Kevin Hamilton
Since 2002
Works in Urbana, Illinois United States of America


Through artworks, organized events and lectures, performances, street-actions, and teaching, Kevin Hamilton explores how human agency is constructed or denied through new technologies of liveness or representation. He has lectured or conducted workshops for Glowlab's Psy.Geo. Conflux in NYC, Bratislava's Multiplace Festival, the Dutch Electronic Arts Festival in Rotterdam, and at the New Forms Festival and Western Front in Vancouver. Online exhibitions have included University of British Columbia's Digital Visions, Bodybuilder and Sportsman Gallery in Chicago, Drain Magazine, and in the Dutch design competition, Fusedspace. Gallery exhibitions have included shows at the Indianapolis Museum of Contemporary Art, Marshall Arts (TN), Boston's Arts Interactive Gallery, and at Spain's Ciberart Bilbao and MADnet festivals. From his base at the University of Illinois, Hamilton co-organized 2005's Walking as Knowing as Making symposia, a series of weekend-events that gathered artists, activists, historians, critics, and geographers to discuss the role of walking in their work. He also curates a program in temporary site-based art for UIUC's Siebel Center for Computer Science. He studied painting at the Rhode Island School of Design before attending graduate school at MIT's Visual Arts Program, where he graduated in 2000.
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Prosthetic Knowledge Picks: Contemporary Plotter

There will probably be others chiming in here - but I'd also point to my colleague Stephen Cartwright's latest work, in which he's doing long-exposure photographs of an LED on a plotter to create maps of his daily movements :


CFP: Workshop on Methods of Collaboration - CHI 2007

CFP: *Workshop on Methods and Evaluation in Interdisciplinary
Computer/Human Interaction Conference, 2007
San Jose, CA

Research into new forms of sociality or critical applications of
technology often requires unexpected and even disjunctive institutional
partnerships. Universities in particular find researchers coming
together around common resources or initiatives who share little in the
way of methods, values, or politics.

How are researchers and practitioners from Art/Design and the Sciences
negotiating and sustaining collaboration today? What differences are
preserved in the process, which ones obscured, which transcended? When
have quantitative and qualitative methodologies successfully co-mingled,
and what do the adherents of each have to learn? Aren't disharmonious
partnerships more likely to be formed in a climate of decreased
resources and increased pressure to demonstrate "creativity" that
produces capital?

This April in San Jose at the annual Computer/Human Interaction (CHI)
Conference, we'll be conducting a workshop on these subjects for a day,
and we're eager to enlist some more participants. The workshop will take
the form of short presentations, large and small-group discussions, with
representatives present from many disciplines.

The context, if you're new to CHI, is a professional conference based
predominantly in scientific discourse. We've proposed this workshop to
CHI as an interdisciplinary team from art and science, and indeed the
conference has seen an increasing amount of designers and artists in
attendance recently.

We'll be focusing on the following specific questions and topics:

1 - How are projects evaluated by interdisciplinary teams? Which
criteria from which constituencies are applied, and to what ends?
2 - What methods of investigation are employed in design processes by
teams composed of diverse practitioners? How are ideas iterated?
3 - When is labor divided based on disciplinary difference? At what
stages in the process are these differences ignored?
4 - When is evaluation and critique incorporated into process, and how?

If your research or practice has led you to navigation of these or
related questions, we invite you to submit proposals for participation
and presentation at this Spring's workshop, on April 27th in San Jose.
Please see the full CFP for more a more detailed explication of this
workshop's goals.

We hope to assemble a group capable of producing applicable methods and
useful processes in the pursuit of research that is interdisciplinary by
necessity, and perhaps not by choice.

DEADLINE: January 12, 2007


RELATED LINKS (precedent at University of Illinois, Urbana-Champaign)


Research Assistant Positions / MFA Program - UIUC

starting Fall Semester 2007

Departments of Computer Science, Art/Design
University of Illinois, Urbana-Champaign

Research Assistants sought for new interdisciplinary research project at
the University of Illinois, Urbana-Champaign. Earn an MFA in Studio Art
with a New Media emphasis while contributing to a new NSF-funded
research effort.

In addition to producing their own work, accepted applicants will
contribute to the Science of Design project, based in the Department of
Computer Science and led by Assistant Professors Brian Bailey (Computer
Science) and Kevin Hamilton (Studio Art). This project seeks to develop
new tools for use in the early stages of design for interactive media,
with a special emphasis on collaborative work.

Students with backgrounds and undergraduate degrees in art or design are
invited to apply. Experience with interactive forms or media is desired.
Applicants should be interested in working alongside researchers and
other students from Computer Science / HCI, and in contributing to
projects for both art and science outlets and discourses.

Students will receive a stipend, tuition waiver, office space and a
computer for use during their time as a student. Work will involve
research, construction and administration of user-tests, collaborative
design work, archiving and writing for papers and grants, among other
possible tasks.

If interested, contact Kevin Hamilton ( for more
information about this opportunity. For more on the MFA Studio Art
Program at UIUC, please see information below.




Students admitted to concentrations in Painting, Sculpture, and New
Media share a common curriculum consisting of weekly individual
critiques, quarterly group critiques, and themed seminars and electives
in theory and practice from around the University. Coincident (and
occasionally overlapping) areas of graduate study include Photography,
Graphic Design, Industrial Design, Art History, Art Education and
Jewelry/Metals. Regular critiques by faculty are complemented by
bi-annual guest critics, an official visiting artist series, guest
curators and artists at the Krannert Art Museum, and artists invited by
the MFA students through the Art Graduate Student Organization.

The program emphasizes development of individual or collaborative
practice in preparation for careers in a wide variety of cultural
contexts, including gallery practice, university research/education,
public or community-based work, curation, performance or activism. As a
tier-one research university, UIUC offers a climate of rigorous
production and inquiry by nationally and internationally recognized
faculty and students. Frequent research and education partners for the
School of Art and Design include Landscape Architecture, Computer
Science, English/Creative Writing, Theater, Music, the Krannert Art
Museum and the Institute for Communication Research. MFA students may
take classes in any campus unit.

Applicants are invited from a variety of backgrounds, preferably but not
exclusively with B.A. or B.F.A. degrees in the fine arts. Successful MFA
students at UIUC are typically motivated, independent, and interested in
contextualizing their traditional and non-traditional practices within
an environment of rigorous interdisciplinary critique. Opportunities
for extra-curricular exchange and critique exist through on-campus
partnerships and fellowships with the Illinois Program for Research in
the Humanities, the Center for Advanced Study, the Center for Democracy
in a Multiracial Society, and the Beckman Institute.

Immediate opportunities for exhibition and curation exist through the
campus' Krannert Art Museum, I-Space gallery in Chicago, and Ninth
Letter literary magazine. Champaign-Urbana also hosts such venues as the
Springer Cultural Center, the Independent Media Center, and the
independent, student-initiated Open Source gallery. Chicago,
Indianapolis, and St. Louis are within a 2.5-hr driving radius, offering
destinations for gallery-openings, symposia, permanent art collections,
concerts and touring exhibitions. UIUC faculty are particularly
represented in Chicago galleries; some base their studios there, as well.

Tuition waivers are available to almost all students through Fellowships
and paid positions as Teaching or Research Assistants. Teaching
Assistants teach independently for as much as two years of their time at
UIUC. Research Assistantships are currently available for students with
New/Digital Media or HCI experience, in cooperation with the Department
of Computer Science.

Each student is given a studio and 24-hour access to the School's many
production facilities. Shops for traditional materials (metal, wood,
glass, ceramics) are complemented by the School's computer labs (Mac +
PC), digital output labs (digital printers, laser cutter, 3-D printer),
and equipment pool (consumer and professional-grade audio and video).

Applications are available at Deadline
January 1.

For inquiries, please contact a faculty member.

*FACULTY in Painting, Sculpture, New Media*

Conrad Bakker -
Nan Goggin
Ryan Griffis -
Kevin Hamilton -
Laurie Hogin -
Barbara Kendrick
Tim Van Laar -
Melissa Pokorny -
Anthony Ptak -
Joel Ross -
Rosalyn Schwartz -
Joseph Squier -
Deke Weaver -


Alice Aycock
Jane Benson
Chakaia Booker
Stephanie Brooks
Bill Brown (filmmaker)
Nao Bustamante
Jim Campbell
Center for Tactical Magic
Nicolas Collins
Joshua Davis
Kelly Dobson
Jim Finn
Andy Friedman
Hamish Fulton
Sam Gould (Red 76)
Tana Hargest
Institute for Applied Autonomy
Basia Irland
Ilya and Emilya Kabakov
Steve Kurtz (Critical Art Ensemble)
William Pope L.
M. Simon Levin + Laurie Long
Ed Marszewski
Helen Mirra
Trevor Paglen
Laurie Palmer
Laura Parnes
Mike Pearson
Adam Pendleton
Dan Peterman
Danica Phelps
Adrian Piper
J. Morgan Puett
Walid Raad
Renee Ridgway
Davy Rothbart
Gregory Sholette
Shahzia Sikander
Julianne Swartz
Christine Tarkowski
Tony Tassett
Temporary Services


Svetlana Alpers
Bill Brown
Tim Cresswell
James Elkins
Okwui Enwezor
Douglas Fogle
Anne Galloway
Mary Jane Jacob
Christine Kiaer
Michael Kimmelman
Timothy Murray
Sina Najafi
Saul Ostrow
Andrea Phillips
Jane Rendell
Larry Rinder
Michael Rush
Paul Schimmel
Rebecca Uchill
Lisa Wainwright
Hamza Walker
James Yood


06 Mariah Johnson -
06 Andy Ducett -
05 Nicholas Brown - (Ph.D candidate,
Department of Landscape Architecture, UIUC)
05 Rose Marshack - (CANVAS project,
Krannert Art Museum)
05 Katerie Gladdys - (Asst
Professor, University of Florida)
05 Jonas Downey - (Argonne National
05 Jennifer Danos - (Adjunct Faculty,
Minneapolis College of Art and Design)
05 Meredith Warner - (Adjunct Faculty,
Moore College of Art and Design)
04 Sarah Kanouse - (Asst Professor, Southern
Illinois State University)
04 Susanna Bluhm -
04 Sukja Kang Engles -
03 Anna Callahan -
03 Kariann Fuqua -
02 Sang-ah Choi -
02 Robert Horvath -
(Asst Professor, Eastern Illinois State University)
01 Scott Anderson -
00 Julie Farstad - (Asst
Professor, Kansas City Art Institute)
99 Kevin Kaempf -
97 Frank Magnotta -


Krannert Art Museum -
I-Space Gallery, Chicago -
MFA Exhibition 06 -
MFA Exhibition 05 -
MFA Exhibition 04 -
MFA Exhibition 03 -
Ninth Letter -

Art Graduate Student Organization

Grad Seminars:
Introduction to Theory and Practice -
Art Economies -
Mobile Mapping for Everyday Spaces -
Memory and Computing in the Built Environment -

Walking as Making as Knowing (lecture series) -
Critical Spatial Practice (reading group) -

Open Source -
Independent Media Center -


"Poor Duke - he can't shoot his way out of this one."


This morning, as I sat by the open window at my laptop, engrossed in a
departmental email, one of my senses - sight, smell, hearing? - pricked,
and I looked to the immediate right of my lap to see a large and
twittery squirrel, on the sill of our screenless window. I jumped and
yelled HEY, causing the contents of my coffee cup to go shooting up and
over everything in sight - powerbook, papers, window. During the
requisite freakout-session of careful cleaning of my laptop to keep
coffee from getting inside the thing, I noticed a nut the squirrel had
left behind, on the sill - he was looking for a place to stow it, I suppose.

Of course last weekend's challenging and enlightening New Forms Festival
in Vancouver came to mind, where the 2005 theme was "Ecosystems."
Biological metaphors are nothing new to this community or to some of the
more theoretically(academically?)-minded in new media. But Niranjan
Rajah and the other conference organizers put together a collection of
presenters and panels that gave the subject a deep, difficult
examination, unlike any I have experienced.

It was a rich weekend of difficult analyses and proclamations about the
relationship between our tools, the institutions that hold them, and the
other beings or places we have displaced, eradicated or absorbed in the
process of creation. I thought I should share with the list some of what
transpired, in part because I think there should be more of it south of
the border.

The New Forms Festival has been running for a few years, and this was my
first. I'm sorry to say that I saw none of the exhibition components,
and only a small piece of the music components, but the conference
portion was quite a full plate. Three days saw numerous panels, papers,
and performances - unique about these for me was that a new media
conference was focussing on so many allegedly "extra-medial" concerns
that don't seem to come up often in new media discourse. I'll run
through some of the highlights.

First, perhaps the most remarkable thing about this conference was its
setting in the Museum of Anthropology at University of British Columbia,
a world-renowned collection of works by the First Nations people of
western Canada. Niranjan's characterization of this choice as forcing
the examination of a field that runs "from bones to broadband" was just
the start. The days' events went far beyond the predictable and
essentialist juxtapositions of "hi-tech" and "low-tech" we've come to
expect of some McLuhan-esque rhetoric. Instead, the setting constantly
forced the difficult question of technology's role in colonization -
the same colonization that led to the assembly of such a collection as
anthropology rather than as history, as technology, or even as art.

Carol Gigliotti's keynote paper on Friday took us through the history of
the West's definitions of "human" and "non-human", with an emphasis on
some seriously disturbing metaphors employed by the likes of Descartes.
It comes as no surprise to many of you I'm sure that the Enlightenment
gave us descriptions of Nature as "the proverbial 'bad girl'" (Carol's
words), requiring a strong hand to the forelock and a slap to the back
of the head, if not an outright rape. And from this we get modern
science, and from that we get vaccine, but also flash memory and
nanopods, and at the expense of beings and places we first had to label
as not worthy of respect. For you skeptics, this was much more than an
effort to scare more "PC" into your P.C.. To recognize the roots and
expenses that make possible our faster and ever more social media forms
is to weigh our enthusiasm about new possibilities against some of the
effects. I count this as progress in an area that normally slips into
utopianism like an old drug habit.

Following Carol's talk was a provocative examination of the museum as a
site of grieving - we witnessed a live remote performance by Peter
Morin, who from just outside the auditorium took a page from Coco Fusco
or Fred Wilson, and placed himself among the artifacts of his own
people. Through a seemingly casual video monologue Peter spoke and sang
about those who had long died, those of his people who were at that
moment facing arrest during protest, and about the experience of the
museum as mausoleum, as pain. The following panel complicated this
perspective through the presence of Anthony Shelton, the museum's
Director, and Raman Srinivasan, who related the story of visiting a
temple in the Philadelphia Museum of Art as a graduate student, reverent
and comforted but also aware of the violent rip that made the presence
of the temple in his temporary home possible.

These strategies persisted - we saw several panels set up to keep us
uncomfortable in our assumptions, including the odd and provocative
pairing of the champion of sampling, John Oswald (of Plunderphonics
fame) with Ahasiw Maskegon-Iskwew, who told stories of information theft
as colonialist strategy, but also of artist Cheryl L'Hirondelle
Waynohtew's approach to piracy or sampling as act of infiltration or homage.

Other standout moments included:

- Learning from Ahasiw Maskegon-Iskwew and Stephen Loft about Winnipeg's
Urban Shaman gallery,, and, several
efforts at supporting and displaying works in New Media by aboriginal
artists. In his talk, Stephen Loft re-imagined the gods of fire in
aboriginal mythology as John Wayne, protecting and hoarding a powerful
technology until he's finally encircled by his opponents.

- Filmmaker and conference sponsor Loretta Todd also shared some about
the effort she's leading, the new Aboriginal History Media Arts Lab.

- Steve di Paola described his work with the Vancouver Aquarium to model
Belugas and fishes in 3-D environments, in which he found himself
confronted with the irreality of what some expected the virtual animals
to do, and the shocking reality of illusionistic 3-D renderings that
even react to stimuli.

- Landscape architect Kelty Miyoshi McKinnon's excellent paper on "The
Urban Bestiary," how animals adapt to and infiltrate urban landscapes,
how we sensationalize their arrival, and how some architects respond.

- Curator Alice Ming Wai Jim shared some about the new and exciting
efforts of the recently relocated CENTER A, a non-profit space for new
media and contemporary art from Asia and the Pacific Rim. Significant to
Center A's current mission is the gallery's intentional and stark
relationship to the surrounding neighborhood of Gastown, infamous as the
poorest postal code in Canada. Alice and the Center seem committed to
acknowledging this contrast through exhibition and outreach, including
their involvement in the upcoming Container Project for ISEA 2006.

- John Wynne's work on his project Hearing Voices, in which he explores
the endangered Khoisan clik-languages of the Kalahari Desert through
field recording, photography, radio documentary and installation.

The conference concluded with a performance in the Anthropology Museum,
at the foot of the totem poles in the main hall, backed by the setting
sun over the pines of Vancouver's bay. At first, the pastoral sounds of
electronic musician Noah Susswein jarred with the memories of violence
implied by the artifacts, even as the landscape behind seemed timed for
the music. But when vocalist Tanya Tagaq Gillis took the floor, backed
by Souns on the laptop, we were reminded that even as we remembered
death, First Nations people were very much alive, and strong. Tanya's
throat-singing (which you may have heard on Bjork's Medulla album) and
Souns' glitches meshed together in service of the power of the voice.
Tanya ruled that space for awhile, as I'm sure she will with the Kronos
Quartet later this Fall, and resisted our identification of the
"natural" or aboriginal as dead or dominated. It was a fitting close to
a weekend I won't forget - and for which I'm indebted to a long history
of conquest.

Kevin Hamilton