- UC Santa Cruz
- The Arts
Monica Enriquez, DANM MFA graduate student, is the fifth recipient of The Lionel Cantú Graduate Award which included a cash prize for her research on asylum in the U.S. granted on the basis of persecution due to sexuality and sexual orientation.
Lionel Cantú Memorial Award was established to honor the life and scholarship of Professor Lionel Cantú. Engaged in path-breaking research and analysis on sexuality, masculinity, and migration, Dr. Cantú was a devoted teacher, a remarkable mentor, and a wonderful colleague.
The Graduate Research Symposium aims to:
The Reception is a cross-disciplinary dance/performance piece utilizing 3D Tele-Immersion technology to re-vision corporeal presence and formations of the virtual body within live theatrical environments. The process for making the work is both research based and performative and raises important questions about how the virtual and real can find social interaction and co-presence even when bi-located or re-composed in cyberspace. Also at question is how the creative process itself affects the development of Tele-Immersion technology and how the technology influences creative outcomes. Present at the talk, along with Professor Wymore (UC Berkeley), will be Sheldon Smith (Bay Area Dance/Video artist), and Professor Ruzena Bajscy UC Berkeley) who are collaborators on the project.
Locating the cross cultural dialogue between two countries, Satadru Sovan Banduri became interested in the richness of strong cultural and social distinctions, where personal and social spaces combine. The coexistence seemed beautiful. Through geography and through cultural experience he asked, "What are the differences between India and the United States?" Each country has its own culture; when a person crosses cultures, they compare their own experience with the new experience, past experience with present. Presented here are some memories of India and some memories of the U.S. put together as a form of celebration. This is a portrayal of love, dance, great festivals, and marriage. Cross Cultural Celebration uses video-installation as well as net-based art, and seeks to pollinate the cultural traditions of India with new media technology.
Rene Lysloff lectures on Ethnomusicology and the Study of Small Sounds
Small sounds are those brief aural moments captured through sampling technologies, circulated throughout the world as commoditized objects, and recycled as creative grist for digital musical performance.
Lysloff explores the broader cultural implications of sampled sound in electronic and popular music. I want to propose an ethnomusicology of small sounds: the ethnographic study of schizophonic minutiae expropriated and recontextualized through new media technologies.
Addtional Reading: Mozart in Mirror Shades
A live, improvisational electro-acoustic multi-media gamelan performance, that can best be described as a real-time audio/visual collage with gamelan controlled visual projections using an interface called the Gamelan Lumina.
The concert features:
is an electronic musician/composer with 14 years experience organizing and playing live improvised electronic music at muti-media dane/art/music events as part of the SF Bay Area Semi Permanent? Autonomous Zone (SPaz) collective, and independently internationally in Japan, Indonesia and Europe. This performance is part of her DANM MFA thesis work.
is an active composer of contemporary gamelan music, working in his home city of Yogyakarta, Java, and internationally. He is currently the visiting director of the UC Riverside Gamelan Ensemble. Sapto is organizer/project director of the annual Yogyakarta Gamelan Festival, an international contemporary gamelan festival sponsored by the Komunitas Gayam 16, of which he is coordinator. Raharjo is also program director and announcer of Geronimo FM's Apresiasi Musik (Music Appreciation); Yogya's contemporary/new music radio show for the past 19 years.
is an Associate Professor of Music (Ethnomusicology) at UC Riverside. He is co-editor of the book, "Music and Technoculture" (2003 Wesleyan Press), a collection of articles exploring issues related to changing technologies and their impact on cultural practices and epistemologies invloving music. He has conducted research on traditional and contemporary arts in Central Java for about twenty years. Lysloff is an active composer and performer of digital music.
7:30-9:30 pm. Porter 245.
Judith Faifman is an educator concerned with Critical Digital Pedagogies; their opportunities, risks and challenges. She is particularly interested in how new media production impact on and shape modes of thought and how new media literacies can promote social inclusion for students from low income and minority families. Her work has explored the expressive reception by children and youth of multiple systems of representation in both formal and non-formal educational settings and its impact on the development of metacognitive and metalinguistic capacities.
Faifman is Co-Director of the Digital Cultures Research and Design Group (<http://www.culturasdigitales.org/ >www.culturasdigitales.org) which since its foundation in 1997 has sought to integrate new digital cultures into existing educational environments. This group is currently collaborating with the National Ministry of Education in Argentina in the development of youth media production by way of the Ministry's website for broadcast on its TV Channel ( <http://www.encuentro.gov.ar>http:// www.encuentro.gov.ar ). Faifman is also founder and Co-Director of the Media Lab at Talpiot School (<http://talpiot.edu.ar/>http:// talpiot.edu.ar) which promotes participation in new media production by children from kindergarten to high school students. She is currently seeking to provide solid theoretical foundations for digital pedagogical practice for social inclusion and rigorously examine the outcomes achieved.
Elliot Anderson, faculty curator and art students: Satadru Sovan Banduri, Mollye Chudacoff, Toan Do, Leonel Diaz, Jordan Jurich, Jena Ong, Ian Alan Paul, Nolan Plant, Robert Plant, Lydia Schufreider
"Despina can be reached in two ways: by ship or by camel. The city displays one face to the traveler arriving overland and a different one to him who arrives by sea. When the camel driver sees, at the horizon of the tableland, the pinnacles of the skyscrapers come into view, the radar antennae, the white and red wind socks flapping, the chimneys belching smoke, he thinks of a ship; he knows it is a city, but he thinks of it as a vessel that will take him away from the desert…
In the coastline's haze, the sailor discerns the form of a camel's withers, an embroidered saddle with glittering fringe between two spotted humps, advancing and swaying; he knows it is a city, but he thinks of it as a camel from whose pack hang wine-skins and bags of candied fruit…and already sees himself at the head of a long caravan taking him away from the desert of the sea…"
— Italo Calvino, Invisible Cities
8pm. UCSC Mainstage Theater
Terra Nova is an experimental melding of choreography, computer animation, and motion-capture technology that together terraform the stage, building up a landscape of moving ideas and images.
Terra Nova was conceived by creative director Ted Warburton and choreographed by Ben Munisteri, with computer animation by Peter Birdsall, lighting design by David Cutbert, and set design by Kate Edmunds.
Music Center Recital Hall / 7:30 p.m.
Music for live and recorded digital media featuring music by composers Gerry Basserman, Peter Elsea, Paul Nauert, and James Tenney.
Admission: $12 general, $10 seniors, $8 students
Conceits and Contraptions—Peter Elsea
C&C is a celebration of the art of tool making. One of the joys of my occupation is that I get to spend inordinate amounts of time in simple play, exploring the possibilities of new technologies as they come along. My work crosses the disciplines of physics, electronics both digital and analog, computer programming in half a dozen languages, circuit building and metalworking on the way to musical and visual expression. These explorations seldom result in a complete piece. The backlog of projects is too big for me to spend much time polishing finished work, and the intended beneficiaries are usually students and colleagues. The end product is more likely an illustration of a technique, a class demonstration, or a bagatelle. I have selected 5 recent projects, listed here with a note on the line of inquiry that lead to their creation:
"The Autoerotic Man" is an art exhibition which considers different modes of self-pleasure through various media. The work on showcase explores male indulgence from many perspectives. This show functions as a forum for open dialogue about gender stereotypes hoping to expand conceptions about the male experience. By bringing this topic into the public sphere, "The Autoerotic Man" hopes to provoke innovative ways of thinking about social paradigms.
January 13th to May 20th 2007
M.H. de Young Museum of Art
Lecture by Art Department and DANM faculty Elliot Anderson in conjunction with his exhibition, Average Landscapes; Souvenirs of 19th Century Landscape Painting in 21st Century Tourism. Lecture will be followed by a tour with the artist of his exhibition, Average Landscapes.
M.H. de Young Museum of Art in San Francisco
Friday, April 13th @ 6:30pm
Elliot Anderson's project for the De Young Museum of Art's Connections Gallery is an examination of perceptions of landscape in contemporary culture. Drawing on the museum's collection of 19th century Hudson River School paintings, Anderson follows the thread of the cultural encoding of representations of landscape from this period to contemporary tourist photography. The twenty-two works in the exhibition are constructed from tourist photographs of the sites represented in the paintings collected from the Internet. Using custom software the photographs are averaged together to create a composite layered representation of multiple individual's view onto natural wonders. The work reflects a striking similarity between romantic sensibilities in the representation of landscape in the 19th century and the quotidian tourist snapshot of today. The exhibition contains thirteen large-scale transparencies on lightboxes, eight souvenir plates, and video.
% In partial completion of her DANM MFA Thesis, Cynthia Payne's E2.510 group
will perform live on the UCSC campus in a musical collaboration via Internet2
with four performing ensembles including the Weave Soundpainting Orchestra
in Chicago, Pauline Oliveros' Tintinabulate Ensemble in NY, and the SOUNDWire
Group at CCRMA (including Chris Chafe's 4-channel Celleto).
E2.510 includes Cynthia Payne, Richard Caceres and leaf tine, with video art by
Jamie Burkart and Phoenix Toews, and audio mixing by Chris Preston.
Digital Arts and New Media graduate students collaborated musically across three time zones for a recent performance.
intimate margins / margenes intimas
The Hudson River Bonsai Project
UCSC Art Dept. Open Studios
Rudolf Frieling :: Media Art Net: Generating and Navigating Contexts
Monday, February 26 (4:00-6:00 pm)
Cowell Conference Room, Room 132, Cowell College, UCSC
This talk contextualizes Media Art, based on some ideas related to Media Art Net while sketching a broader background to collecting, sorting, presenting and updating. The talk discusses current art projects as well.
Rudolf Frieling b 1956 in Münster (GER); studied humanities at the Free University of Berlin and received a Ph.D. from the University of Hildesheim; 1988–1994 curator of the International VideoFest Berlin; since 1990 he has lectured and published internationally extensively on art and media; 1994-2006 curator and researcher at the Center for Art and Media (ZKM) in Karlsruhe (GER); 2001–2005 he was head of the Internet project «Media Art Net» at ZKM; 2004-2006 he was head of the restoration, exhibition and publishing project «40yearsvideoart.de» at ZKM; he has taught at the University of Art Berlin, Hochschule fuer Gestaltung und Kunst Zurich, MECAD Academy Barcelona and he was a Visiting Professor at the University of Applied Sciences in Mainz; since 2006 he is Curator of Media Arts at SFMOMA and an adjunct professor at the California College of Arts, San Francisco; lives and works in San Francisco (USA).
Thursday, February 15 (12:00 pm)
Porter D245, Porter College, UCSC
Casey Reas (co-founder, Processing) and David Cuartielles (developer, Arduino) will report on open source efforts within the arts in the University of California as reported at the OPEN conference at UCLA, 9-10 February. They will offer an overview and introduction to Processing and Arduino, two widely used open source platforms.
Processing is an open source programming language and environment for people who want to program images, animation, and sound. It is used by students, artists, designers, architects, researchers, and hobbyists for learning, prototyping, and production. It is created to teach fundamentals of computer programming within a visual context and to serve as a software sketchbook and professional production tool. Processing is developed by artists and designers as an alternative to proprietary software tools in the same domain.
Arduino is an open-source physical computing platform based on a simple I/O board, and a development environment for writing Arduino software. Arduino can be used to develop interactive objects, taking inputs from a variety of switches or sensors, and controlling a variety of lights, motors, and other outputs. Arduino projects can be stand-alone, or they can be communicate with software running on your computer (e.g. Flash, Processing, MaxMSP.) The boards can be assembled by hand or purchased preassembled; the open-source IDE can be downloaded for free.
David Cuartielles (Arduino, K3 Malmo) David Cuartielles studies how to bring technology closer to people. During a research residency at Interaction Design Institute Ivrea (Italy), together with Massimo Banzi, he had the idea of creating the Arduino prototyping platform to focus on education. Many universities have since migrated to this open platform and have changed the way they teach physical interaction with devices. David's PhD work focuses in the feasibility of open hardware; how different strategies can make a difference in the success of an open knowledge project. In the case of Arduino, David has consciously chosen to work with media centers and universities across Europe in the introduction of electronics as a common research/education subject. An immediate result of this strategy has been an exponential growth in Arduino's community of users that brought the project an honorary mention to the Digital Communities Ars Electronica Prix 2006. He is the director of the Center for Art and Technology in Zaragoza, Spain, as well as an Assistant Professor in Physical Prototyping at K3 - the School of Arts and Communication, Malmö, Sweden.
Casey Reas (Processing, UCLA) Reas is an artist and educator living in Los Angeles. His work focuses on defining processes and then translating them into images. Reas is an associate professor in the department of Design | Media Arts at the University of California, Los Angeles.
This lecture is free and open to the public.
Enter the Main Entrance to the campus and proceed directly to the parking kiosk on the right. Purchase an "A lot" parking permit. Then drive straight ahead on Coolidge Drive and stay on it until you reach the top of the hill and the road turns left. Pass Stevenson College and take the second left at Cowell College. Park as soon as you can. There is a circle driveway at the top front entrance of Cowell College. Take the stairs leading down to a breezeway and the Cowell Conference Room, Rm. 132 is immediately on your left.
Tuesday, February 6 (4:00 pm)
Music Center, Room 128, UCSC
A computerized aid to orchestration that greatly extends the use of spectral analysis in orchestration is introduced. It is made of two parts: a bank of Fast Fourier Transforms (FFTs) accessed by a group of sub-routines designed to either perform sound analysis or propose different orchestrations that imitate the spectral energy pattern of a reference sound.
The tool’s potential to perform quasi-instantaneous spectral analysis of sound mixtures is illustrated with a reference to Schoenberg’s Five Pieces for Orchestra op.16, III. The method used to obtain these analyses is presented.
The tool’s ability to propose sound mixtures that imitate a reference sound is demonstrated with two examples from the composer’s work L’identité voilée for clarinet, violin, and piano, where the trio imitates the energy pattern of a clarinet multiphonic tone. A reference to Xenakis’ Orient-Occident is made to illustrate the tool’s potential in the context of electroacoustic music. The mathematical procedure used to obtain these orchestral matches is presented. It is shown to be a data matching technique based on an advanced method of spectral decomposition.
Finally, excerpts from the composer’s La défaite d’Héra for saxophone quartet are presented to show the latest development of the tool.
DANM Chair Margaret Morse and the DANM Program invite faculty, students, staff, family, sig others and guests to a mid-winter soiree and reception, Wednesday, February 7th from 5–7pm.
The reception is in honor of Satadru Sovan Banduri, a Fulbright Scholar from India who is affiliated with DANM through this academic year (see more on Satadru below).
There will be libations and hors d'oeuvres. (You are free to contribute additions.) Satadru will be making mogli berinay (spicy rice, meat and vegetables) and payash (sweet rice with milk).
Welcome Satadru Sovan Banduri!
Satadru Sovan Banduri is a well-known painter and video artist from India. He started his career like most other artists—by working toward his undergraduate and graduate degrees in fine arts from art school. He was at Kala Bhavan, Visva Bharati University, Shantiniketan which is one of the best international art schools in India.
He responds to or rather, reacts to his immediate environment and an unfamiliar visual culture through innovations in his art practice. He started working with digital media quite a few years ago while it was still unfashionable to do so in India. After finishing his graduate degree he started working as an independent artist. Since then, he has participated in several regional, national and international art shows.
He is immensely fascinated by information technology and the digital revolution. He has been learning software that has changed the way he looks at visual art—Photoshop, Flash, Premiere and others. Later, he joined the IT industry as a professional where he gained proficiency in working with imaging and video software to create 'commercial art' like animation movies and websites.
Presently he is working with giclee prints. He uses these large digital ink-jet prints both as a raw material and substratum over which he paints new layers and meanings. He is also engaged in making experimental and imaginative videos which he screens at exhibitions and video festivals.
Satadru was awarded a Fulbright fellowship for 06-07. He is a research scholar at DANM from January–July 2007.
This presentation gives an overview of the ways in which digital art has expanded, challenged, or even redefined notions of public art and space. Crucial to this redefinition of public space are issues of agency and mediation. Among the topics discussed are enhanced possibilities of interventions in public space; the network as public space; remote intervention in a site-specific public installation (telepresence); the enhancement of physical sites and existing architecture; and the merging of physical and virtual space.
Christiane Paul is the Adjunct Curator of New Media Arts at the Whitney Museum of American Art and the director of Intelligent Agent, a service organization and information resource dedicated to digital art. She has written extensively on new media arts and her book Digital Art (part of the World of Art Series by Thames & Hudson, UK) was published in July 2003; she is currently editing an anthology on Curating New Media (forthcoming from UC Press) and co-editing, with Victoria Vesna and Margot Lovejoy, an book on context and meaning in digital art (forthcoming from U of Minnesota Press). She teaches as an adjunct in the MFA computer arts department at the School of Visual Arts in New York and the Digital Media Department of the Rhode Island School of Design and has lectured internationally on art and technology.
Ian Bogost :: Persuasive Games: An Introduction to Procedural Rhetoric
Monday, February 5 (11:00 am)
E2 599 :: Host Michael Mateas
While videogames are frequently thought of as entertainment, they are better understood as a medium, capable of a wide range of expression. In this lecture, Bogost offers a more general perspective on the medium, arguing that games represent how real and imagined systems work, and they invite players to interact with those systems and form judgments about them. Examining videogames through the lens of rhetoric, the study of persuasive expression, Bogost will explain rhetoric's unique function in software in general and videogames in particular, a mode he calls "procedural rhetoric." Bogost will then describe a number of videogames that engage politics, advertising, and learning, including examples from the commercial industry and from his own creative practice.
Ian Bogost is Assistant Professor at the Georgia Institute of Technology, where he researches on videogame criticism and teaches in the undergraduate program in Computational Media and the graduate program in Digital Media. Bogost is also Founding Partner at Persuasive Games, where he designs experimental videogames about social and political issues.
Bogost's research involves the interrogation of videogames as cultural artifacts. He is the author of /Unit Operations: An Approach to Videogame Criticism/ (MIT Press 2006), /Persuasive Games: The Expressive Power of Videogames/ (MIT Press forthcoming 2007), and author of over 50 articles, book chapters, and conference presentations on videogames, digital media, literature, art, and film. Bogost also is co-editor (with Gonzalo Frasca) at Water Cooler Games (www.watercoolergames.org <http://www.watercoolergames.org>), the online resource about videogames with an agenda. His videogames have been played by millions of people and exhibited at art and cultural venues worldwide.
He is currently working on a new book, /Video Computer System: The Atari 2600 Platform/ (with Nick Montfort), focused on the material relationship between its hardware and software architecture and the creative works produced for the machine. As a part of this research, Bogost also creates new games for the Atari VCS, paying a particular focus to properties of the computer that were not exploited during its life as a commercially viable platform.
January 13th to May 20th 2007
De Young Museum of Art
An articile on CNET.com about this Work: http://news.com.com/Making+art+from+tourists+digital+photos/2100-1025_3-6169733.html?tag=ne.gall.related
Electric Sheep is a distributed screen-saver that harnesses idle computers into a render farm with the purpose of animating and evolving artificial life-forms known as sheep. The votes of the users form the basis for the fitness function for a genetic algorithm on a space of abstract animations. Users also may design sheep by hand for inclusion in the gene pool.
This cyborg mind composed of 40,000 computers and people was used to make Dreams in High Fidelity: a painting that evolves. It consists of 100GB of high definition sheep that would have taken one computer over 200 years to render, played back to form a non-repeating continuously morphing image.
Scott Draves a.k.a. Spot is a software artist residing in San Francisco. His award-winning work has appeared in Wired Magazine, the Prix Ars Electronica, the O'Reilly Emerging Technology Conference, and on the dance-floor at the Sonar festival in Barcelona. In 1997 Spot received a PhD in Computer Science from Carnegie Mellon University for a thesis on metaprogramming for media processing, and in 2003 published the Spotworks DVD.
Please mark your calendars. We will take advantage of Scott's visit to celebrate DANM's fall quarter with simple refreshments.
Wednesdays, 3-5:30 :: Porter D-245
September 27th Ben Carson Music: Cognitive Science and Composition
October 4th Cathy Soussloff History of Art and Visual Culture: Performance & Performativity
October 11th Jim Whitehead and Michael Mateas CS: Games
October 18th Elliot Anderson Art: Technology and the Natural World
October 25th Ed Osborn Art: Noise
November 1st Peter Elsea Music: Electronic Music
November 8th Jennifer Gonzalez HAVC: Contemporary Art, Race and Ethnicity
November 15th Sharon Daniel Film and Digital Media: Participatory Culture
Activist Scholarship: Documenting Undocumented Border Space
FUSION Los Angeles, LGBT People of Color Film Festival
Emerging Issues in Game Design
Monday, October 2 11:00 am :: Engineering 2 Building, Room 180
This lecture is a compendium of several others, discussing what I see as important emerging issues at the moment. Among them are sex in games; the consequences of blurring the boundaries between in-game and out-of-game events in MMOGs; the end of graphics as a dominant force in selling games; new roles for AI; new forms of interactive narratives; procedural content generation; games as art; and above all, the arrival of the mass market, in the form of casual players.
Wednesday, October 11 (4-6 pm) :: Bay Tree Conference Center Room C
Tuesday Nights - September 26 - November 21 (7-9) :: Baskin Visual Arts E101
Attempts to Characterize Narrative in Computation
Friday, September 22 11:00 am :: Engineering 2 Building, Room 215
Narrative is one of many essential human modes of understanding and narrative comprehension plays a role in many aspects of our everyday lives. Increasingly, virtual worlds like computer games, training simulations and educational software make use of narrative to satisfy the goals of their designers and users. In the talk, he will cover several years of work within the Liquid Narrative Group attempting to model narrative based on knowledge drawn from other disciplines, including narrative theory, cognitive psychology, film theory and linguistics. This work has produced interesting results ranging from a service-oriented architecture for the intelligent control of computer games to computational models of narrative comprehension used to construct, tell and adapt stories on the fly. Michael will discuss these results and, more importantly, talk about their limitations and the problems encountered when attempting to model the use of narrative.
The ISEA2006 Symposium on Electronic Art and the ZeroOne San Jose Global Festival of Art on the Edge will take place August 7–13. The ISEA Symposium is a prestigious international art and technology conference that is sponsored biennially by the Netherlands-based Inter-Society for Electronic Art (ISEA). Every other year, cities around the world bid to host the symposium and this year it will be held in San Jose. ZeroOne is a milestone festival that will be held biennially in San Jose, making the work of the most innovative contemporary artists in the world accessible to an audience from around the world. http://isea2006.sjsu.edu/index.html