Paul Brown Keynote: Hollow Promises

July 3rd, 2009

In the 1960’s and 70’s, early in my art career, I was an ardent proponent of critical theory and art-as-research. Back then they were pretty thin on the ground. Some of my contemporaries were amongst the first artists to be awarded doctorates for their work. Now, in the twilight of my teaching years I find myself more and more concerned about the preponderance of these aspects of art education. Or, to be more precise, concerned that theory and research – scholarly approaches to the arts – have usurped the teaching of art as an intuitive, studio-based and non-verbal activity. By doing so they have disenfranchised many gifted but semi-literate students who in the past were able to participate in the tertiary education process and attain significant qualifications and reputations in the arts. In this talk I hope to address the historical reasons that have led to this undesirable state of affairs and also suggest possible ways of redressing a

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more balanced curriculum. In particular I would like to focus on the role of the oxymoronically titled ‘new media’ (that are now some 70 years old!) as one of the major causes of this undesirable situation and how they might also be one of its possible solutions.

Paul Brown, Brisbane, June 2009

Realtime: media arts: in search of history & legitimacy

April 27th, 2009

AUSTRALIAN MEDIA ARTISTS HAVE A STRONG REPUTATION AS BEING AMONGST THE MOST ACTIVE

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, CREATIVE AND INNOVATIVE IN THE WORLD. THESE ARTISTS AND THE INFRASTRUCTURES THAT SUPPORT THEM HAVE CREATED A STRONG COMMUNITY OF PRACTICE THAT HAS INFLUENCED BOTH ART MAKING AND ART INSTITUTIONS HERE AND INTERNATIONALLY. LOCATING THE EXACT TIME AND PLACE WHEN THIS BEGAN IS ALMOST IMPOSSIBLE. HOWEVER, IT IS CLEAR THAT SINCE

THE EARLY 1990s, THE DIGITAL TURN HERALDED BY

THE EMERGENCE OF THE PERSONAL COMPUTER AND THE INTERNET HAS LED TO AN EXPLOSION OF DIVERSITY IN ART PRACTICES. THESE PRACTICES HAVE NOT ONLY CREATED A BREADTH AND DEPTH OF MEDIA ART BUT ALONG THE WAY HAVE TRANSFORMED MANY MORE TRADITIONAL ARTISTIC FORMS FROM DANCE TO PAINTING TO SCULPTURE.

http://www.realtimearts.net/article/90/9416

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Media Arts Education Digest

April 23rd, 2009

To coincide with

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the launch of NOMAD (National Organization of Media Arts Database), Real Time Arts have drawn together

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w.realtimearts.net/feature_contents/Media_Arts_Education_Digest”>http://www.realtimearts.net/feature_contents/Media_Arts_Education_Digest

Promotion and Tenure Guidelines Addendum: Rationale for Redefined Criteria

April 11th, 2009

New Media Department, University of Maine

Promotion and Tenure Guidelines Addendum: Rationale for Redefined Criteria

New Criteria for New Media 

Version 2.2, January 2007 

Authors: Joline Blais, Jon Ippolito, and Owen Smith in collaboration with Steve Evans and Nate Stormer.  

  

ABSTRACT: An argument for redefining promotion and tenure criteria for faculty in new media departments of

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today’s universities. 

  

Introduction 

Recognition and achievement in the field of new media must be measured by standards as high as but different from those in established artistic or scientific disciplines. As the reports from the American Council of Learned Societies[1], the Modern Language Association[2], and the

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University of Maine[3] recommend, promotion and tenure guidelines must be revised to encourage the creative and innovative use of technology

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if universities are to remain competitive in the 21st century.

http://newmedia.umaine.edu/interarchive/new_criteria_for_new_media.html

Collaborative Commons

April 6th, 2009

Collaborative Commons is a 100% free web service that supports artists with the creative development of their projects. It is designed specifically to support people wanting

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The Open Source Art School

April 3rd, 2009

Origins

The Open Source Art School originated

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from a suggestion by the reader anddavidh during a discussion on viagra sale

t.com/”>the art life blog about the problems of art education. the reader then set up the open source art school blog which has slowly transformed itself into

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this website which was set up by

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Ian Milliss.

http://www.opensourceartschool.com/

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Buffalo Heads

March 19th, 2009

Buffalo Heads
Media Study, Media Practice, Media Pioneers, 1973-1990
Edited by buying viagra

5″>Woody Vasulka and Peter Weibel
Art by James Blue, Tony Conrad, Hollis Frampton, Gerald O’Grady, Paul Sharits, Steina, Woody Vasulka and Peter Weibel

Twentieth-century art history is not just a history of individuals, but of collectives, groups. Universities and colleges have had much to do with this through their support of artistic communities and creative interactions. In the 1920s and 1930s, the Bauhaus was known for this. In the 1940s, Black Mountain College became a leader in community-based visual art practice and education. And in the 1970s and 1980s, the Department of Media Study at the State

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University of New York at Buffalo was the place to be. It was there, in 1973, well before any other university had a program explicitly devoted to media art, that Gerald O’Grady founded a media study program that is now legendary. Artists—including avant-garde filmmakers Hollis Frampton, Tony Conrad, and Paul Sharits, documentary maker James Blue, video artists Woody Vasulka and Steina, and Viennese action artist

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Peter Weibel—investigated, taught, and made media art in all forms, and founded

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the first Digital Arts Laboratory. These Buffalo faculty members were not just practicing artists, but also theorists who wrote and spoke on issues raised by their work. They set the terms for the development of media art and paved the way for the triumph of video installation art in the 1990s.

The images and texts in Buffalo Heads bear witness to the groundbreaking events at the Buffalo Center for Media Study. The book presents not just a tribute to a famous media department finally receiving its due; it is a rich inventory of primary texts (many never before published), works that will improve our understanding of media, amplify our cultural memory, and offer a perspective on contemporary issues.

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The Syncretic Sense

March 9th, 2009



Roy Ascott

4 April – 24 May 2009

The first UK retrospective exhibition of the pioneering

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cybernetic artist Roy Ascott, curated in collaboration with
i-DAT (Institute for Digital Art and Technology, University of Plymouth).

Long before email and the internet, Roy Ascott started using online computer networks as an art medium and coined the term telematic art. Since the 1960s he has been a pioneer of art, which brought together the science of cybernetics with

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elements of Dada, Surrealism, Fluxus and Pop Art. Parallel to his artwork, Roy Ascott is a highly acclaimed teacher and theorist of art pedagogy.

http://www.plymouthartscentre.org/art/future.html

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The ACM SIGGRAPH Education Index

February 26th, 2009

The ACM SIGGRAPH Education Index strives to be a comprehensive online interactive database of academic programs that offer computer graphics, digital arts, interactive media and games curricula.
Through a research effort by the ACM SIGGRAPH Educatio

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n Committee, over 400 college programs have been identified and entered into the database to form its foundation. But there are many hundreds more that need to be included, and we’re relying on members of the global education community to

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http://education.siggraph.org/resources/directory/

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White Heat Cold Logic

February 8th, 2009

New publication
British Computer Art 1960-1980
Edited by Paul Brown, generic cialisatalog/author/default.asp?aid=35684″>Charlie Gere, Nicholas Lambert and Catherine Mason

Technological optimism, even utopianism, was widespread at midcentury; in Britain, Harold Wilson in 1963 promised a new nation “forged from the white heat of the technological revolution.” In this heady atmosphere, pioneering artists transformed the cold logic of computing into a new medium for their art and played a central role in connecting technology and culture. White Heat Cold Logic tells the story of these early British digital and computer artists—and fills in a missing chapter in contemporary art history.

Read the rest of this entry »

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