Posts Tagged ‘media’

Media Art Scoping Study report published.

Friday, March 26th, 2010

The study’s aim to provide baseline data as to how media/electronic art curriculum has developed within the university sector has been realized. The networked study assists in the contextualization of emerging technologically mediated arts practice curriculum into the future, while developing further definitions of the sector for universities to manage the development of this area of study.

http://www.altc.edu.au/resource-scoping-national-new-media-electronic-arts-cut-2009

Digital technologies and educational integrity

Monday, January 18th, 2010

Call for papers:

‘Digital technologies and educational integrity’

A special issue of the online refereed journal IJEI

Edited by Chris Moore and Ruth Walker

University of Wollongong

This special issue of the International Journal for Educational Integrity (IJEI) seeks articles that address the impact of digital technologies on educational integrity. Many different terms have emerged in an attempt to capture the shifting terrain of media use and users in various networked environments: ‘social’, ‘participatory’, ‘user-generated’ or simply ‘new’ media. Common to the online interactive spaces of Web2.0 is the challenge of technologies and practices that are capable of changing the way we teach, learn, and share knowledge. How can we best engage and support students and colleagues coming to terms with the dynamics of these technologies and the development of new literacies?

We are particularly interested in innovative research from scholars in cultural and media studies and/or the scholarship of teaching and learning, and welcome interest from other disciplinary researchers, who might consider a broad range of questions about digital technologies that critically unpack the conversation about academic integrity and go beyond a preoccupation with plagiarism and research ethics. Critical voices of concern, examples of best practice and consideration of the perceived impact of digital technology on institutional boundaries are keenly sought as is research exploring the collaborative approaches to social and participatory media that challenge conceptions about authorial identity and scholarly writing practices. Research examining the development of new literacies that celebrate the appropriation, adaptation and transformation of source material would fit well within the scope of this special issue. We also welcome reviews of relevant books or publications.

Abstracts (max 500 words) due date: 31st March 2010 Full papers (3-6000 words) due date: 1st July 2010 Book reviews (1000 words) due date: 1st September 2010 Special issue release date: December 2010

Please send all enquiries and abstracts to the editors at ruth_walker@uow.edu.au.

Submission style guide:

http://www.unisa.edu.au/EducationalIntegrity/Journal_submission_guidelines.htm

About the editors:

Chris Moore is a father, gamer and lecturer in Digital Communications, Games and Media Studies at the University of Wollongong. Currently researching Australian gamers and their cultural, economic and social contributions, this focus has emerged from analysis of the complementary and alternative regimes of intellectual property generation and management, including the Open Source movement and digital games modification sub-cultures and online learning practices.

Ruth Walker teaches a range of academic writing programs in the Faculties of Creative Arts and Law at the University of Wollongong. Her research interests take a cultural and media studies approach to academic integrity, particularly regarding the impact of media technologies on critical writing practices. She is currently the deputy chair of the Asia Pacific Forum for Educational Integrity (APFEI).

Re:live Media Art History Conference

Thursday, November 26th, 2009

Third International Conference on the Histories of Media Art, Science and Technology.The next iteration of the Media Art History conference is Re:live which is to be held in Melbourne, Victoria in 2009. The event follows the success of the two previous Media Art History conferences, re:fresh (Banff 2005) and re:place (Berlin 2007). The conference series is supported by the Database of Virtual Art and Leonardo/ISAST (International Society for Art, Science and Technology) whose International Advisory Committee will publicise the event and referee papers.

Conference refereed proceedings

Conference chairs: Dr Paul Thomas, Professor Sean Cubitt

Images from MASS, Saturday July 4

Saturday, July 4th, 2009

Thanks to everyone that attended the Media Arts Scoping Symposium on Saturday. We are currently in the peer review process for the papers accompanying the presentations and these will be published on this site shortly.

Thank you to the VCA and all contributers to what was a successful day.

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Realtime: media arts: in search of history & legitimacy

Monday, 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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Buffalo Heads

Thursday, March 19th, 2009

Buffalo Heads
Media Study, Media Practice, Media Pioneers, 1973-1990
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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.

Welcome to Media Art Scoping Study

Thursday, November 20th, 2008
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Electronic Arts in Australia

Thursday, December 3rd, 1992

 

Contents

 

I offer a very critical account of technology and of technology 's impact on the world. I'm not the only one to do this – everybody speaks of technology in this way. But now having reconsidered technology … I'm beginning to formulate another hypothesis … In other words, there's a difference of vision. Let's say that the rather critical or pejorative vision of technology represents a first position.Now, from a second position, I'm more interested in seeing technology as an instrument of magic … Up to now I think that technology has been analysed in too realistic a way … it has been typecast as a medium of alienation and depersonalisation. That's what we've done, and that's what we're continuing to do in analyses of virtual reality – it's possible to continue forever in this sort of direction.    

But I sense now that a sort of reversal of focus is taking place … I'll always continue to offer a radically critical analysis of media and technology – one's obliged to do this. But it's also necessary to identify another sort of analysis – a more subtle form of analysis than that one.

– Jean Baudrillard (Paris, 4 June, 1993)

Contents

INTRODUCTION: Contemplating Electronic Arts

PETER ANDERSON – Tim Gruchy: Electronic Media Art, Popular Culture and the Experimental Avant-Garde

ARF ARF Interviewed by Nicholas Zurbrugg

ROS BANDT Technology in Australian Sound Installations: Three Recent Approaches

WARREN BURT Installation at Experimenta: Fighting the “So-What” Factor in Electronic Art

WARREN BURT Thoughts on Physicality and Interaction in Current Electronic Music and Art

WARREN BURT Collaborating with Amanda Stewart- Interviewed by Nicholas Zurbrugg

PETER CALLAS Interviewed by Nicholas Zurbrugg

SUSAN CHARLTON – Six Degrees of Freedom: Apres Orlan

HENRI CHOPIN – Concerning Chris Mann

JOHN CONOMOS – Rethinking Australian Video in the Nineties

GRAHAM COULTER SM TH – Exploring the Technological Other: Robyn Stacey and Rosemary Laing

DIRK DE BRUYN Tex

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LINDA DEMENT – Interviewed by Glenda Nalder

LINDA DEMENT The Tales of Typhoid Mary Strip #4

LYN GALLACHER Of Course: A Grammatical Tech Check

ERIC GIDNEY & TONI ROBERTSON Computer Communications for Visual Designers

JOHN GILLIES Interviewed by Nicholas Zurbrugg

JAMES HARLEY & SHIRALEE SAUL A.I.P.: An Installation Publication

LEIGH HOBBA 'Between the glaze and the surface' – Five Uneasy Fragments

BETH JACKSON – Self-Inscription in the Work of Doppio Teatro, Tracey Moffatt and Linda Dement: An Interpretation of Feminist Use of Technology according to Deleuze's Writings on Masochism

ANNE KIRKER – Bashir Baraki and Pat Hoffie: Extending the Vernacular of Prints

FELONIUS KRANK The Snuff-Jazz Conspiracy

BRIAN LANGER Video Art and the Australian International Video Festival

BRIAN LANGER – Chronology of the Australian International Video Festival

ANNE MARSH Bad Futures: Performing the Obsolete Body

ADRIAN

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MARTIN Hold Back the Dawn: Notes on the Position of Experimental Film in Australia 1993

ANDREW MCLENNAN A Brief Topography of Australian Sound Art and Experimental Broadcasting

CATHIE PAYNE Visible Spaces, Electronic Records: John Conomos and Tracey Moffatt

SIMON PENNY Working in Electronic Media

TONI ROSS – Portrait of the Artist as Photocopier: Jane Richens

SAM SCHOENBAUM – The Electronic Paws of Jill Scott

JILL SCOTT Paradise Tossed

BILL SEAMAN The Emergence of New Electronic Forms in Australian Art – Rodney Berry. John Colette, Linda Dement, Phillip George, Joyce Hinterding, Jon McCormack, Stelarc, VNS Matrix

ZOE SOFIA Technoscientific Poeisis: Joan Brassil, Joyce Hinterding, Sarah Waterson

STELARC – Interviewed by Martin Thomas: “Just Beaut to Have Three Hands”

URSZULA SZULAKOWSKA – Rose Farrell and George Parkin: Art History and “Primitivism” in Contemporary Australian Performance Photography

DAVID TAFLER – Does the Outback Represent the Centre? Tracing Electronic Art Tracks across Australia

VNS MATRIX AND VIRGINIA BARRATT – Interviewed by Bernadette Flynn

LINDA WALLACE 2000 Thunderstorms: Joyce Hinterding

JOHN WALLER – Interviewed by Nicholas Zurbrugg

LARRY WENDT Sentient Percussion: Ernie Althoff's Music Machines

ADAM WOLTER “So you want to be a computer artist”?

 

 

http://wwwmcc.murdoch.edu.au/ReadingRoom/8.1/8.1.html