Seamlessly Mobile?: Mobile Communication @ a Crossroads
2011 International Communication Association (ICA) Pre-conference Workshop
May 25-26, 2011, Boston MA, USA
Mobile phones are becoming increasingly adept as ubiquitous tools that serve purposes beyond that of mere voice communication. How we conceptualize mobile -mediated communication alongside computer-mediated communication is less distinct as access to the Internet becomes more integrated into mobile phone devices. Are people moving toward a more seamless integration of mobile and computer media as supporting their communication needs? Is the integration of the Internet into mobile phones shifting how people conceptualize what it means to be “online” vs. “offline”? Does this shift in mobile communication bear any social consequences?
This preconference will provide a venue for innovative scholars from around the world who are doing research in the area of mobile communication. It will give them a chance to gather and discuss the challenges that this shift in the use of mobile phones poses not only for the users but for those doing research on mobile communication. We welcome abstracts that will focus on the following areas related to these provocative questions:
• Patterns of mobile phone use and differences related to gender, age, lifestyle, culture, and/or access
• Ethics and social responsibility of use, shifts in social expectations of remote vs. co-present others
• Threats to privacy and issues of surveillance as they relate to technological innovations like GPS & location devices.
• Research design and methodological challenges, including finding venues for one’s work
• The expansion of online and offline social networking and its demands
• Technology, design, and accessibility issues/challenges/expansion and development (i.e. emerging markets)
• Perceptions of use and imagining use beyond current capabilities (i.e. mobile fantasies, mobile art, mobile personalities, mobile witnessing/activism)
The preconference will be comprised of formal panel presentations, opportunities for informal discussions, and time for networking. In addition there may be invited performances of innovative artists whose work focuses on mobile communication as it relates to the themes of this preconference.
Abstracts of no more than 500 words are due by November 15, 2010. Please send them along with your name and contact information to Katie.cumiskey /at/ csi.cuny.edu . Accepted abstracts will be notified by December 1, 2010. Final papers will be due April 1, 2011.
Dr. Kathleen M. Cumiskey, Associate Professor, Psychology Department, Director of Social Media Lab, College of Staten Island/CUNY, Staten Island, NY USA; Katie.cumiskey /at/ csi.cuny.edu
Dr. Richard Ling, Head of Group Digital Culture and Mobile Communication,
IT University of Copenhagen, Copenhagen S, Denmark; rili /at/ itu.dk
Dr. Scott Campbell, Assistant Professor and Pohs Fellow of Telecommunications, Department of Communication Studies, University of Michigan, Ann Arbor, MI USA; swcamp /at/ umich.edu
Dr. Lee Humphreys, Assistant Professor, Department of Communication, Cornell University, Ithaca, NY, USA; lmh13 /at/ cornell.edu
Dr. Yi Fan Chen, Assistant Professor, Department of Communication and Theater Arts, Old Dominion University, Norfolk, VA, USA; Y5Chen /at/ odu.edu
FACULTY OF HUMANITIES, DEVELOPMENT AND SOCIAL SCIENCES
SCHOOL OF LITERARY STUDIES, MEDIA & CREATIVE ARTS
The School of Literary Studies, Media and Creative Arts on the Pietermaritzburg Campus has
identified digital media as a significant growth area and is in the process of developing an
undergraduate and postgraduate programme that draws on the strengths of both the Centre
for Visual Arts and the discipline of Media & Cultural Studies.
We welcome applications from diverse, energetic and talented individuals who are committed
to assisting us consolidate and extend this programme. The successful applicant will be
expected to help us teach and further develop the undergraduate programme, to supervise
postgraduate work, to contribute to our creative research output, and to participate in
community engagement programmes.
• A masters degree in Fine Arts, Digital Arts or a related discipline.
• Demonstrated production skills in two of the following fields: Animation (preferably 3D or
Flash); video production; multimedia art.
• A good theoretical understanding of digital media;
• Effective communication and interpersonal skills.
o Teaching or tutoring experience;
o Industry experience;
o Skills in digital photography;
o Awareness of contemporary art practice and theory.
The remuneration package offered includes benefits and will be dependent on the
qualifications and/or experience of the successful applicant.
The closing date for receipt of applications is 04 December 2009. The University,
however, reserves the right in special circumstances to accept late applications or to
extend the above date in order to facilitate further searches.
Applicants are required to complete the relevant application form which is available
on the Vacancies page of the University website at www.ukzn.ac.za . Completed
forms may be sent to Recruitment Centre, Human Resources Shared Services,
University of KwaZulu-Natal, Westville Campus, Private Bag X54001, Durban, 4000
or fax:+27(0)86 516 8384 or email: email@example.com. Please state the
advert reference number in your subject line. We prefer to receive applications by email
For more information, interested parties should contact Michelle Stewart, in the Fine Arts Dept at UKZN - Stewartm2@ukzn.ac.za.
A few days ago I posted 10 things I learned in the process of successfully negotiating a CC license with a book publisher (http://www.mandiberg.com/2009/01/12/howto-negotiate-a-creative-commons-license-ten-steps) This contract was for xtine burrough and my co-authored Digital Foundations (http://www.amazon.com/Digital-Foundations-Intro-Design-Creative/dp/0321555988), which takes the Bauhaus exercises and translates them into software based exercises. Yesterday Bob Chao posted it on CNET Taiwan fully translated. And then Po-chiang Chao put it up on the Taiwanese CC site http://creativecommons.org.tw/blog/archives/000081.html.
This got me really excited about a HOWTO CC Translation Project. I have contacted CC's Fred Benenson who is excited about it too. So, here's the procedure:
1 Read the original post http://www.mandiberg.com/2009/01/12/howto-negotiate-a-creative-commons-license-ten-steps/
2 Translate that post into one of the many many CC jurisdictional languages http://creativecommons.org/international
3 Post that translation to your blog, and email me the URL (michael - mandiberg - com); if you don't have a blog, you can email it to me
4 I will forward those links to Fred at CC, who will make sure they get to the person in charge of that language
5 I will post links to translations on my blog as they come in
6 We will make it easier to negotiate for Free Culture!
The book takes the Bauhaus basic course exercises and formal principles and teaches them through exercises in the Adobe Creative Suite. We brought in extensive historical examples from the public domain, and contemporary Creative Commons licensed work.
Design maven Ellen Lupton has called the book "engaging" and "ambitious," Mark Tribe has called the book "groundbreaking," and all our peers who see it call it "the book we've all be waiting for!"
We negotiated a CC license (a first for AIGA/New Riders/Peachpit & Pearson), and are making good on that translating the book to Open Source apps Feb 6-8. Right before the O'Reilly NYC conference, a bunch of http://en.FLOSSmanuals.net geeks are going to come to Eyebeam and translate the exercises into GIMP, Inkscape, etc...
The RSVP for the Book Sprint is here: http://www.facebook.com/event.php?eid=56609462816
Senior Fellow // Eyebeam
Asst Prof // CSI/CUNY
Praise for Digital Foundations:
"This ambitious book teaches visual thinking and software skills together. The text leads readers step-by-step through the process of creating dynamic images using a range of powerful applications. The engaging, experimental exercises take this project well beyond the typical software guide."
ELLEN LUPTON, co-author of Graphic Design: The New Basics
"This groundbreaking text applies the classical Modernist pedagogy of the Bauhaus to digital media. It's a must-have for every art student, design student, and new media maven."
MARK TRIBE, Brown University, Founder of Rhizome.org
"Everyone should use this book: it really combines design principles, software tutorials and Bauhaus history. And it's open source!"
TIFFANY HOLMES, Associate Professor Chair, Department of Art and Technology Studies, The School of the Art Institute of Chicago
The department strongly values its interdisciplinary approach, combining theory and practice in all its pedagogical, research and creative pursuits. It offers three degrees: BA in Cinema Studies, BS in Communications and MA in Cinema and Media Studies. Teaching opportunities include histories and theories of journalism, web/television news production, and a wide range of media writing courses. Our Masters program offers faculty opportunities for seminar teaching and working with students on research and/or production theses.
The position is open until filled with review of applicants to begin February 1, 2009. Salary range: $55,938 - $71,974 commensurate with experience. Send a cover letter, curriculum vita, three letters of recommendation, a writing sample, sample syllabi and, if available, teaching evaluations to Professor Cindy Wong, Chair, Multiplatform Journalism Search, Department of Media Culture, College of Staten Island, 2800 Victory Blvd., Room 1P-226, Staten Island, NY 10314. The College of Staten Island is an EEO/AA/IRCA/ADA Employer.
Alessandro Ludovico reviewed The Social Media Reader for Neural, calling the book:
a well-curated anthology which portrays social networks as they are: as an incredibly popular phenomenon of contemporary communication whose rapid success in some respects epitomizes the precariousness and limitless of online media in general. Social media are nowadays considered absolutely essential for any online business (and personal reputation too) but at the same time there’s an embarrassing lack of tools and agreed strategies for living (and surviving) in these specific environments, much less a more general objective evaluation of their huge impact on changes to the perception of reality.
I am honored to be included in Linda Weintraub’s new book TO LIFE! Eco Art In Pursuit of a Sustainable Planet (UC Press). The book has chapters on each of the artists/collectives; her chapter on my work explores Oil Standard and The Real Costs. Weintraub has created an entire website that includes useful teaching guides for use in the classroom. From the description:
To Life! Eco Art in Pursuit of a Sustainable Planet documents the burgeoning eco art movement from A to Z, presenting a panorama of artistic responses to environmental concerns, from Ant Farm’s anti-consumer antics in the 1970s to Marina Zurkow’s 2007 animation that anticipates the havoc wreaked upon the planet by global warming. This text is the first international survey of twentieth and twenty-first-century artists who are transforming the global challenges facing humanity and the Earth’s diverse living systems. Their pioneering explorations are situated at today’s cultural, scientific, economic, spiritual, and ethical frontiers. The text guides students of art, design, environmental studies, and interdisciplinary studies to integrate environmental awareness, responsibility, and activism into their professional and personal lives.
Edward A. Shanken has published a new essay entitled “Investigatory art: Real-time systems and network culture” in which he links circa 1970 work of Hans Haacke and Jack Burnham to new media work from the mid 90′s to the present. He has picked some of my favorite pieces by Heath Bunting, Josh On, UBERMORGEN et al, and Beatrice da Costa, as well as my own work. Shanken writes:
Mandiberg’s Real Costs (2007) gives real-time feedback on the environmental impact of travel; it consists of a Firefox plug-in that anyone can download and install in their browser. When searching for flights from commercial travel websites such as Expedia.com, the plug-in inserts Co2 emissions information into the results. When looking up airfares the user retrieves not only the price in dollars but also the ‘real cost’ in terms of carbon emissions for the journey by plane, car, bus, and train, as well as the number of tree-years required to offset the pollution and the annual per capita carbon emissions by country.
By providing the user with instantaneous feedback about the environmental consequences of their travel choices, Real Costs harnesses the potential of real-time systems to, in Burnham’s words, ‘gather and process data … in time to effect future events within those environments’. Indeed, similar programs have been adopted by municipal public transportation systems, such as the HKL in Helsinki. In this example, an artist’s innovative work not only creates awareness in an art context but also anticipates and provides a model for similar applications in a larger social context.
The Social Media Reader is now available as a Creative Commons licensed PDF on Archive.org. The book is CC BY-SA-NC licensed; all but one of the chapters are CC BY-SA or CC BY. Archive.org also hosts an EPUB and Kindle version as well.
The Social Media Reader (ed. Michael Mandiberg) is a collection of essays exploring the rise of participatory culture, and the ensuing blurring of the boundaries between creators and audiences. The book features key essays from the major authors in the field, including Chris Anderson, Yochai Benkler, danah boyd, Henry Jenkins, Lawrence Lessig, Tim O’Reilly, Jay Rosen, Clay Shirky, and Siva Vaidhyanathan.
What are the radical possibilities of open access publishing? This panel will bring together a number of scholars who have published online recently to consider how university presses are either facilitating or impeding efforts by academics to explore new forms of cultural production and media activism unleashed by movements such as Occupy Wall Street. Join us to explore these questions and to develop new strategies and models for contemporary academic publication.
Mon Nov 26, 6:30pm | The Skylight Room (9100) at CUNY Graduate Center
Co-sponsored by The Digital Studies/Digital Humanities Seminar
AfterSherrieLevine is included in Fake It! (Limited Edition), an exhibition at Fabrica de Pensule in Cluj Romania, curated by Horea Avram. They are including a computer with a printing and framing station, so you can print out, sign and frame your own image from the site.
From Avram’s curatorial statement:
The “sources” to which the works of this exhibition make reference are appropriated, diverted, plagiarized, or parodied with various visual and tactical means: from video to object, to photography, performance and online intervention. In this sense, the idea of fake is seen not only as a working instrument confined to the art field but one that addresses directly the larger context of culture, society and politics. Therefore, the imperative of the title points precisely to the evident actuality and implicit diversity of such a theme.
The exhibition runs from October 5th through November 20th, 2012.
As part of Art, Environment, Action! at Sheila C. Johnson Design Center at Parsons, I will be giving a 3 day workshop on making visual contributions to Wikipedia. Building on the work of Wikipedia Illustrated and others, the goal will be to use visual language to explain complex concepts without over simplifying them. This could range from the factual, such as diagrams of biological or chemical phenomena, maps of environmental issues/disasters, or charts, to the poetic or expressive. Artists, scientists, illustrators, environmental historians, designers, activists, and Wikipedians are invited to this collaborative workshop. No knowledge of Wikipedia editing is required. Participants should bring relevant materials, including but not limited to computers, sketchbooks, and thinking caps.
For more info, or to register, please visit the workshop page.
Art, Environment, Action! is a creative laboratory that brings together 16 internationally renowned artists/artist collectives and designers to explore art as, and in, environmental action. Over 11 weeks, the gallery will function as an active learning environment and a lively locus of exchange on ecological issues through movement, media, visual and performance art, and design.
Participating artists include: Beehive Design Collective; Stefani Bardin, Toby Heys, and Siddharth Ramakrishnan; Beatriz da Costa; Ecoarttech; Futurefarmers; Michael Mandiberg; Jennifer Monson/iLAND; Beverly Naidus; Public Laboratory for Open Technology and Science; Red 76; Stephanie Rothenberg; Jill Sigman; Trade School; and Tattfoo Tan.
The New York Arts Practicum is midway through, and going really well. The 10 participants are having productive conversations with artists and curators, working in their mentors’ studios, and making work for critique. We are meeting Tuesday evenings for Critique/Seminar, and Friday all day for site visits. The goal of the program is for the participants to bridge the gap between scholastic artmaking, and a being an artist in the world. In bridging this gap, they experience the stresses and rewards of sustaining a creative life, and begin to learn how to make work without the armatures of school proping you up.
During Critique/Seminar, Trevor Paglen and Penelope Umbrico showed us their new work, David Horvitz lead a Life. Drawing. session at Zuccotti Park, Sara Greenberger Rafferty led an equisite corpse workshop, and Jen Liu and Ricardo Miranda Zuniga were guest critics. We have had site visits with Amanda McDonald Crowley, Lize Mogel, Magda Sawon, Steve Sacks, Artie Vierkant, Andy Bichlbaum of The Yes Men (above), Jill Magid, Mark Tribe, and Brody Condon. We made trips to MoMA, Chelsea galleries, The Met, and Christian Marclay’s The Clock. And we are only halfway through!
New York Arts Practicum Participants surround police in David Horvitz’s Life. Drawing.in Zuccotti Park.
Lize Mogel discusses the intersection of maps and art, and working as an artist outside of the art market.
The book launches went very well, with great presentations at MoMA/PS1 from Patrick Davison and Brad Troemel (Brad made a video of his talk) and at Powerhouse Arena with David Horvitz and Ceci Moss.
NYU Press did an interview with me about the book, which is posted in several video files on their Vimeo.
Also, it is up on Project Muse. So you can download full text PDFs if you have the proper University affiliation (ironically, CUNY doesn’t cut it, so I don’t have access.)
I am in a downloadable group exhibition entitled “you and I may not hurry it with a thousand poems my darling but nobody will stop it With all the Policemen in The World.zip.” Released June 1st, the exhibition is a bouquet of spring flowers to broadcast far and wide.
This exhibition may be freely downloaded, printed, exhibited, published, copied, etc… from this link: http://www.sendspace.com/file/qxr6bo . There are no installation instructions. The recommended print sizes are listed in the works list PDF. The zipped folder will will remain available as long as the sendspace link is active. They will not be re-uploaded.
With: Anjum Asharia and Marisa Jahn, BFFA3AE, Claudia Sola, David Horvitz, Hans Aarsman, Jon Rafman, Kristina Lee Podesva, Marysia Lewandowska, Michael Mandiberg, Mishka Henner, Natalie Häusler, Vlatka Horvat