Originally via Channel 53.
Originally via Channel 53.
The University of California Santa Cruz's Film & Digital Media Department have introduced a new Ph.D. in Critical Practice of Film and Digital Media. They are welcoming applications for admission to their inaugural 2010 class and the deadline is January 15, 2010. Information about the program below originally from the post to Rhizome's Announce section:
The program will house creative practice and theoretical knowledge as related forms of intellectual work and provide the underpinnings for students to realize a wide range of possible projects employing a diverse set of methods including those of cultural dissent, cultural studies, documentary, ethnography, feminist studies, historiography, media cultures, narrative, platform studies, psychoanalysis, queer epistemology, the reinvention of the archive, reverse anthropology, science studies, software studies, transnational and postcolonial studies.
Research within the program will span a large number of topics including avant-garde and experimental film and video; silent and classical cinema; digital, electronic, and new media; documentary; gender and sexuality; international cinema; participatory culture; public media art; race, ethnicity, nationality, colonialism and their intersections.
The flexibility of the program allows students to work closely with their advisers and the director of graduate studies to craft a personalized course of study that advances their intellectual and professional goals.
More information and an application available here.
This past month, Reno hosted the “Prospectives 09” festival, directed by Joseph DeLappe, Associate Professor of Art in the Digital Media area at the University of Nevada, Reno (UNR). The festival featured the work of 37 international artists and performers who are all current graduate and PhD candidates, working in various modes of digital practice. There were exhibitions, performances, a curated collection of internet art, symposia, video projections at UNR’s planetarium, and even a nocturnal array of illuminated floating pig bladders (a work by Doo-Sung Yoo, whose Pig Bladder Clouds references human-animal hybrids).
It would be a fool’s errand to try and propose some overarching principle that would legitimately tie together such a broad expanse of work. Limiting myself to the works on display at the “Prospectives 09” exhibition in UNR’s Sheppard Fine Arts Gallery, it seemed there was a common desire to enlist the spectator as a participant. Open until December 16, 2009, the works included in the show involved a fair amount of “play,” but the artists seemed attuned to the complexities involved with the interaction between machine and participant, thus it’s play inflected with critique.
John Walters’ interactive sculpture Waste Oil Mirror I & II (2008) is stately, beautiful and troubling. Two black rectangles stand against the wall, each seven feet tall, at first glance as minimalist as the monolith from Kubrick’s 2001. Triggered by the body heat in the gallery, a mechanical purring noise starts, and a soft gliding motion comes over the surface of the obelisks. The sculpture then draws up used motor oil from a reservoir at the bottom of the obelisks, cascading a ...
The Public Art Fund's annual commission for New York-based emerging artists In the Public Realm is currently seeking proposals for new public artworks. Each artist will receive up to $15,000 towards fabrication, installation, and de-installation based on an approved project budget and an artist’s fee of $2,500. Previous experience working in public space is not necessary. The deadline is February 16, 2010. Information and application available through the link below.
Big thanks to Travess Smalley for his help with the clip.
The stage at St. Petersburg's Sergey Kuryokhin Modern Art Center was set for a blast of live electronic music, with seating for ten performers, each station equipped with samplers, laptops, and electric guitars. As the audience arrived the musicians tinkered with the controls; one stood near a huge glass jug, adjusting wires submerged in its murky liquid. But when the appointed time for the concert's start arrived, the performers retreated to the wings, and recorded music came up and continued for the next twenty minutes. It seemed almost like a wry comment on the detachment of the physical presence of the performer from the source of sound in electronic music. But in fact it was an unannounced presentation of past issues of Tellus, the 1980s journal of experimental sound produced by Harvestworks, selected by director Carol Parkinson. As it faded, the musicians took their places, at last, to perform Third Eye Orchestra, a piece written and conducted by Hans Tammen. It was a controlled improvisation, where Tammen lifted numbered cards indicating which of the score's instructions should be read at that moment. The musicians, all local recruits, visibly relished both the spontaneity and the monstrously loud sound that only an ensemble of many amplified electronic instruments can produce.
The Harvestworks evening was part of the program of the third edition of Cyberfest, an annual festival conceived and organized by Anna Frants, a New York-based artist and gallerist, Marina Koldobskaya, director of the St. Petersburg branch of Russia's National Center for Contemporary Art.
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Chase/Facebook community giving contest?
Circular File Channel is the TV Network as TV Show. The project combines content produced by Circular File (principal members - Josh Kline, Anicka Yi, Jon Santos, Thomas Torres Cordova, Tatiana Hamilton) with contributions from invited artists (including Uri Aran, Alisa Baremboym, Luke Calzonetti, Anne Eastman, Greg Edwards, Debo Eilers, Shana Moulton, Takeshi Murata, Patrick Price, Fatima Al Qadiri, Ken Okiishi, Georgia Sagri, Trevor Shimizu, Brina Thurston, Allyson Vieira, Xeno & Oaklander, and others). The content was edited together into three 28 minute long episodes broadcast in November 2009 on Manhattan Cable Access, and streamed on Vimeo, YouTube, and PerformaTV. Content was produced around the following themes: computer-aided new century modernist art and architecture, the creative industries, The Bush Economic Bubble (ie 2005, 2006, 2007), human capital/exploitation, posthumanism, comedy, tragedy, and tragicomedy.
Everything In Heaven Is TV is a Totally Wreck Production Institute Production in association with Channel Austin Public Access. Season One was released and aired during the fall season of 2008. Produced by Amanda Joy, Juan Cisneros, Eli Welbourne, Ben Aqua and Chad Allen, with the ongoing help and support of many like minded artists, salesmen, psychics, cats, psychic cats, and the love of many many confused viewers.
The American Music Show began in 1981 and ran until 2005 on People TV, the public access station in Atlanta, Georgia. It was produced by Potsy Duncan, Bud Lowry, James Bond, and Dick Richards. Campy and over-the-top, the show parodied American popular culture with John Waters-esque absurdism. I discovered the show through misterrichardson's page on YouTube, of The Funtone USA Network.