stated=
that "experience design," as defined in Nathan Shedroff's book of the same=
name, is a major goal of digital storytelling, in that it allows the autho=
r/artist to "capture, objectify, and quantify" experiences and information =
that would be lost otherwise.

The IDMAA Conference started conversations that will undoubtedly continue i=
n future conferences and publications-conversations that promise to take us=
beyond the dialectical antagonism of statements like "linear narrative is =
dead" or "video games are evil," to see ourselves as part of an expanding, =
fluid field that partially defies definitions because it entertains infinit=
e possibilities.

Future IDMAA Resources
IDMAA promises to provide the following resources to its members in upcomin=
g months:

- a forum for sharing sample syllabi and curricula developed for media arts=
programs.

- a master list of graduate programs in digital media and art, and descript=
ions of content.

- summaries of the conference workshops, posted to the web.

- the new International Digital Media and Arts Association Journal

- ongoing conferences

- gallery exhibits of experimental work

Links
IDMAA Home www.idmaa.org
IDMAA 2004 Conference Web Site http://www.idmaa.org/idmac2004/