As an integral part of an exciting new initiative funded by The Andrew W. Mellon Foundation, the Davis Museum at Wellesley College seeks an innovative, energetic, and ambitious New Media Curator-Lecturer at the Associate level. Located at the Davis, this position is charged primarily with curatorial duties (75%); and also has lecturing responsibilities in the Art Department at Wellesley College (25%). A three-year appointment, the New Media Curator-Lecturer is an integrated part of the Davis staff, as well as an active participant in the Art Department; s/he reports to the Assistant Director for Curatorial Affairs / Senior Curator of Collections at the Davis.
Over three years, the New Media Art curator-lecturer’s duties will include: research and development, the staging of interventions and exhibitions, strategic collections assessment and acquisition planning, and programming at the Davis. S/he will undertake a series of interventions to situate New Media Art within the Davis and beyond the Museum walls, including unexpected sites around campus; will produce a collections assessment and new media acquisitions plan for the Davis; and will propose, undertake, and culminate the Initiative with a major exhibition and web publication. As lecturer in the Art Department, s/he will in the first year of the appointment manage and populate a year-long New Media Art seminar of readings and guest talks designed for faculty with additional sessions for students; and in subsequent years will teach two upper level student courses on New Media Art.
This Saturday we will hold the first of two animation workshops at the IFF. We have long been interested in the inner life of objects. In this open-ended exploration framed by our Making Spaceexhibition, we aim to discover how cubes can dance. We will use business card origami cubes as our basic pixel to create a short animated film called The Inner Life of Cubes. Inspired by the pioneering work of Dr. Jeannine Mosely, creator of the new field of business card origami, we will add to this novel art form the dimension of time. During the workshop we need volunteers to fold cubes and help art direct. This will be a collaborative effort and all folders will be credited on the resulting film.
Please RSVP to email@example.com.
Saturday, June 1
3:00 - 6:00pm
@ the IFF
8 Origami Octahedra form by Jacob Dotson.
Sensate and The Bridge PAI Presents:
Sounds Teach Us Things: A Night of Listening and Community Dialogue Wednesday April 10, 2013 – 7PM, Free
The Bridge Progressive Arts Initiative
Sounds affect us physically and culturally and, if we listen, sounds
can teach us things about ourselves in the world. This evening of
listening will feature the work of four scholar/artists (Nelly Kate,
Wendy Hsu, Ernst Karel, and Victor Szabo). Each piece will be followed
by a brief open discussion with the attendees moderated by Erik
By Nelly Kate
Topographic Pockets : How do the interstitial spaces within the
cityscape frame our perspective of cultural identity and collective
memory? Experienced through maps, soundscapes, illustrations, and
rudimentary topographic models, this is an exploration of forsaken
space in America. This is a work-in-progress, so we will listen to
the very first of a forthcoming series of ’sites.’ The piece will be
a series of field recordings juxtaposed against corollary soundscape
compositions all of which will have visual elements to complement the
experience of the space. Dialogue about the relevance and impression
of the work will be opened after seeing and listening.
A Song for Uncle Wen
By Wendy Hsu
“A Song for Uncle Wen” is an elegy, a personal and lyrical piece about
my uncle who passed recently. I’ve combined a tribute narrative that I
wrote about him — detailing his contribution to a community of people
in rural Virginia and his values of communalism and anti-capitalism –
with a rehearsal recording of Taiwanese enka about wandering and loss
of love. The narrative is personal but its symbolism adds to the
texture of social life in Asian America.
By Ernst Karel
An investigation of sonic simultaneities and spatial overlaps in Hindu
observances in the temple town of Chidambaram, Tamilnadu,
June-September 1996. Composed in 2013 without layering or overlapping
of recordings in postproduction.
Hearing/Thinking Ambient Music
By Victor Szabo
What does it mean when a musician describes their music as “ambient”?
What makes this music unique among other noises, sounds, and musics we
might hear as “ambient”? What is the appeal of music in this genre?
To frame these questions, selections from ambient recordings by Brian
Eno, William Basinski, and others will permeate the evening’s events.
An interactive dialogue will follow in an attempt to engage the
perplexing questions posed by these immersive sound-worlds.
Sensate is a peer-reviewed, open-access, media-based journal for the
creation, presentation, and critique of innovative projects in the
arts, humanities, and sciences. Our mission is to provide a scholarly
and artistic forum for experiments in critical media practices that
expand academic discourse by taking us beyond the margins of the
printed page. Fundamental to this expansion is a re-imagining of what
constitutes a work of scholarship or art. To that end, Sensate accepts
and encourages non-traditional submissions such as audiovisual
ethnographic research, multimedia mash-ups, experiments in media
archaeology, time-based media, participatory media projects, or
digitized collections of archival media, artifacts, or maps.
Erik DeLuca is a PhD candidate in Music Composition and Computer
Technologies at the University of Virginia. His work for chamber
ensemble, sound installation, and recorded document has emerged from
experiential fieldwork as an Artist-In-Residence in the U.S. National
Park System. His composition [in], supported by Miami-Dade Cultural
Affairs and released by Everglade Records, was noted as being a “vast
symphonic work” by Alvin Lucier. Erik is currently working on a
chamber orchestra piece commissioned by The Fairbanks Summer Arts
Festival and Denali National Park. Erik volunteers for the music
committee at The Bridge Progressive Arts Initiative in Charlottesville
and works on the media and outreach team for Sensate: A Journal for
Experiments in Critical Media Practice.
Wendy Hsu is an ethnographer, musician, and community arts organizer
who engages with multimodal research and performance practices
informed by music from continental to diasporic Asia. She has written
about Taqwacore, Yoko Ono, Hedwig and the Angry Inch, and Asian
American indie rock. Her latest object of fascination is the
postcolonial itinerant music-culture in Taiwan known as Nakashi. As a
postdoctoral fellow in the Center for Digital Learning + Research at
Occidental College, she researches, teaches, and experiments with
digital pedagogy and ethnographic methodology. And she currently plays
in two bands, Dzian! and Bitter Party.
Ernst Karel makes experimental nonfiction sound works and
electroacoustic music. His recent projects are edited/composed using
unprocessed location recordings; in performance he often combines
location recordings with analog electronics to create pieces which
move between the abstract and the documentary. Nonfiction vilms on
which he has done sound work include Sweetgrass, Foreign Parts, Lunch
Break, People’s Park, Leviathan, and the upcoming Single Stream. He
currently manages the Sensory Ethnography Lab and the Film Study
Center at Harvard University, where as Lecturer on Anthropology, he
teaches a class in Sonic Ethnography.
Nelly Kate’s emerging career as a sound artist is shaped by her
experimental pop compositions and traces of an early brush with
architecture. The lyrical + minimal music she writes has led her to
tour extensively and to share the stage with artists such as
Tune-Yards, Pattern Is Movement, and DIIV. Her first analog
recordings were released alongside a 75-page book of illustrations and
writings. The 50 illustrations appeared in a solo exhibit at Gallery
5 on First Friday in Richmond, VA. Nelly’s collaboration with Dave
Watkins on an A/V installation for InLight 2012, was honored with the
People’s Choice Award.
Victor Szabo is a Ph.D candidate in the University of Virginia’s
Critical & Comparative Studies Program in Music. His research
explores the aesthetics of popular and experimental music in the U.S.
and U.K., and he is currently working on a dissertation on the history
and reception of ambient music recordings. The Cleveland native and
alum of the University of Michigan is also a multi-instrumentalist and
singer, as well as an electronic music DJ on WTJU-FM. He would like
to spin records at your next sleepover.
Broken City Lab is excited to announce a call for submissions to Neighbourhood Spaces: Windsor & Region Artist in Residence (AIR) Program. Neighbourhood Spaces is a new AIR Program that will locate ten chosen artists in community sites throughout Windsor and Essex County. The program is a partnership of “the Collaborative”: Arts Council Windsor & Region (ACWR), Broken City Lab (BCL) and The City of Windsor.
Neighbourhood Spaces (NS) is now accepting applications from Canadian artists of all disciplines including visual, performing, literary, music, interdisciplinary and media arts.
Overview of the Residency
Artists will be embedded in community sites such as parks, nature
reserves, libraries, health or community centres. These sites will
provide a “home base” for each artist to work during their residency,
while also allowing the artist to take on diverse roles, engaging with
community members in various ways to animate, explore and inspire the
specific stories, curiosities, challenges and triumphs of the local
community. Please see the Online Application Form for a list of
potential neighbourhood sites and communities in Windsor – Essex
County. Please note that NS cannot guarantee that your ideal community
site will be available. However, we will work with selected artists to
place them with a neighbourhood site that is the best match based on
Residencies will begin in summer 2013 and be staggered throughout the
year, concluding in August 2014.
There is no application or residency fee. Each artist will receive
$4750, which includes an artist fee and funding to assist in covering
travel, housing (for the duration of the residency), material and per
diem expenses. While housing is not provided, NS is available to
assist artists in finding accommodations. A final exhibition and
symposium will be held in the fall of 2014 and an online publication
will be created documenting the program.
The Program Coordinator will serve as a liaison between the artists
and community site and will be available to assist in documenting
work, promoting events and connecting to local resources, including
organizations, artists, and volunteers.
For More Information, Contact:
Neighbourhood Spaces: Windsor & Region Artist in Residence Program
image source: here
“S is for Sensorial”
March 30, 13h - 16 h
The Sensory City workshop at CCA includes a Roundtable (led by David Howes), a Touchwalk (led by Martha Radice) and a Tastewalk (led by David Szanto)
When: Saturday, March 30, 13h00
Where: Canadian Centre for Architecture, 1920 Baile Street, Montreal
Join us for a colloquium and guided tour that address how social scientists use their senses to investigate the city. Rediscover the often overlooked sensory environment of Montreal with its varied stone textures and distinctive soundmarks. A roundtable held from 1 to 2:30 pm will be led by David Howes, Martha Radice and David Szanto from Concordia University’s Centre for Sensory Studies.
Following the roundtable, from 3 to 4:30 pm, we invite you to join us on one of two guided walks around the CCA. Experience Montréal with Martha Radice and explore your sense of touch. The tour will be held in English. Or join the tour in French with David Szanto and explore the connections between taste and place. We will discuss whether the neighborhood around the CCA has a specific terroir.
Please reserve your space at 514-939-7026. This program is part of ABC : MTL, an open-source initiative at the CCAthat maps contemporary Montréal in a diversity of ways and media. A series of public programs accompanies the exhibition.
Editors: Nuno Barradas Jorge, Tiago de Luca
Over the last decade, a cinematic trend characterized by aesthetic minimalism and slow tempo has made its mark on the world cinema map. Although directors such as Carlos Reygadas, Tsai Ming-liang, Béla Tarr, Pedro Costa and Lisandro Alonso, among others, do not pertain to a cohesive film movement, their films have been largely subsumed under the term ‘Slow Cinema’.
And yet, what exactly is Slow Cinema? While its presence in international film festivals continues to gain prominence worldwide, the term has too often been examined within the framework of a binary model that simply places it against the ‘intensified’ Hollywood style (Bordwell). With a view to rethinking its validity beyond dual systems and reductive binarisms (Nagib), this collection seeks to reposition Slow Cinema in a more expansive discursive and theoretical terrain. How can we productively understand this cinematic expression as inserted within diverse local, historical and (inter)cultural contexts, yet simultaneously as a response to wider industrial, social and even geopolitical forces at play?
For one thing, the emergence of Slow Cinema - or rather ‘slow cinemas’ - would seem to coincide in time with other cultural movements of capitalist resistance such as ‘slow food’, ‘slow travel’ and ‘slow media’. On the other hand, as far as cinema is concerned slow filmic traditions arguably stretch way back in time (European modernism, structural cinema, etc.), and this new trend seems to restore, as well as radicalize, tenets historically associated with cinematic realism (elliptical storytelling, non-professional actors, the long take, etc.). That a renewed phenomenological interest in materiality and duration should emerge at the moment the digital threatens to obliterate film’s link with physical reality might similarly suggest a resistance to simulation processes in our information- and stimuli-saturated era.
The edited anthology thus seeks to examine this cinematic phenomenon in its multiple facets and in the present context of film as a rapidly changing technological and institutional practice. It aims to offer a global overview of this trend and map out how these cinemas interrelate on technical, aesthetic and political levels, while at the same time being wary of treating them as an ossified and undifferentiated corpus. The editors particularly welcome in-depth case studies that aim to contextualize this term within local and international (cinematic or otherwise) traditions.
Topics may include, but are not limited to:
Please send a short abstract (300 words) with a brief chapter outline to Nuno Barradas Jorge (firstname.lastname@example.org) or Tiago de Luca (T.De-Luca@liverpool.ac.uk) by 31 March 2013.
This volume was solicited by Edinburgh University Press, for the Traditions in World Cinema series. Contributors are expected to submit the completed essays by 31 January 2014.
EDIT: Deadline extended to April 19, 2013.
We are currently seeking contributions to an edited collection on gestural gaming entitled Gaming Beyond Screens. In recent years there has been a surge of interest in digital games, platforms, and peripherals that employ gestural technologies. The Nintendo Wii, Rock Band, and Kinect are just some of the most popular examples in a long list of games and gaming devices that shift our attention away from the screen and towards bodies in motion. The phenomenon of gestural gaming raises a number of pressing questions for both academics and designers. For example, what are the implications of this shift in attention and how might it impact the conceptualization of interactivity and play? How can we theorize gestural gaming as an embodied, material, and social phenomenon? Where does gestural gaming intersect with other forms of physical activity, culture, and play? By treating gesture, and gestural gaming in particular, as an open-ended, generative, and multifaceted phenomenon, we aim to create a dialogue between theory and design that resists reducing gesture to any one of its many components. At the same time, we hope to provide valuable insight into the ontological and experiential space between gestural bodies and technologies.
Gaming Beyond Screens will incorporate a range of different approaches to gesture. These approaches include, but are not limited to, gesture as a material, embodied event, gesture as a socially constructed form of signification, and gesture as a personally, politically, and socially transformative act. The first instance is focused upon the material conditions and designed parameters that give rise to gestures, as well as the physical qualities of those gestures. The second primarily views gesture as emerging from the interplay of social practices, personal histories, and the cultural weight of moving bodies and technologies. The third investigates the potential of gesture to transcend or break down existing boundaries, creating moments of resistance and metamorphosis. These and other approaches may intertwine at various points throughout the collection, highlighting areas of intersection and overlap between different disciplines and fields of practice.
Below is a list of potential themes or topics of discussion:
- making space for gestural games
- gesture as ephemera
- moving and playing together
- historical bodies, gestures, and games
- you are the controller: marketing gestural games
- gestural technologies and fantasies of freedom and control
- the messiness of materiality and the corporeal
- training the body: gesture, rhythm, and routine
- the theory and design of experimental interfaces, environments, and digital games
- games as performance, performance as games
- designing for gestural excess
- bodies in flow: immersion and gesture
- touchy-feely: the affective aspects of gesture
Abstracts should be emailed to: email@example.com. The deadline for submissions has been extended to April 19, 2013. Abstracts should be between 400-700 words in length and describe the key arguments of the proposed chapter. Notifications indicating whether your abstract has been selected for inclusion will be sent out by May 1, 2013. If your abstract is selected it will be included in the proposal for the edited collection and subsequent deadlines for review drafts and final version will be determined in negotiation with a publisher.
If you have any questions about this book or your contribution please email Carolyn Jong at firstname.lastname@example.org.