PORTFOLIO (1)
BIO
Mark Tribe is an artist and curator whose interests include art, technology, and politics. He is Assistant Professor of Modern Culture and Media Studies at Brown University, where he teaches courses on digital art, curating, open-source culture, radical media, and surveillance. He is the co-author, with Reena Jana, of New Media Art (Taschen, 2006). His art work has been exhibited at the ZKM Center for Art and Media in Karlsruhe, the Ars Electronica Festival in Linz, and Gigantic Art Space in New York City. He has organized curatorial projects for the New Museum of Contemporary Art, MASS MoCA, and inSite_05. In 1996, he founded Rhizome.org, an online resource for new media artists. He received a MFA in Visual Art from the University of California, San Diego in 1994 and a BA in Visual Art from Brown University in 1990. He splits his time between Providence and New York City.
Wiki Directory of Academic Art and Technology Programs
Greetings,
In 2004, I asked Michael Naimark to write an overview of academic art and technology programs as part of a proposal I was preparing for Columbia University. I wanted something comprehensive but with a point of view. With the proliferation and growth of academic art and technology programs around the world, Michael and I decided to use this material as the seed for a wiki-based directory of academic art and technology programs. This directory is now online at:
http://www.brown.edu/Departments/MCM/nothing/index.php/ArtAndTechPgms
In its current form, the directory includes 38 art+tech programs, from the Kunsthochschule fuer Medien (Academy of Media Arts) in Cologne to the USC School of Cinema-Television Program in Interactive Media in Los Angeles. What you'll find at the above URL is only the starting point. We hope this directory will become a living resource for prospective students, faculty, and others.
If you are a faculty member, staff member, or student at one of these programs, please feel free to modify, update, or add information.
This directory is by no means comprehensive; if your program is missing, we hope you'll add it to the list!
Best regards,
Mark Tribe
Department of Modern Culture and Media
Brown University
In 2004, I asked Michael Naimark to write an overview of academic art and technology programs as part of a proposal I was preparing for Columbia University. I wanted something comprehensive but with a point of view. With the proliferation and growth of academic art and technology programs around the world, Michael and I decided to use this material as the seed for a wiki-based directory of academic art and technology programs. This directory is now online at:
http://www.brown.edu/Departments/MCM/nothing/index.php/ArtAndTechPgms
In its current form, the directory includes 38 art+tech programs, from the Kunsthochschule fuer Medien (Academy of Media Arts) in Cologne to the USC School of Cinema-Television Program in Interactive Media in Los Angeles. What you'll find at the above URL is only the starting point. We hope this directory will become a living resource for prospective students, faculty, and others.
If you are a faculty member, staff member, or student at one of these programs, please feel free to modify, update, or add information.
This directory is by no means comprehensive; if your program is missing, we hope you'll add it to the list!
Best regards,
Mark Tribe
Department of Modern Culture and Media
Brown University
I Taught Myself Everything I Know: Autodidactism in New Media Art
Dates:
Sun Jan 29, 2006 00:00 - Mon Jan 23, 2006
I Taught Myself Everything I Know: Autodidactism in New Media Art
A panel discussion with Mary Flanagan, W. Bradford Paley, and Keiko Uenishi AKA o.blaat, moderated by Mark Tribe
American Folk Art Museum
45 West 53rd Street (between 5th and 6th)
New York, NY
10am, Sunday, January 29. Coffee provided!
$10 general; $5 members, seniors, students
Moderator Mark Tribe, an artist, curator, and educator whose interests lie at the intersection of emerging technologies and contemporary art, and panelists Mary Flanagan, W. Bradford Paley, and Keiko Uenishi AKA o.blaat, new media artists, will discuss the conceptual, aesthetic, and technological demands of the field. The conversation will examine the idea of what constitutes a self-taught new media artist, and whether this terminology applies to digital artwork being created today.
For more information, please contact Diana Schlesinger
A panel discussion with Mary Flanagan, W. Bradford Paley, and Keiko Uenishi AKA o.blaat, moderated by Mark Tribe
American Folk Art Museum
45 West 53rd Street (between 5th and 6th)
New York, NY
10am, Sunday, January 29. Coffee provided!
$10 general; $5 members, seniors, students
Moderator Mark Tribe, an artist, curator, and educator whose interests lie at the intersection of emerging technologies and contemporary art, and panelists Mary Flanagan, W. Bradford Paley, and Keiko Uenishi AKA o.blaat, new media artists, will discuss the conceptual, aesthetic, and technological demands of the field. The conversation will examine the idea of what constitutes a self-taught new media artist, and whether this terminology applies to digital artwork being created today.
For more information, please contact Diana Schlesinger
Tenure-track Faculty Position in Sculpture/Multi-Media at Brown University
Deadline:
Wed Dec 07, 2005 11:13
Please post or forward to interested parties
Announcement of Sculpture/Multi-Media
ASSISTANT PROFESSOR IN VISUAL ART
TENURE TRACK POSITION - Sculpture/Multi-Media
Position:Brown University Department of Visual Art seeks dynamic and energetic artist to teach sculpture at the undergraduate level.
Requirements:Applicants should have an earned MFA, and 3 years (full time equivalent) college level teaching beyond Graduate School and must be able to teach both Beginning and Advanced Sculpture. This candidate will sometimes teach a Foundation Drawing/2d 3d/Design course.
Qualified candidates must be well-versed in contemporary sculpture practice including installation, performance, video, and supportive digital applications as well as a wide range of experience in fabrication (wood, metal, mold making/plaster casting, plastics, or fiber, etc.). A strong exhibition record and knowledge of contemporary theory and practice is essential. Interest in developing interdisciplinary courses is a plus.
Starting Date:Appointment to begin September 1, 2006.
Application Procedure:Applicants should send paper copies of CV, letter of application, slide list, artist statement, teaching philosophy and 3 letters of recommendation, a portfolio of 10- 20 slides or CD/DVD as applicable (formatted for Mac) and/or website, and SASE to:
Chair, Sculpture Search
Box 1861
Visual Art Department
Brown University
Providence, RI 02912
Salary:Competitive and commensurate with qualifications and experience.
Deadline:To receive full consideration complete applications must be postmarked by: January 7, 2006.
Announcement of Sculpture/Multi-Media
ASSISTANT PROFESSOR IN VISUAL ART
TENURE TRACK POSITION - Sculpture/Multi-Media
Position:Brown University Department of Visual Art seeks dynamic and energetic artist to teach sculpture at the undergraduate level.
Requirements:Applicants should have an earned MFA, and 3 years (full time equivalent) college level teaching beyond Graduate School and must be able to teach both Beginning and Advanced Sculpture. This candidate will sometimes teach a Foundation Drawing/2d 3d/Design course.
Qualified candidates must be well-versed in contemporary sculpture practice including installation, performance, video, and supportive digital applications as well as a wide range of experience in fabrication (wood, metal, mold making/plaster casting, plastics, or fiber, etc.). A strong exhibition record and knowledge of contemporary theory and practice is essential. Interest in developing interdisciplinary courses is a plus.
Starting Date:Appointment to begin September 1, 2006.
Application Procedure:Applicants should send paper copies of CV, letter of application, slide list, artist statement, teaching philosophy and 3 letters of recommendation, a portfolio of 10- 20 slides or CD/DVD as applicable (formatted for Mac) and/or website, and SASE to:
Chair, Sculpture Search
Box 1861
Visual Art Department
Brown University
Providence, RI 02912
Salary:Competitive and commensurate with qualifications and experience.
Deadline:To receive full consideration complete applications must be postmarked by: January 7, 2006.
Call for Graduate Applications: Computing Culture Group @ MIT Media Lab
Deadline:
Thu Nov 17, 2005 15:09
Call for Graduate Applications
Computing Culture Group
Art/Technology/Politics
MIT Media Lab
The Computing Culture Group at the MIT Media Lab is an Art and Technology research group focused on embedding poetic and political considerations in the development of new technologies. Research projects have ranged from technologies to confront a changing U.S. Government (OpenGIA, txtMob) and right wing anti-immigrant fascist groups (Freedom Flies), to complications of gender and control in domestic appliances (Blendie), and techniques for creating electronic instruments in a post-oil apocalypse (Synth From Nothin'). Our mission is to refigure what engineering means, how it happens, and what it produces. Drawing on fields from the humanities, like Science and Technology Studies, we create new technologies that function as instances of material power, but also as exemplars of what future goals engineering should pursue. Our page may be found at [http://compcult.media.mit.edu/].
We are currently accepting applications to the Master’s in Media Arts and Sciences graduate program. The MAS is a two-year program, during which a student spends half their time on course work and the other half on their directed art research. Tuition is fully funded, and students receive a significant stipend to live on. The program and funding are open to students of any nationality.
Students may be trained in either art or science and/or engineering, but should show crossover. For instance, an art student should be an accomplished programmer, have machining skills, or be able to design and fabricate electronics. An engineering students should have done several art projects, worked with a professional artist, or shown their ability to author radical or unexpected technologies. More information on the MAS program may be found at [http://www.media.mit.edu/mas/#masters].
Information about the process is available at [http://www.media.mit.edu/mas/apply.html] and application forms may be obtained from the MIT Graduate Admissions office [http://web.mit.edu/admissions/www/]. Applicants must indicate on the application form (question #2) the department of Media Arts and Sciences -- we are a separate program and not part of another department at MIT. "Area of research interest" should indicate Chris Csikszentmihalyi (Computing Culture) as well as two other research groups. Application or admissions questions may be directed to Media Arts & Sciences (e-mail: mas@media.mit.edu, tel: (+1 617 253-5114).
Completed applications must be submitted by December 15th for the following Fall semester. The principal components of an application are: academic transcript(s), the applicant's statement of objectives, a portfolio, and three letters of recommendation. GREs are not required. International applicants are required to submit an official copy of their TOEFL scores to MIT. The MIT institution code for TOEFL scores is 3514. The Media Lab does not have its own department number. Scores should be sent to MIT Graduate Admissions, department code 99. The Program in Media, Arts & Sciences requires a minimum TOEFL score of 600 (paper-based) or 250 (computer-based).
Computing Culture also requires the submission of a portfolio of relevant work. Portfolios should be web-based, but DVD, CD, and other formats are accepted. Any additional materials should be sent to the MAS program, not directly to Chris Csikszentmihalyi.
Computing Culture Group
Art/Technology/Politics
MIT Media Lab
The Computing Culture Group at the MIT Media Lab is an Art and Technology research group focused on embedding poetic and political considerations in the development of new technologies. Research projects have ranged from technologies to confront a changing U.S. Government (OpenGIA, txtMob) and right wing anti-immigrant fascist groups (Freedom Flies), to complications of gender and control in domestic appliances (Blendie), and techniques for creating electronic instruments in a post-oil apocalypse (Synth From Nothin'). Our mission is to refigure what engineering means, how it happens, and what it produces. Drawing on fields from the humanities, like Science and Technology Studies, we create new technologies that function as instances of material power, but also as exemplars of what future goals engineering should pursue. Our page may be found at [http://compcult.media.mit.edu/].
We are currently accepting applications to the Master’s in Media Arts and Sciences graduate program. The MAS is a two-year program, during which a student spends half their time on course work and the other half on their directed art research. Tuition is fully funded, and students receive a significant stipend to live on. The program and funding are open to students of any nationality.
Students may be trained in either art or science and/or engineering, but should show crossover. For instance, an art student should be an accomplished programmer, have machining skills, or be able to design and fabricate electronics. An engineering students should have done several art projects, worked with a professional artist, or shown their ability to author radical or unexpected technologies. More information on the MAS program may be found at [http://www.media.mit.edu/mas/#masters].
Information about the process is available at [http://www.media.mit.edu/mas/apply.html] and application forms may be obtained from the MIT Graduate Admissions office [http://web.mit.edu/admissions/www/]. Applicants must indicate on the application form (question #2) the department of Media Arts and Sciences -- we are a separate program and not part of another department at MIT. "Area of research interest" should indicate Chris Csikszentmihalyi (Computing Culture) as well as two other research groups. Application or admissions questions may be directed to Media Arts & Sciences (e-mail: mas@media.mit.edu, tel: (+1 617 253-5114).
Completed applications must be submitted by December 15th for the following Fall semester. The principal components of an application are: academic transcript(s), the applicant's statement of objectives, a portfolio, and three letters of recommendation. GREs are not required. International applicants are required to submit an official copy of their TOEFL scores to MIT. The MIT institution code for TOEFL scores is 3514. The Media Lab does not have its own department number. Scores should be sent to MIT Graduate Admissions, department code 99. The Program in Media, Arts & Sciences requires a minimum TOEFL score of 600 (paper-based) or 250 (computer-based).
Computing Culture also requires the submission of a portfolio of relevant work. Portfolios should be web-based, but DVD, CD, and other formats are accepted. Any additional materials should be sent to the MAS program, not directly to Chris Csikszentmihalyi.
*Anyone Can Edit*: Understanding the Produser, a lecture by Axel Bruns
Dates:
Wed Oct 12, 2005 00:00 - Fri Oct 07, 2005
Please Fwd/Post:
*Anyone Can Edit*: Understanding the Produser
Dr. Axel Bruns
Creative Industries Faculty, Queensland University of Technology
Wednesday, Oct. 12th, 5-7pm
135 Thayer Street, Room 102
Brown University
Providence, Rhode Island
Recent decades have seen the dual trend of growing digitization of content, and of increasing availability of sophisticated tools for creating, manipulating, publishing, and disseminating that content. Advertising campaigns openly encourage users to ’Rip. Mix. Burn.’ and to share the fruits of their individual or collaborative efforts with the rest of the world. The Internet has smashed the distribution bottleneck of older media, and the dominance of the traditional producer > publisher > distributor value chain has weakened. Marshall McLuhan’s dictum ’everyone’s a publisher’ is on the verge of becoming a reality * and more to the point, as the Wikipedia proudly proclaims, ’anyone can edit.’
The effect of these changes is not simply more (and more informed) consumption, however * we are not turning into Alvin Toffler’s ’prosumers’: consumers with an almost professional level of knowledge about what they consume, but consumers nonetheless. Instead, the networked and hyper-mediated persona that emerges is a very different beast: users are becoming active producers of content in a variety of open and collaborative envi-ronments. Whether it is as members of the distributed development and testing community for open source software projects, as authors, editors, and fact-checkers for one of the multi-lingual Wikipedia sites, as reporters, commentators, and pundits in open news publications ranging from South Korean citizen news site OhmyNews to tech-nerd haven Slashdot, or as global explorers and annotators for Google Earth, they are no longer producers or consumers, publishers or audiences, but both at the same time. They are not prosumers, but user-producers: produsers.
While born perhaps out of a collaborative, open source ideology, produsing is now increasingly recognized as both a challenge and an opportunity by business and governments alike. So who are these produsers and how will they fare in the light of increasing business and government involvement? As economic interests begin to explore ways to generate revenue from produsage, will they undermine its collaborative foundations, and will they reintroduce a regime of stricter intellectual property licensing? Or can the grassroots movement of produsers effect lasting change in our engagement with content, establishing a solid foothold for creative commons and other alternative IP licensing systems, and developing an equitable approach to relationships between the produser community and commercial partners?
Presented by the Department of Modern Culture and Media, Brown University.
For more information, please contact Mark Tribe


*Anyone Can Edit*: Understanding the Produser
Dr. Axel Bruns
Creative Industries Faculty, Queensland University of Technology
Wednesday, Oct. 12th, 5-7pm
135 Thayer Street, Room 102
Brown University
Providence, Rhode Island
Recent decades have seen the dual trend of growing digitization of content, and of increasing availability of sophisticated tools for creating, manipulating, publishing, and disseminating that content. Advertising campaigns openly encourage users to ’Rip. Mix. Burn.’ and to share the fruits of their individual or collaborative efforts with the rest of the world. The Internet has smashed the distribution bottleneck of older media, and the dominance of the traditional producer > publisher > distributor value chain has weakened. Marshall McLuhan’s dictum ’everyone’s a publisher’ is on the verge of becoming a reality * and more to the point, as the Wikipedia proudly proclaims, ’anyone can edit.’
The effect of these changes is not simply more (and more informed) consumption, however * we are not turning into Alvin Toffler’s ’prosumers’: consumers with an almost professional level of knowledge about what they consume, but consumers nonetheless. Instead, the networked and hyper-mediated persona that emerges is a very different beast: users are becoming active producers of content in a variety of open and collaborative envi-ronments. Whether it is as members of the distributed development and testing community for open source software projects, as authors, editors, and fact-checkers for one of the multi-lingual Wikipedia sites, as reporters, commentators, and pundits in open news publications ranging from South Korean citizen news site OhmyNews to tech-nerd haven Slashdot, or as global explorers and annotators for Google Earth, they are no longer producers or consumers, publishers or audiences, but both at the same time. They are not prosumers, but user-producers: produsers.
While born perhaps out of a collaborative, open source ideology, produsing is now increasingly recognized as both a challenge and an opportunity by business and governments alike. So who are these produsers and how will they fare in the light of increasing business and government involvement? As economic interests begin to explore ways to generate revenue from produsage, will they undermine its collaborative foundations, and will they reintroduce a regime of stricter intellectual property licensing? Or can the grassroots movement of produsers effect lasting change in our engagement with content, establishing a solid foothold for creative commons and other alternative IP licensing systems, and developing an equitable approach to relationships between the produser community and commercial partners?
Presented by the Department of Modern Culture and Media, Brown University.
For more information, please contact Mark Tribe


