[rohrpost] Suzanne Anker featured on the Archive of Digital Art (ADA)

[Image Science]

New Artist Feature on the Archive of Digital Art (ADA)



Suzanne Anker
calling attention to the beauty of life and the necessity for enlightened 
thinking about nature’s ‘tangled bank’

Read the full Feature article and interview here:

Suzanne Anker, Artist Feature, 2021
Check
 out Suzanne Anker´s profile on ADA


But even above Anker’s address to technology, what we come away with most from 
her work is a profound sense of biophilia: the innate impulse of living things 
to connect with all life. In a time when our estrangement from nature has made 
us agents of our own destruction, our recovery of that impulse may be a matter 
of our very survival.   (Taney Roniger)



The Archive of Digital Art features the Bio Art pioneer, visual artist and 
theorist Suzanne Anker (US) to honor her widely interdisciplinary work in the 
field of art, technology and biological sciences. In her artist profile on ADA 
a representative selection of 10 works of her oeuvre, which draw connections to 
Digital Art, are documented and presented.



Combining various activities besides creating art, such as teaching, public 
speaking, writing and research, Anker’s practice investigates the ways in which 
nature is being altered in the 21st century. Concerned with genetics, climate 
change, species extinction and toxic degradation, she frequently works with 
“pre-defined and found materials” such as botanical and geological specimens, 
sometimes combined, processed or enhanced with material and techniques such as 
medical museum artifacts, laboratory apparatuses, microscopic images and 3D 
printing. She works in a variety of mediums ranging from animation and 
large-scale photography to digital sculpture and large-scale installations.



Suzanne’s scientific, research driven and thoroughly designed work wants to 
show the spectators the beauty of life itself, but at the same time it is 
juxtaposed to the critical views on the historical and technological 
developments in the Anthropocene - and calls attention to the “necessity for 
enlightened thinking about nature’s ‘tangled bank’”.



Her work has been shown both nationally and internationally in museums and 
galleries, including the Walker Art Center, the Smithsonian Institute, the 
Phillips Collection, P.S.1 Museum, the J. Paul Getty Museum, the Museum of 
Modern Art in Japan, the Medizinhistorisches Museum der Charité in Berlin, the 
International Biennial of Contemporary Art of Cartagena de Indias, and V Art 
Center in Shanghai, China.


Text and Interview (CC) by Carla Zamora
December 2021




We invite ARTISTS & SCHOLARS in the fields of digital / technological / media 
art to become a member of the ADA online community!

Since its foundation in 1999, the Archive of Digital Art (former Database of 
Virtual Art) has grown to be one of the most important online archives for 
digital art. In cooperation with established media artists, researchers and 
institutions it has been documenting the rapidly evolving world of digital art 
and its related fields for more than two decades and contains today a selection 
of thousands of artworks at the intersection of art, science and technology.



The Archive of Digital Art recently received a grant in partnership with Art 
University Linz and Die Angewandte Vienna to be further developed into a 
comprehensive research and - most importantly - teaching tool for art schools 
and information resource for galleries and museums.

All artists and scholars, who fulfill the criteria, are invited to create a 
profile, upload detailed information on all relevant works and exhibitions to 
allow the next generation of artists to learn with the best information, to 
give scholars the research resource they need and museums, if they want to 
start a collection, the essential information. 

To ensure a high academic standard, at least five larger/international 
exhibitions and/or scientific publications are required to become part of ADA.
Please apply here: www.digitalartarchive.at/support/account-request.html


EXPANDED DOCUMENTATION for the needs of digital art
Due to the processual, ephemeral, interactive, technology-based, and 
fundamentally context-dependent nature of digital art, its perception in the 
art world and recognition as an important part of art history is threatened 
without adequate documentation. Therefore ADA is following an expanded concept 
of documentation, which takes account of the specific conditions of digital 
art. 

One of ADA's main goals is to preserve digital art from loss for future 
generations by documentation and to foster international transdisciplinary 
collaboration. Through the support by artists, we hope to reinforce not only 
the interest in your works, but 

[rohrpost] BILL SEAMAN: Featured on the Archive of Digital Art (ADA)

[Image Science]

BILL SEAMAN: Featured on the Archive of Digital Art (ADA)
Transdisciplinary explorations of meaning production and the process of
creativity
https://www.digitalartarchive.at/features/featured-artists/featured-artist-bill-seaman.html

"So instead of writing about meaning production, I empower the
exploration of meta-meaning processes that arise via self-directed
engagement."
Bill Seaman, ADA Artist Interview, 2020
 
ADA features Bill Seaman – media artist, professor, researcher and
philosopher bridging Neuroscience, Computer Science, the Arts and
Humanities. He has been employing various digital media and other
technological means since the 1980´s to explore language, meaning and
knowledge production and the potentials of Computational Creativity. His
artistic method is rooted in a transdisciplinary manner of cooperation
with other artists, scientists, philosophers and designers, bringing
about works that use the language of poetics and metaphor, but are
always highly informed by scientific thought. Through building on a
number of different perspectives and through their interactivity, the
works of Bill Seaman also offer the viewer the possibility of a
multi-perspective approach, the possibility to engage in a conversation
with the artwork and take away different things each time they interact
with the piece.
https://www.digitalartarchive.at/database/artists/general/artist/seaman.html

Bill Seaman has exhibited his work in galleries, museums and festivals
all around the world: at the Canadian National Gallery in Ottawa,
Canada, the Sprengel Museum in Hannover, Germany and the 3rd Art and
Science International Exhibition in Beijing, China, to name just a few.
He has won a number of awards including two awards from Ars Electronica
in Interactive Art, an Award in the Visual Arts from the Rockefeller
Foundation and a Leonardo Award for Excellence, for “OULIPO | vs |
Recombinant Poetics”. Currently he is working as a professor at the
department of Art, Art History & Visual Studies at Duke University,
where he also co-directs The Emergence Lab together with John Supko.

Since 1979 Bill Seaman has been exploring image, sound and text
relationships through various different media and technologies. From the
start his works were characterized by collaborations with other artists
and researchers and an interest in engaging the viewer into the artwork
on a deeper level, by providing the possibility of active participation.
 
Video as a poetic technological instrument became another medium
central to Seamans early work. He explored the possibilities of
distorting the material qualities of video, e.g. through editing, slow
or stop motion techniques and also investigated the manipulation of
language, by employing puns, word-plays and polyvalent language. These
works focus on the relationships of image, sound and text and led Seaman
to working in the field of "Recombinant Poetics", a term he coined in
the 1990´s. “Recombinant Poetics” refers to non-hierarchical combinatory
structures of text, video and sound elements being combined and
re-combined by the viewers of the artwork themselves. Through his
interactive involvement, the viewer becomes aware of the relations
between the different media elements and his mind set and directly
experiences how meaning arises and shifts as the various media elements
are constantly recontextualised and act upon each other.
 
Bill Seamans impressive body of work is represented and archived
thoroughly, with images, video and details on technology and exhibitions
on his ADA artist profile:  
https://www.digitalartarchive.at/database/artists/general/artist/seaman.html
 
 
Quotes:
"Bill Seaman achieves a complex, reciprocal ordering of words and
images which transforms the observer into a composer of new
image/word/sound sequences, and carries the idea of an 'open work of
art' to a fusion of poetry, music and video."
Dieter Daniels, "Ars ex machina", in. artintact 1
 
“Bill Seaman explores the potential of extending our “ability to
experience, generate, operate on, store, edit, and disseminate
meaningful patterns of experience” through what he terms recombinant
poetics.”
Diane Gromala
 
BECOME A MEMBER ON THE ARCHIVE OF DIGITAL ART (ADA) 
ARTISTS and SCHOLARS are invited to become members of the online
community and set up their ADA profile! ADA recently received a 1,2
Million grant together with Art University Linz and Angewandte Vienna to
develop ADA into a research and - most importantly - an international
teaching tool for art schools and information resource for galleries and
museums. Therefore we would like to invite all artists and scholars, who
fulfil the criteria, to become a member now, to create a profile, upload
information on your works and exhibitions. We document, as you can see
here, interfaces and displays and other inventions, soft- and hardware
configurations, literature, keywords and high res visuals of all kinds
to allow the next generation of artists to learn with the be

[rohrpost] REV.: RETRACING POLITICAL DIMENSIONS: Strategies in Contemporary New Media Art, Reviewed by Brian Reffin Smith for LEONARDO

[Image Science]

Retracing Political Dimensions: Strategies in Contemporary New Media
Art
by Oliver Grau and Inge Hinterwaldner, Editors

De Gruyter, Berlin, Germany, 2020
256 pp., illus. 59 col. Paper, PDF, $39.99
ISBN: 978-3-11-067094-3.
Reviewed by
Brian Reffin Smith
February 2021

Though some find solace in making pretty pictures, structures, and
interactive spaces, we must surely ask: if now is not the time to
consider a political 'new media art', as well as a politics of it,
well... when? I'm not talking about propaganda and mere sloganising, nor
about empty identification with the oppressed. As Art & Language, I
think, said long ago, to paint a picture of a miner is not to be working
class. But deliberately to avert one's eyes from a world where political
and social decisions by malign narcissists and poltroons are daily
mediated by every possible means except art, or to accept that art
should only be a refuge from it, is surely untenable today. As it was 50
years ago, when Jonathan Benthall, in his still useful book Science and
Technology in Art Today, writing of GRAV (Groupe de Recherche d'Art
Visuel) in Paris and New Tendencies in Zagreb, described them as
"devaluing the art-product as a source of charisma. This was an
important achievement for which we should all be grateful." It is a
strange thing that although art, like science, generally proceeds by
failure, and although technology frequently fails to deliver, we never
read about media art failures.

If, as Walter Benjamin asserted, the aestheticisation of politics is a
hallmark of fascism, then is the politicisation of art the reverse (in
the sense not perhaps of an anti-fascism which we might optimistically
take for granted, but rather an anti-kitsch, anti-pompier stance)? If
Trumpism was politics in the style of Jeff Koons crossed with the values
of the Reichskulturkammer then what style of representation, what index
of possibilities, could be embraced to make an art whose theory and
practice would at the very least refuse to be thus co-opted and which at
best might become political in a performative way (like 'abracadabra' or
'open sesame')? We need to problematise new media art, the making,
theorising, curating, teaching and historiography of it. But what do
these questions mean today? It's all so chaotic.

Thomas Kuhn's model of scientific progress (to simplify) was that it
proceeded via periods of 'normality', with generally accepted paradigms,
interspersed with periods of chaotic revolution when the paradigms
became untenable, until a new dominant paradigm emerges and normality
reigned again. The new dominant paradigm is surely a function of the
old, due to evidence and other pressures, money, politics and zeitgeist
all playing a part. In general, looking in the rear view mirror, we can
usually see how we got 'here'. But with computer based art, with new
media, there is no normality at all, only constant revolution and
turmoil, and if you look back in the mirror all you see is the preceding
chaos: it can be hard to see how we got here. Little wonder that easy
models for the progress of technological art, if progress it be -
change, anyway - are technological ones (almost business models in the
1980s and 1990s) - but without the political dimension that normally
might be expected to accompany even such an enquiry. Politics has no
presence there. A politically characterised model of the development of
computer based arts and new media, their production, celebration,
curation and memorialisation, encompassing perhaps everything from
Siggraph and MIT to research centres, institutions, public vs classified
research, individual vs communal activity, web art vs the gallery wall,
telematic vs. automatic and so on (not always in struggle, of course)
would generally be seen as taboo. It is thus not surprising that
questions within new media art have often tended to be devoid of
political content, even when the purported subject of the work was
itself a political object. It sometimes seems that everyone knows this,
but no one actually does anything about it. So this book and other works
by its begetters and contributors are very welcome. The editors
explicitly have a paradigm that "the technological advances in current
media cultures are best understood against a backdrop of an extensive
media and art history", which is refreshing.

One of the editors, Oliver Grau, is an influential figure in the fields
of media archeology and humanistic investigations of what is going on
when people make and experience media art. That he is also an art
historian is a great antidote to those who would simply apply the
internal criteria of media arts to any discourse about them. The other
editor, Inge Hinterwaldner, has also researched, written and argued
persuasively for deeper investigation in these and other areas, adopting
a broad bandwidth of methodologies and stressing the importance of flow
and fluidity, against static (perhaps both literally and metaphorically)
ways of in

[rohrpost] ISEA2020 ONLINE SUMMIT ON NEW MEDIA ART ARCHIVING, Oct. 16th

[Image Science]

Close to 500 leading experts and the most influential institutions in
the field of new media and electronic arts were signatories to "MEDIA
ART NEEDS GLOBAL NETWORKED ORGANISATION & SUPPORT"
(http://www.mediaarthistory.org/declaration) aka The Liverpool
Declaration. 

Functioning as a mission statement, the Liverpool Declaration serves as
a foundation for further action that was already being discussed at the
25th International Symposium on Electronic Art (ISEA2019), in Gwangju,
Republic of Korea. A group of like-minded colleagues discussed
approaches towards the problems and potential of the archiving of new
media art. The overwhelming attendance to this meeting stressed the
growing need for collaboration, structure and funding.

As a next step, at ISEA2020, a full day networking summit will be
coordinated by the ISEA online Symposium Archives, the Archive of
Digital Art, the Ars Electronica Archive, and SIGGRAPH Digital Art Show
Archive. Aims of this summit are to discuss roads towards realizing the
Liverpool Declaration goals related to Media Art Archiving
collaboration, funding and formats. ur goal is to support research,
documentation and preservation of digital art by:

a.) developing international archive-research infrastructures, similar
to those already available in the natural sciences
b.) contributing to development of infrastructures with museums, which
are interested in bringing the art of our time into their collections
through concerted networks of scholarly and mostly technological
expertise. So that relatively small museums can also deal with the very
demanding challenge. 

As a global phenomenon, which deals with such topics as digitization,
digital culture and post-digital societies, digital art is an essential
part of our Digital Cultural Heritage. Due to the ephemerality of its
technologies, it challenges traditional conservation and archiving
practices. New paths for documenting our contemporary art within a
long-time preservation strategy are needed. This includes co-creative
and large-scale infrastructures between all the involved stakeholders.

---
ISEA2020 ONLINE SUMMIT ON NEW MEDIA ART ARCHIVING 
October 16, 2020

Organised by the archives of: SIGGRAPH Digital Art Show, Archive of
Digital Art (ADA), Ars Electronica, ISEA
All sessions via ISEA2020*) except Break-out & Concluding sessions**)
---

*8-9am Montreal / 1-2pm London / 2-3pm Vienna / 8-9pm HK / 11-12am
Melbourne*
Melanie SWALWELL (AU) Archiving Australian Media Arts: Towards a method
and a national collection
Rodrigo Guzman SERRANO (HK) A History of the Internet through MoMA’s
Exhibition Sites. Web-Archiving Art Content at NYARC. 
Hava ALBOUDY (IL) Archiving and Researching Media Art in Israel:
Challenges, Innovative Solutions, and Potential International
Collaborations.
Vladlena GROMOVA (RU) A Database of Interdisciplinary Art in Russia. 
LIVE Q&A

*9-10:20am Montreal / 2-3:20pm London / 3-4:20pm Vienna / 9-10:20pm HK
/ 12-1:20am (Tues) Melbourne*
Oliver GRAU (AT) Museum-Network Digital Arts: For a concerted
Collection, Documentation and Conservation Strategy (Including intro to
ADA). 
Christina RADNER (AT) The Ars Electronica Archives. 9.41-9.46 a.m. 
Bonnie MITCHEL (US) The SIGGRAPH Digital Art Show Archives.  
Wim van der PLAS (NL) & Bonnie MITCHELL (US) The ISEA Symposium
Archives.
LIVE Q&A

*10:20-11:15am Montreal / 3:20-4:15pm London / 4:20-5:15pm Vienna /
10:20-11:15pm HK / 1:20-2:15am (tues) Melbourne*
Scott RETTBERG (NO) ELMCIP Electronic Literature Knowledge Base. 
Camille BAKER (UK) Brief history of STARTS and STARTS related EU policy
overview. 
Adam LOCKHART (UK) VR as a Preservation and Simulation Tool for Media
Artwork Installations. 
LIVE Q&A

*11:15-12:10pm Montreal / 4:15-5:10pm London / 5:15-6:10pm Vienna /
11:15-12:10am (tues) HK / 2:15-3:10am (tues) Melbourne*
Tadeus MUCELLI (BR) Digital Art Festival, Biennial Of Digital Art and
Labcult (UFMG/PPGCI). 
Elisa Arca JARQUE (PE) ePPA: Space/ Platform for Audiovisual
preservation
Bertrand GERVAIS (CA) Carving out a Path: Building Research and
Knowledge environments (RKE) in a Digital Culture 
LIVE Q&A

*12:10-12:45pm Montreal / 5:15-6:10pm London / 6:15-7:10pm Vienna /
12:15-1:10am (tues) HK / 3:15-4:10am (tues) Melbourne*
Devon MORDELL (CA) Preservation Begins at Creation: An Embedded Digital
Archivist Within the University of Windsor’s School of Creative Arts. 
Byeongwon HA (US) Archiving Interactive Art for Art Practitioners and
Theorists.  
LIVE Q&A

For these sessions you need to register via
https://isea2020.isea-international.org/registration/ 

---
**1-2:30pm Montreal / 6-7:30pm London / 7-8:30pm Vienna / 1-2:30am
(tues) HK / 4-5:30am (tues) Melbourne**
BREAK OUT SESSIONS  (Live via ZOOM)
Connecting New Media Art 

[rohrpost] Archive of Digital Art features: BILL SEAMAN

[Image Science]

Featured on the Archive of Digital Art (ADA): 
BILL SEAMAN – transdisciplinary explorations of meaning production and
the process of creativity

"So instead of writing about meaning production, I empower the
exploration of meta-meaning processes that arise via self-directed
engagement."
Bill Seaman, ADA Artist Interview, 2020
ADA features Bill Seaman – media artist, professor, researcher and
philosopher bridging Neuroscience, Computer Science, the Arts and
Humanities. He has been employing various digital media and other
technological means since the 1980´s to explore language, meaning and
knowledge production and the potentials of Computational Creativity. His
artistic method is rooted in a transdisciplinary manner of cooperation
with other artists, scientists, philosophers and designers, bringing
about works that use the language of poetics and metaphor, but are
always highly informed by scientific thought. Through building on a
number of different perspectives and through their interactivity, the
works of Bill Seaman also offer the viewer the possibility of a
multi-perspective approach, the possibility to engage in a conversation
with the artwork and take away different things each time they interact
with the piece.
https://www.digitalartarchive.at/features/featured-artists/featured-artist-bill-seaman.html


Bill Seaman has exhibited his work in galleries, museums and festivals
all around the world: at the Canadian National Gallery in Ottawa,
Canada, the Sprengel  Museum in Hannover, Germany and the 3rd Art and
Science International Exhibition in Beijing, China, to name just a few.
He has won a number of awards including two awards from Ars Electronica
in Interactive Art, an Award in the Visual Arts from the Rockefeller
Foundation and a Leonardo Award for Excellence, for “OULIPO | vs |
Recombinant Poetics”. Currently he is working as a professor at the
department of Art, Art History & Visual Studies at Duke University,
where he also co-directs The Emergence Lab together with John Supko.

Since 1979 Bill Seaman has been exploring image, sound and text
relationships through various different media and technologies. From the
start his works were characterized by collaborations with other artists
and researchers and an interest in engaging the viewer into the artwork
on a deeper level, by providing the possibility of active participation.
 

Video as a poetic technological instrument became another medium
central to Seamans early work. He explored the possibilities of
distorting the material qualities of video, e.g. through editing, slow
or stop motion techniques and also investigated the manipulation of
language, by employing puns, word-plays and polyvalent language. These
works focus on the relationships of image, sound and text and led Seaman
to working in the field of "Recombinant Poetics", a term he coined in
the 1990´s. “Recombinant Poetics” refers to non-hierarchical combinatory
structures of text, video and sound elements being combined and
re-combined by the viewers of the artwork themselves. Through his
interactive involvement, the viewer becomes aware of the relations
between the different media elements and his mind set and directly
experiences how meaning arises and shifts as the various media elements
are constantly recontextualised and act upon each other.

Please find 31 artworks fully documented here:
https://www.digitalartarchive.at/database/artists/general/artist/seaman.html


"Bill Seaman achieves a complex, reciprocal ordering of words and
images which transforms the observer into a composer of new
image/word/sound sequences, and carries the idea of an 'open work of
art' to a fusion of poetry, music and video."
Dieter Daniels, "Ars ex machina", in. artintact 1

“Bill Seaman explores the potential of extending our “ability to
experience, generate, operate on, store, edit, and disseminate
meaningful patterns of experience” through what he terms recombinant
poetics.”
Diane Gromala

BECOME A MEMBER ON THE ARCHIVE OF DIGITAL ART (ADA) 
ARTISTS and SCHOLARS are invited to become members of the online
community and set up their ADA profile! ADA recently received a 1.2
Million grant together with Art University Linz and Angewandte Vienna to
develop ADA into a research and - most importantly - an international
teaching tool for art schools and information resource for galleries and
museums. Therefore we would like to **invite all artists and scholars,
who fulfil the criteria - 5 exhibitions and/or articles - to become a
member now**. Create your profile and upload information on your works
and exhibitions. We try to document, interfaces and displays and other
inventions, soft- and hardware configurations, literature, keywords and
high res visuals to allow the next generation of artists to learn with
the best information, to give scholars the research resource they need
and museums, if they want to start a collection, the essential
information.  
To ensure a high academic standard, five published

[rohrpost] Media Art Preservation Institute - 5-day professional training - Dec 12-16, 2020

[Image Science]

The Department for Image Science invites participation in the Media Art
Preservation Institute held at the Danube University Krems, located 70km
from Vienna in the UNESCO World Heritage Wachau region. 

Danube University is the leading public university in Europe
specializing in advanced continuing education by offering low-residency
degree programs for working professionals and continuing
education/advanced studies. The Media Art Preservation Institute
provides 5 ECTS of material in the MediaArtHistories, MA curriculum. 

The Media Art Preservation Institute takes place Saturday - Wednesday,
December 12-16, 2020. 

PROGRAM:

Saturday - Dec 12th , 2020 15:00 - 18:00
Challenges, Needs and Current State of Media Art Preservation

Sunday Dec 13th, 2020 9:30 - 18:00
Expanding Strategic Archiving and Documentation

Monday Dec 14th, 2020 9:30 - 18:00
Media Art Material Conservation from Analog to Digital

Tuesday Dec 15th, 2020 9:30 - 18:00
Developing Preservation Strategies Across Stakeholders

Wednesday Dec 16th, 2020 9:30 - 16:00
Results, Resources & Wrap-up

Lecturers: Patricia FALCAO, Andreas WEISSER, Laurent MIGNONNEAU, Wendy
COONES, Oliver GRAU


DESCRIPTION:
Media Art is in the process of entering museums and archives, galleries
and private collections, and other more unexpected places. However, this
art form is threatened by significant loss due to rapid technological
obsolescence and insufficient documentation strategies. The special
needs required to care for this valuable and fragile heritage is slowly
becoming obvious. Understanding the tenets of media art preservation is
no longer a niche, but useful skills and knowledge in an expanding
field. 

To contribute to the development of this expertise the Danube
University Krems is pleased to offer a professional training
institute introducing fundamental concepts for the preservation of
media art. This workshop brings together knowledge and experience in
conservation & documentation from experts in both academic,
institutional and private practice. Interacting with a varied group of
participants, the institute will facilitate a mix of clearly structured
lectures, practical exercises and lively group discussions. Resource
materials and deep investigation of case-studies enable future practical
use. 

The activities will give participants the opportunity to learn about
the materials of media art, the risks for their preservation, and the
strategies available for some of the specific media, such as audio,
video interfaces or software. Participants will also learn about
different methods and aims of documentation, and some of the varied
approaches being used in the field. The 5-day institute brings together
the critical mass of expertise with representation from Media Art
historians, archivists, artists preserving collected works, and of
course conservators and restoration specialists from both collecting
institutions and freelance.

TARGET GROUP:
Anyone involved with cultural, collecting or archiving institutions.
Conservators and conservation lecturers / grad students, AV technicians,
media artists, archivists, registrars, curators, collectors. Researchers
in art history, media studies, media archeology or digital cultural
heritage. 

APPLICATION: 
A maximum of 24 may participate in this professional training.

Staff at universities in Erasmus+ program countries may apply for
Erasmus+ mobility funds. Please, contact the International Office at
your home institution about staff training funds available for travel
and accommodation.

www.donau-uni.ac.at/dbw/institute



Zum Hinzufügen einer Signatur klicken


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[rohrpost] Archive of Digital Art features Uršula Berlot with 36 Artworks + Interview

[Image Science]

Archive of Digital Art features Uršula Berlot with 36 Artworks +
Interview 

Exploring hidden topographies and autopoietic imagery
https://www.digitalartarchive.at/features/featured-artists/featured-artist-ursula-berlot.html



Uršula Berlot invites us to immerse ourselves into the world beneath
our perception. As a philosopher, researcher and artist, she questions
scientific imagery such as simulations of life at the molecular level
and mathematical models in a poetic way. Microscopic and nano-scientific
images become digital animations in black and white that allow us to
freely experience this visual world, often in an expressive or dreamlike
quality. Her works deal with modellings of physicality, microbiology,
and radiology as well as light, simulacrum and magnetism. 

https://www.digitalartarchive.at/database/artists/general/artist/berlot.html


Berlot has exhibited her work at festivals, museums and research
centres around the world, e.g. Today Art Museum, Beijing, Museum of
Modern Art, Ljubljana, and the Haus der Kulturen der Welt, Berlin. She
has collaborated with the Jožef Stefan Institute and the Clinical
Institute of Radiology, University Medical Centre in Ljubljana. For her
digital animations, she also works with designer Sunčana Kuljiš and with
sound artists like Robin Rimbaud and Alessandro Tedeschi. Since 2009,
she has worked as lecturer at the Academy of Fine Arts and Design,
University of Ljubljana and has become Associate Professor in 2014. 


A Closer Gaze at Microscopic Level 

Scientific principles and reciprocal, proportional or relative
processes direct the composition and movements in her images. Viewers
can immerse themselves in this rhythmic and expressive animation. In
“Bodygaze” (2020) graphical images combine structures that look like
microscopic imagery and the morphology of bodily particles. The bodily
tissue is mediated in a variety of observation ratios: from stylised
visible body parts (abstracted forms of hair, eyelashes and skin
structures) to microscopic images of elementary bodily particles. 

There is a similarity to early film theory and Jean Epstein’s concept
of photo-genie. While Epstein and his colleagues were fascinated by
elevating everyday objects through filmic styles, Berlot gazes deeply
into scientific imagery and its simulation of life. Her animations go
beyond a close-up and represent reality through scientific analysis and
visualisation. In the end, our perception of reality is juxtaposed with
the visibility of the hidden world beneath and beyond it. Then and now,
visual technologies allow us to take a closer gaze and Berlot
investigates this within arts-based research. 

Ursula Berlot’s artworks deviate from knowledge recognition towards an
aesthetic exploration. To do this, she remixes, remediates and digitally
processes the initial sources of inspiration. Algorithmically coded
images reference the duality of mimesis and technologically generated
reality. They question today’s boundary between image/simulation and
original. 

In ”Cerebral landscapes (Reflections)” (2006) a kinetic light
installation visualises pulsating pre-cerebral states, mental-sensory
patterns and mental energies. Berlot understands this work also as an
artistic metaphor of dichotomy: reflection as the optic phenomenon of
light reflection or a mental activity – a concentrated process of
thinking. 

Her work can also be highly personal since Berlot often uses her own
body particles to create these images and animations. In the history of
the body in art, her interpretation is poetic and technical at the same
time: It is a self-portrait, a way of inscribing oneself into the work
and an experiment. By working on a microscopic level, Berlot takes a new
look at artistic identity and creation. The work ”Bodyfraction” (2020)
parallels microscopic images of fragments of the artist’s body with
recordings of drawings and light-sensitive objects created on their
basis. 


QUOTES 

Martin KEMP: Uršula Berlot is beautifully exploring a very specific
world of morphologies and processes at invisible scales. Not only does
she find thrilling variety in this literal microcosm but she also infers
fascinating analogies with what we see at the macro-scale. She is
technically accomplished to a high degree and manages to achieve a
compelling level of lyricism.  

Ingeborg FÜLEPP: The specificity of Berlot's engagement with media and
digital technology lies in her very experimental approach toward its
expressive capacities.  Instead of using media technology as a means in
itself her creative process is directed to explore the variety of states
of subjective perception. Her light installation at Media-Scape (Museo
Lapidarium, Novigrad, 2008) was wonderfully fitting the idea of bridging
the historical remains with the modern times. 

Tomislav VIGNJEVIĆ: One of the basic premises of Uršula Berlot's
artistic expression is undoubtedly her desire to enlarge and ensuing
practice of making visible that which is not

[rohrpost] Banz&Bowinkel: Featured Artists - Archive of Digital Art (ADA)

[Image Science]

New Artist Feature on the Archive of Digital Art (ADA)
BANZ & BOWINKEL  

A visionary world of the (virtual) mind
https://www.digitalartarchive.at/index.php?id=191

Ideally by using these technologies, art should see through them and
unveil this imperative role in our society. When it is aesthetically
pleasing, the truth doesn’t hurt so much.
Banz&Bowinkel [1]

Banz&Bowinkel’s artworks were exhibited in galleries, museums and
festivals around the world (HeK Basel, KM – Halle für Kunst & Medien,
Graz, Zeppelin Museum Friedrichshafen), and they received residencies at
Tong Xian Art Center, Beijing, and Artist Residency Herzliya, Israel
among others. In 2017, they received the Digital Sculpture Award from
the Institute of digital art, HfK+G Ulm.
Since 2017, the artist duo lives in Berlin as free-lancing artists.

There is a deep ambivalence in the work of Banz&Bowinkel. The
commonalities/differences of real and virtual spaces lie at the heart of
their artworks, and the opportunities/challenges of human societies in
the digital age are questioned.

The German artist duo investigates the unknown parameters of digital
technologies that define our lives through communication, consumerism,
and simulated realities. They analyse the performativity in digital
imagery, and the human traces in the mathematical logic of the digital
realm.
In their work, the virtual world is not understood as a simulated
reality, but as a computational counterpart to our perception thereof.
The computer re-structures seemingly hidden the order of physical
reality. Their artworks represent semi-virtual environments in which
almost everything is pre-calculated and executed by computers. Physical
reality and virtual space merge unconsciously: How does this change our
understanding of embodiment, nature and our social surroundings?
In their VR work “Palo Alto” (2017), the very own virtual landscape and
avatars represent their computational origin. The fear of the unknown
meets the fascination of a 3D-environment waiting to be explored.

MEDIAARTHISTORIES: Virtual Reality, Avantgarde, and the perception of
reality
Banz&Bowinkel studied painting at the fine-arts academy in Düsseldorf, a
renowned art school where artists such as Gerhard Richter, Joseph Beuys
and Sigmar Polke graduated. They re-conceptualize ideas and issues in
modern art for contemporary digital art, such as self-reflection,
materiality, and media. The clean, geographic aesthetics of their work
responds to its virtuality, and is reminiscent of Minimal Art as well as
the photographic realism in surrealist paintings. In their first digital
art series "body paintings" (2016-2019), the tradition of gestural
abstraction was connected to action painting. Recordings of body
movements in space are coupled with fluid simulations. With an Augmented
Reality App, viewers can scan the paintings in the exhibition to detect
the virtual layers behind it.

Reminiscent of the geographic and sculptural shapes in the
(pre)surrealist paintings of Chirico, Banz&Bowinkel’s imagery is as
disquieting as visionary when it portrays the virtual worlds behind our
physical reality. In their work ”Mercury”(2016), elements of nature,
culture or technology intertwine into a surreal terrain in which known
physical laws are overridden. The animation follows the parameters of
its material, its software and hardware. The virtual landscapes confront
us with the strangeness of known objects in new, virtual environments.

QUOTES
In their work, the artists focus on the human fascination with
development, permeation and visualization of so-called reality.
Curatorial statement, House of electronic Arts, Basel

Giulia Bowinkel & Friedemann Banz continuously suggest declinations of
virtual and real spaces. Dimensions, consistency and matter are
transformative in their artistic works, they overlap and flow into their
pictures, videos and installation, coming together as autonomous
parameters.
Christina Irrgang

Check out Banz&Bowinkel’s ADA from their VR installations, installation photos 
and much more:
https://www.digitalartarchive.at/database/artists/general/artist/banzbowinkel.html


ARTISTS AND SCHOLARS CAN BECOME MEMBERS ON THE ARCHIVE OF DIGITAL ART
(ADA)

ARTISTS and SCHOLARS are invited to become members of the online
community and set up their ADA profile! To ensure a high academic
standard, five published articles and/or exhibitions are required to
become members of the ADA community. Create your account here:
www.digitalartarchive.at/support/account-request.html

SHARE YOUR RESEARCH WITH PEERS AND THE COMMUNITY
Community members can upload publications and PDFs, announce upcoming
events, post comments, document exhibitions, conferences and other
relevant news.

ADA: THOUSANDS OF ARTWORKS
Since its foundation in 1999, the ARCHIVE OF DIGITAL ART (former
Database of Virtual Art) has grown to be the most important online
archive for digital art. In cooperation with established media artists,
researchers and institu

[rohrpost] POSTPONEMENT: SUMMIT ON NEW MEDIA ART ARCHIVING during ISEA2020 in MONTREAL to Oct. 16th

[Image Science]

SUMMIT ON NEW MEDIA ART ARCHIVING during ISEA2020 in MONTREAL

School of Digital Arts, Animation and Design, University of Québec,
Montreal

The Summit is organised with the purpose of presenting a roadmap towards
the goals of the Liverpool Declaration*.
This is a co-operative effort of the ISEA, Ars Electronica, SIGGRAPH and
ADA archives.

PRELIMINARY PROGRAMME

Friday Oct 16th
9.00-9.30 registration

9.30-10.00 Introductory Keynote: Prof. Dr. Oliver Grau, MAE, Department
for Image Science, Danube-University Krems, Austria:
Museum-Network Digital Arts: For a concerted Collection, Documentation
and Conservation Strategy


Case Studies (collection / preservation)

10.00-10.15 Adam Lockhart -- VR as a Preservation and Simulation Tool
for Media Artwork Installations


10.15-10.30 Hava Aldouby --- Archiving and Researching Media Art in
Israel: Challenges, Innovative Solutions, and Potential International
Collaborations


10.30-10.45 Rodrigo Guzman Serrano --- A History of the Internet through
MoMA’s Exhibition Sites. Web-Archiving Art Content at NYARC break


INFRASTRUCTURES (new strategies & technology or documentation &
archiving)

11.00-11.45 Byeongwon Ha --- Archiving Interactive Art for Art
Practitioners and Theorists


11.45-12.00 Devon Mordell --- Preservation Begins at Creation: An
Embedded Digital Archivist Within the University of Windsor’s School of
Creative Arts

13.00-13.15 Vladlena Gromova --- A Database Of Interdisciplinary Art In
Russia

13.15-13.30 Elisa Ines Arca Jarque --- ePPA: Espacio/ Plataforma de
preservación audiovisual (ePPA – Space/ Platform for Audiovisual
preservation)

13.30-13.45 Scott Rettberg --- ELMCIP Electronic Literature Knowledge
Base


INTERNATIONAL / INTERCONTINENTAL SUPPORT AND PROJECT STRUCTURES


13.45-14.00 Camille Baker --- Brief history of STARTS and STARTS related
EU policy overview


14.00-14.15 Tadeus Mucelli --- Digital Art Festival, Biennial Of Digital
Art and Labcult (UFMG/PPGCI)


14.15.14.30 Melanie Swalwell --- Archiving Australian Media Arts:
Towards a method and a national collection

14.45-15.00 Manuela Naveau, Bonnie Mitchell & Wim van der Plas: Short
presentations on archives of Ars Electronica, SIGGRAPH Art Show and ISEA

15.00-15.15 Invited speaker (tba)

15.15-16.15 Break Out Sessions: collective preparation for concluding
session

16.15-17.30 Oliver Grau, Bonnie Mitchell & Wim van der Plas
(moderation): Conclusions and directions: structured road map and
concrete proposals.

17.30 onwards: Informal get together

Free for ISEA2020 participants, others pay the one day symposium fee.
Proceedings will be published.

* MEDIA ART NEEDS GLOBAL NETWORKED ORGANISATION & SUPPORT –
International Declaration, signed by 500 professionals representing the
key institutes in the field.
http://www.isea-archives.org/docs/MediaArtHistoryDeclaration.pdf

For more information contact Wim van der Plas at w...@isea-web.org


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[rohrpost] SUMMIT ON NEW MEDIA ART ARCHIVING during ISEA2020 in MONTREAL, May 18

[Image Science]

SUMMIT ON NEW MEDIA ART ARCHIVING during ISEA2020 in MONTREAL

School of Digital Arts, Animation and Design, University of Québec,
Montreal

The Summit is organised with the purpose of presenting a roadmap
towards the goals of the Liverpool Declaration*. 
This is a co-operative effort of the ISEA, Ars Electronica, SIGGRAPH
and ADA archives.

PRELIMINARY PROGRAMME 

Monday May 18
9.00-9.30 registration

9.30-10.00 Introductory Keynote: Prof. Dr. Oliver Grau, MAE, Department
for Image Science, Danube-University Krems, Austria: 
Museum-Network Digital Arts: For a concerted Collection, Documentation
and Conservation Strategy


Case Studies (collection / preservation)

10.00-10.15 Adam Lockhart -- VR as a Preservation and Simulation Tool
for Media Artwork Installations 
10.15-10.30 Hava Aldouby --- Archiving and Researching Media Art in
Israel: Challenges, Innovative Solutions, and Potential International
Collaborations 
10.30-10.45 Rodrigo Guzman Serrano --- A History of the Internet
through MoMA’s Exhibition Sites. Web-Archiving Art Content at NYARC 
break


Infrastructures (new strategies & technology or documentation &
archiving)

11.00-11.45 Byeongwon Ha --- Archiving Interactive Art for Art
Practitioners and Theorists 
11.45-12.00 Devon Mordell --- Preservation Begins at Creation: An
Embedded Digital Archivist Within the University of Windsor’s School of
Creative Arts
break
13.00-13.15 Vladlena Gromova --- A Database Of Interdisciplinary Art In
Russia 
13.15-13.30 Elisa Ines Arca Jarque --- ePPA: Espacio/ Plataforma de
preservación audiovisual (ePPA – Space/ Platform for Audiovisual
preservation) 
13.30-13.45 Scott Rettberg --- ELMCIP Electronic Literature Knowledge
Base 


International / intercontinental support and project structures

13.45-14.00 Camille Baker --- Brief history of STARTS and STARTS
related EU policy overview 
14.00-14.15 Tadeus Mucelli --- Digital Art Festival, Biennial Of
Digital Art and Labcult (UFMG/PPGCI) 
14.15.14.30 Melanie Swalwell --- Archiving Australian Media Arts:
Towards a method and a national collection
break
14.45-15.00 Manuela Naveau, Bonnie Mitchell & Wim van der Plas: Short
presentations on archives of Ars Electronica, SIGGRAPH Art Show and ISEA

15.00-15.15 Invited speaker (tba) 

15.15-16.15 Break Out Sessions: collective preparation for concluding
session 

16.15-17.30 Oliver Grau, Bonnie Mitchell & Wim van der Plas
(moderation): Conclusions and directions: structured road map and
concrete proposals.

17.30 onwards: Informal get together

Free for ISEA2020 participants, others pay the one day symposium fee.
Proceedings will be published. 

* MEDIA ART NEEDS GLOBAL NETWORKED ORGANISATION & SUPPORT –
International Declaration, signed by 500 professionals representing the
key institutes in the field. 
http://www.isea-archives.org/docs/MediaArtHistoryDeclaration.pdf 

For more information contact Wim van der Plas at w...@isea-web.org 
 



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[rohrpost] Media Art Preservation Institute - 5-day professional training - June 6-10

[Image Science]

The Department for Image Science invites participation in the Media Art
Preservation Institute held at the Danube University Krems, located 70km
from Vienna in the UNESCO World Heritage Wachau region. 

Danube University is the leading public university in Europe
specializing in advanced continuing education by offering low-residency
degree programs for working professionals and continuing education /
advanced studies. The Media Art Preservation Institute provides 5 ECTS
of material in the MediaArtHistories, MA curriculum. 

The Media Art Preservation Institute takes place Saturday – Wednesday
June 6-10, 2020. 

PROGRAM:

Saturday - June 6th, 2020 – 15:00 - 18:00
Challenges, Needs and Current State of Media Art Preservation

Sunday – June 7th, 2020 – 9:30 - 18:00
Expanding Strategic Archiving and Documentation

Monday – June 8th, 2020 – 9:30 - 18:00
Media Art Material Conservation from Analog to Digital

Tuesday – June 9th, 2020 – 9:30 - 18:00
Developing Preservation Strategies Across Stakeholders

Wednesday – June 10th, 2020 – 9:30 - 16:00
Results, Resources & Wrap-up


Lecturers: Patricia Falcao, Andreas Weisser, Laurent Mingnonneau, Wendy
Coones, Oliver Grau


DESCRIPTION:
Media Art is in the process of entering museums and archives, galleries
and private collections, and other more unexpected places. However, this
art form is threatened by significant loss due to rapid technological
obsolescence and insufficient documentation strategies. The special
needs required to care for this valuable and fragile heritage is slowly
becoming obvious. Understanding the tenets of media art preservation is
no longer a niche, but useful skills and knowledge in an expanding
field. 
To contribute to the development of this expertise the Danube
University Krems is pleased to offer a professional training institute
introducing fundamental concepts for the preservation of media art. This
workshop brings together knowledge and experience in conservation &
documentation from experts in both academic, institutional and private
practice. Interacting with a varied group of participants, the institute
will facilitate a mix of clearly structured lectures, practical
exercises and lively group discussions. Resource materials and deep
investigation of case-studies enable future practical use. 
The activities will give participants the opportunity to learn about
the materials of media art, the risks for their preservation, and the
strategies available for some of the specific media, such as audio,
video interfaces or software. Participants will also learn about
different methods and aims of documentation, and some of the varied
approaches being used in the field.
The 5-day institute brings together the critical mass of expertise with
representation from Media Art historians, archivists, artists preserving
collected works, and of course conservators and restoration specialists
from both collecting institutions and freelance.
TARGET GROUP:
Anyone involved with cultural, collecting or archiving institutions.
Conservators and conservation lecturers / grad students, AV technicians,
media artists, archivists, registrars, curators, collectors. Researchers
in art history, media studies, (media) archeology or digital cultural
heritage. 

APPLICATION: 
A maximum of 24 may participate in this professional training.
Deadline to apply - April 1
Results by April 3rd. 
Places made available after April 3rd will be given to those on the
waiting list or given on a first come first serve basis. 
Staff at universities in Erasmus+ program countries may apply for
Erasmus+ mobility funds. Please, contact the International Office at
your home institution about staff training funds available for travel
and accommodation.

www.donau-uni.ac.at/dbw/institute

-

If you are receiving this as a forwarded message and would like to be
added
to the Dept for Image Science mailing list please email
zbw(at)donau-uni.ac.at


*Please forward this announcement to colleagues and other interested
parties.*


-- 
Department for Image Science – Danube University Krems
in cooperation with the Archive for Digital Art, the Project "Lehr- und
Forschungsinfrastruktur für Digitale Künste an Hochschulen (LeFo)" of
Media Arts, funded by the Austrian Federal Government and the Arts &
Digital Humanities Lab of DanubeU



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[rohrpost] Extension of CFP Deadline (14.1.): Archiving, Collecting and Preserving Digital Art Summit at ISEA2020

[Image Science]

Archiving, Collecting and Preserving Digital Art Summit at ISEA2020
*Announcement & Call for Participation*
Extention of Deadline 14.1.2020

The Liverpool Declaration currently has more than 500 leading experts and the 
most influential institutions in the field of new media and electronic arts as 
signatories to "MEDIA ART NEEDS GLOBAL NETWORKED ORGANISATION & SUPPORT" 
http://www.mediaarthistory.org/declaration 

Functioning as a mission statement, the Liverpool Declaration serves as a 
foundation for further action that was already being discussed at the 25^th 
International Symposium on Electronic Art (ISEA2019), in Gwangju, Republic of 
Korea. A group of like-minded colleagues discussed approaches towards the 
problems and potential of the archiving of new media art. The overwhelming 
attendance to this meeting stressed the growing need for collaboration, 
structure and funding.

As a next step, at ISEA2020 (Montreal, Canada, May 19-24), a full day 
networking summit will be coordinated by the ISEA online Symposium Archives, 
the Archive of Digital Art, the Ars Electronica Archive, and SIGGRAPH Digital 
Art Show Archive. The definite date for the Summit is still being discussed and 
maybe the day preceding the actual ISEA symposium, on Monday May 18th. *Aims of 
this summit are to discuss roads towards realizing the Liverpool Declaration 
goals related to Media Art Archiving collaboration, funding and formats.*

1: Presentation of Liverpool Declaration and remarks on general state of affairs
2: Impulse Presentations (10 minutes each) of Case Studies, Infrastructures, 
international support
3: Breakout groups to discuss: Collaboration, Funding, Formats
4: Rapport of group discussions.
5: Plenary for creation of structured road map and concrete proposals. 
6: Conclusions and directions.

(It is planned to have all sessions live-streamed to enable virtual attendance 
of multiple archiving entities)
We invite to join the Summit and participate.
Deadline for Submissions: Jan 14, 2020

Email PDF proposals (maximum of 1 page each) to i...@isea-archives.org 
 with:
Name and email address of Presenter
Name of Organization (if applicable)
Select which category the submission relates to (you may select more than 1):

1.Case Study (collection / preservation)
2.Infrastructures (new strategies & technology or documentation & archiving)
3.International / intercontinental support and project structures

The proposals will be evaluated in January by representatives of the 4 involved 
organisations (Oliver Grau, Wendy Coones, Veronika Liebl, Bonnie Mitchell & Wim 
van der Plas). The outcome will be communicated in February.

   * *Oliver Grau* & *Wendy Coones*, Archive of Digital Art,
 www.digitalartarchive.at 
   * *Veronika Liebl*, Ars Electronica Archives, http://archive.aec.at/ 
   * *Bonnie Mitchell*, SIGGRAPH Digital Art Show Archives & ISEA Online
 Symposium Archives https://digitalartarchive.siggraph.org/ &
 https://isea-archives.siggraph.org/ (under construction)
   * *Wim van der Plas*, ISEA Online Symposium Archives
 http://www.isea-archives.org/ 




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[rohrpost] CFP: Archiving, Collecting and Preserving Digital Art Summit at ISEA2020

[Image Science]

Archiving, Collecting and Preserving Digital Art Summit at ISEA2020
*Announcement & Call for Participation*
The Liverpool Declaration currently has more than 500 leading experts and the 
most influential institutions in the field of new media and electronic arts as 
signatories to "MEDIA ART NEEDS GLOBAL NETWORKED ORGANISATION & SUPPORT" 
http://www.mediaarthistory.org/declaration 
Functioning as a mission statement, the Liverpool Declaration serves as a 
foundation for further action that was already being discussed at the 25^th 
International Symposium on Electronic Art (ISEA2019), in Gwangju, Republic of 
Korea. A group of like-minded colleagues discussed approaches towards the 
problems and potential of the archiving of new media art. The overwhelming 
attendance to this meeting stressed the growing need for collaboration, 
structure and funding.
As a next step, at ISEA2020 (Montreal, Canada, May 19-24), a full day 
networking summit will be coordinated by the ISEA online Symposium Archives, 
the Archive of Digital Art, the Ars Electronica Archive, and SIGGRAPH Digital 
Art Show Archive. The definite date for the Summit is still being discussed and 
maybe the day preceding the actual ISEA symposium, on Monday May 18th. *Aims of 
this summit are to discuss roads towards realizing the Liverpool Declaration 
goals related to Media Art Archiving collaboration, funding and formats.*
1: Presentation of Liverpool Declaration and remarks on general state of affairs
2: Impulse Presentations (10 minutes each) of Case Studies, Infrastructures, 
international support
3: Breakout groups to discuss: Collaboration, Funding, Formats
4: Rapport of group discussions.
5: Plenary for creation of structured road map and concrete proposals. 
6: Conclusions and directions.
(It is planned to have all sessions live-streamed to enable virtual attendance 
of multiple archiving entities)
We invite to join the Summit and participate.
Deadline for Submissions: Dec 31, 2019
Email PDF proposals (maximum of 1 page each) to i...@isea-archives.org 
 with:
Name and email address of Presenter
Name of Organization (if applicable)
Select which category the submission relates to (you may select more than 1):
1.Case Study (collection / preservation)
2.Infrastructures (new strategies & technology or documentation & archiving)
3.International / intercontinental support and project structures
The proposals will be evaluated in January by representatives of the 4 involved 
organisations (Oliver Grau, Wendy Coones, Veronika Liebl, Bonnie Mitchell & Wim 
van der Plas). The outcome will be communicated in February.

   * *Oliver Grau* & *Wendy Coones*, Archive of Digital Art,
 www.digitalartarchive.at 
   * *Veronika Liebl*, Ars Electronica Archives, http://archive.aec.at/ 
   * *Bonnie Mitchell*, SIGGRAPH Digital Art Show Archives & ISEA Online
 Symposium Archives https://digitalartarchive.siggraph.org/ &
 https://isea-archives.siggraph.org/ (under construction)
   * *Wim van der Plas*, ISEA Online Symposium Archives
 http://www.isea-archives.org/ 




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[rohrpost] Review / Digital Art through the Looking Glass (Grau, Hoth und Wandl-Vogt)

[Image Science]

Review of Digital Art through the Looking Glass: New strategies for
archiving, collecting and preserving in digital humanities

by Oliver Grau, Janina Hoth, and Eveline Wandl-Vogt (Eds.)
Edition Donau-Universität Krems and Austrian Academy of Sciences, 2019

Books on archiving, collecting, and preserving digital art are rare.
Oliver Grau, Janina Hoth, and Eveline Wandl-Vogt's open access book
Digital Art through the Looking Glass. New strategies for archiving,
collecting and preserving in digital humanities (Danube University Press
Krems and Austrian Academy of Sciences, 2019) provides us with this
content addressing the topic from a variety of perspectives. This book
elaborates on the problem of archiving, collecting, and conserving
digital art by treating on the one side the challenge of the
preservation of the early new media art, then describing in detail the
state of the digital arts and museums through six decades - since its
existence, as well as treating different perspectives and practices of
digital art archiving methods, not only from an artist's point of view,
but also from a collector's and curator's point of view. Furthermore,
this book also deals with digital cultural heritage with a focus on
methodology and research tools.

Already in a previous book edited by Oliver Grau, Wendy Coones, and
Viola Rühse Museum and Archive on the move. Changing Cultural
Institutions in the Digital Era (De Gruyter 2017) the issue of archiving
and presenting digital artworks in museums was addressed. Or, the
bilingual book edited by Giselle Beiguelman and Ana Conçalves Magalhães
Possible Futures. Art, Museums and Digital Archives (Editora
Peiropolis 2014) which is the result of a symposium held at the School
of Architecture and Urbanism of the University of Sao Paulo in
partnership with the Ars Electronica in Linz presents ideas on future
archives, or ways of digitizing different genres, and also analyses new
forms of information curatorship. In contrast to these books, Digital
Art through the Looking Glass includes extended practices and proposals,
e.g. of restoring and keeping artworks “alive”, and it includes a
comprehensive introduction to the integration of the research of digital
art within the field of digital humanities.

In the introduction Oliver Grau, Janina Hoth, and Eveline Wandl-Vogt
create and explain connections between digital art and digital
humanities, and emphasize the role of artists of digital art and their
impact on society. The authors state here that digital art's
developments often mirror the academic field of digital humanities; and
through ”transdisciplinary methods at the intersection of art, science,
and technology, digital art combines artistic creation with innovative
research and technological development” (p. 9). The authors draw
attention towards integrating the research of those artworks into the
digital humanities. Further Grau, Hoth, and Wandl-Vogt provide an
overview of the main sections of the book while also explaining the
background and how each contribution fits into this research.
The first section of the book begins with a chapter by one of the
pioneers of computer art – Frieder Nake- dealing with the origin of
digital media by discussing/treating Georg Nees’ and Harald Cohen's
artworks. Further, George Legrady – one of the artists who makes the
collection a central focal point of his work - deals with the
integration of noise as an aesthetic element in his early digital
photographic projects. José R. Alcalá Mellado and Beatriz Escribano
Belmar go back to the electrographic practices including art forms such
as copy-art or fax-art to research the historical development of media
art. This part of the book is being closed with another research on
media art histories - Anne-Marie Duguet deals with the “anarchive”
series which presents time-based artworks in which the archives had to
be constantly updated.

The second section of the book “Six Decades of Digital Art and Museums”
is a description of the DARIAH connectivity roundtable held at the
MediaArtHistories in 2017, where the panelists Giselle Beiguelman,
Howard Besser, Patricia Falcão, Oliver Grau, Sarah Kenderdine, Marianne
Ping Huang, and Christoph Thun-Hohenstein moderated by Wendy Coones
discussed questions such as how do museums and archives need to evolve
in order to collect, preserve, and show the digital art of our time and
what kind of strategies and concerted preservation tools might be
necessary to move forward. While the first panellist Falcão addresses as
main problem the fact that digital-based arts are being collecting in
different areas (museums, archive,...) and are not centrally
coordinated, Beiguelman—speaking about art online—thinks that
reinvention of memory is now necessary so that we can find artworks even
if there are social networks that one day might fail; data should be
further accessible by search engines. Oliver Grau considers that being
about 200 years old a museum is a bit outdated for

[rohrpost] Rethinking Digital Cultural Heritage - Stockholm, 13.11.

[Image Science]

RETHINKING DIGITAL CULTURAL HERITAGE

Time: Wednesday 13 November 2019, kl. 13.00-17.00
Place: Auditoriet, Frescativägen 24
https://www.su.se/ike/om-oss/evenemang/%C3%B6ppet-seminarium-om-digitalisering-och-kulturarvssamlingar-1.437602


13.00 
Welcome and introduction
Anna Dahlgren & Pelle Snickars

13.15-14.00 
Losing Born-Digital Heritage: Living Archive and Bridging Thesaurus. 
For a Concerted Museum-Network 
Oliver Grau, Professor of Image Science, Danube University Krems

14.00-14.45 
Museums and Machines: Digital Cultural Heritage Horizons
Kathryn Eccles, Research Fellow at the Oxford Internet Institute and
Pembroke College, University of Oxford.

14.45-15.15 Coffee

15.15-16.00 
Digital Heritage as 'Big Historical Data' in Humanities Scholarship: 
Digital Methods, Research Infrastructure and Collaboration
Julia Noordegraaf, Professor of Digital Heritage, University of
Amsterdam.

16.00-16.30 Concluding panel and discussion

The event is free of charge. However registration  is required 
filip.nyst...@su.se 


Oliver Grau, Professor of Image Science at Danube University Krems
LOSING BORN-DIGITAL HERITAGE: Living Archive and Bridging Thesaurus
For a Concerted Museum-Network


Oliver GRAU was appointed first Chair Professor for Image Science in
the German speaking countries at Danube University in 2005. More than
350 lectures and keynotes at conferences worldwide. Grau's “Virtual
Art”, MIT Press 2003 is with approx. 1500 citations internationally
the most quoted art history monograph since 2000. His main research is
in histories of media art, immersive images, emotion, the history of
telepresence, artificial life and digital humanities. Grau conceived new
scientific tools for image science developing the first international
archive for digital art (ADA, since 1999). Since 2005 Grau is also head
of the database of Goettweig’s Graphic Print Collection, Austria's
largest private collection with 30.000 works, from Duerer to Klimt. Grau
developed new international curricula: MediaArtHistories MA, Image
Science, Digital Collection Management, the EU supports the
MediaArtsCultures Program with 5.5 Mio. Euro. Grau was founding director
and is chair of the MediaArtHistories Conference Series. 2005 he was
elected member of the Young Academy of the BBAW & Leopoldina, 2014 he
received a doctor h.c., 2015 he was elected into the Academia Europaea.


Kathryn Eccles, Research Fellow at the Oxford Internet Institute and
Pembroke College, University of Oxford.
Museums and Machines: Digital Cultural Heritage Horizons

Dr Kathryn ECCLES is a Research Fellow at the Oxford Internet Institute
and Pembroke College, University of Oxford. A historian by training, her
research interests lie primarily in the Digital Humanities, ranging from
the re-organisation of cultural heritage and higher education in the
digital world, to broader debates surrounding the human and social
aspects of innovation. Appointed as the University of Oxford’s first
Digital Humanities Champion (2014-6), Kathryn’s current work focuses on
the ways in which museums and cultural heritage organisations can
implement new tools and technologies to enhance visitor engagement, and
to understand how visitors engage with collections.


Julia Noordegraaf, professor of Digital Heritage in the department of
Media
Studies at the University of Amsterdam.
Digital Heritage as 'Big Historical Data' in Humanities Scholarship:
Digital Methods, Research Infrastructure and Collaboration

Julia NOORDEGRAAF is professor of Digital Heritage in the department of
Media Studies at the University of Amsterdam. She is director of the
Amsterdam Centre for Cultural Heritage and Identity
(ACHI<http://achi.uva.nl/>), one of the university’s research priority
areas, where she leads the digital humanities research program Creative
Amsterdam (CREATE) that studies the history of urban creativity using
digital data and methods. She also participates as Steering Committee
member in the newly established RPA Human(e) AI<https://humane-ai.nl/>,
which studies the societal implications of AI technology. Noordegraaf’s
research focuses on the preservation and reuse of audiovisual and
digital heritage. She has published, amongst others, the monograph
Strategies of Display (2004/2012) and, as principal editor, Preserving
and Exhibiting Media Art (2013) and acts as principal editor of the
Cinema Context database on Dutch film culture. She currently leads
research projects on the conservation of digital art (in the Horizon
2020 Marie Curie ITN project NACCA<http://nacca.eu/>) and on the reuse
of digital heritage in data-driven historical research (besides CREATE
in the NWO funded project Virtual Interiors as Interfaces for Big
Historical Data Research. She is a former fellow of the Netherlands
Institute for Advanced Study in the Humanities and Social Sciences and
acts as board member for Media Studies in
CLARIAH<http://www.clariah.nl/>

[rohrpost] CFP: MediaArtHistories at CIHA 2020 world congress, Pao Paulo

[Image Science]

CIHA world congress 2020, Sao Paulo with MediaArtHistories Session

Migration, Climate, Surveillance – What does Media Arts Complexity
want?(Sess. 5)

Chairs:
Giselle BEIGUELMAN, Universidade de São Paulo, São Paulo
Oliver GRAU, Danube University, Austria
Nara Cristina SANTOS, Universidade Federal de Santa Maria, Santa Maria

MediaArtHistories is an interdisciplinary field of research that
explores the current developments as well as the history and genealogy
of new media art, digital art, and electronic art. (GRAU 2007, DOMINGUES
2009). On the one hand, media art histories address the contemporary
interplay of art, technology, and science. (WILSON 2010, HENDERSON 1983)

It aims to reveal the historical relationships and aspects of the
‘afterlife’ (Aby Warburg) in new media art by means of a historical
comparative approach.
This strand of research encompasses questions of the history of media
and perception, of so- called archetypes, as well as those of
iconography and the history of ideas. Moreover, one of the main agendas
of media art histories is to point out the role of digital technologies
for contemporary, post-industrial societies and to counteract the
marginalization of according art practices and art objects as pointed
out in the Liverpool Declaration: "Digital technology has fundamentally
changed the way art is made. Over the last fifty years, media art has
become a significant part of our networked information society. Although
there are well-attended international festivals, collaborative research
projects, exhibitions and database documentation resources, media art
research is still marginal in universities, museums and archives. It
remains largely under-resourced in our core cultural institutions (5a) 
Hence, scholars stress that the technological advances in current media
cultures are best understood on the backdrop of an extensive media and
art history. Contributions to this field are widespread and include
researchers who have disciplinary focuses such as the history of science
(Lorraine Daston), art history and image science (Oliver Grau, Barbara
Stafford, Jonathan Crary), media studies and media archaeology
(Friedrich Kittler, Erkki Huhtamo, Siegfried Zielinski), sound studies
(Douglas Kahn), film studies (Sean Cubitt, Jorge La Ferla), media art
aesthetics (Christiane Paul, Giselle Beiguelman, Lev Manovich), archives
(Grau, Beiguelman).

The term new media art itself is of great importance to the field. The
focus of new media art lies in the cultural, political, and social
implications as well as the aesthetic possibilities – more or less its
‘media-specificity’ – of digital media. Furthermore, the field of new
media art is increasingly influenced by new technologies that surmount a
traditional understanding of (art) media. The list of genres that are
commonly subsumed under the label of new media art illustrates its broad
scope and includes, among others, virtual art, Software Art, Internet
Art, Glitch Art, Telematic Art, Bio Art / Genetic Art, Interactive Art,
computer animation and graphics, Urban Media Art, Mobile Art, Hacktivism
and Tactical Media. These latter two ‘genres’ in particular have a
strong focus on the interplay of art and (political) activism. Recently,
with the development with Artificial Intelligence, there is also an
emerging trend exploring its aesthetics. The diversity of fields makes
clear that digital art with its histories is a complex system, which is
not only complicated but has rapidly-accelerating complexity. With the
Algorithmic, Computational and even Post-digital turn over recent
decades, the digital image is becoming contextual, ephemeral, immersive,
interactive and processual, made as it is out of many technologies.

This session addresses the role Media Art plays in today’s
sociopolitical issues such as migration, climate, virtual finance, and
surveillance society. We welcome going beyond state-of-the-art analytic
methods in the humanities, combining for example qualitative close gaze
(of critical visual analysis) and the quantitative distant-reading (from
computer-assisted data analysis/empirical research). A main session
outcome is added value for the humanities with “a socio-political
iconography of the present”, and discussion of a new “way of seeing”, of
“thinking with pictures”, and asking “what do complex images want?” in
the Digital Age. Therefore, this session welcomes as well proposals for
adequate research infrastructures following the Liverpool Declaration,
which was signed by scholars and artists based at institutions all over
the globe to develop systematic strategies to fulfill the task that
digital culture and its research demands in the 21st Century
(http://www.mediaarthistory.org/declaration).

This session focuses on an evaluation of the status of the
meta-discipline MediaArtHistories today. Immersed in both contemporary
and historiographical aspects of the digital world, we explore the most
immediate socio-cultural questio

[rohrpost] Call for applications - early acceptance and all scholarships (Deadline Nov 17, 2019) - Media Arts Cultures joint master degree

[Image Science]

MEDIA ARTS CULTURES Erasmus Mundus Joint Master Degree
Erasmus+ - European Master of Excellence 
KREMS / AALBORG / LODZ / SINGAPORE
Call for applications
Early acceptance and submission for all scholarships
2020 Intake - deadline November 17, 2019
www.mediaartscultures.eu 

~
Media Arts Cultures is organized jointly by: Danube University Krems
(Austria, lead) Aalborg University (Denmark) University of Lodz (Poland)
and Lasalle College of the Arts (Singapore).
Associated Partners: Archive of Digital Art, Ars Electronica Linz,
ArtSciMuseum, DAM, Europeana, FACT, Het Nieuwe Instituut, Instrument
Inventors Initiative, imai, Impakt Festival, MOCAK, monochrome, Neural
Magazine, SPEKTRUM, WRO Art Center, ZKM
The language of instruction is English and includes taught semesters,
internship, and a master thesis supervised by lecturers from the partner
universities.
MediaAC faculty include: Andreas BROECKMANN, Wendy COONES, Palle
DAHLSTEDT, Steven DIXON, Oliver GRAU, Jens HAUSER, Elizabeth JOCHUM,
Sarah KENDERDINE, Ryszard W. KLUSZCZYŃSKI, Lev MANOVICH, Roger MALINA,
Wolfgang MUENCH, Frieder NAKE, Maciej OŻÓG, Christiane PAUL, Ana
PERAICA, Katarzyna PRAJZNER, Jeffrey SHAW, Morten SØNDERGAARD, Audrey
WONG, Jon CATES, Francesco FRANCO, Sean CUBITT, Patricia FALCAO, Tamillo
THIEL, Andrés BURBANO, Marian DÖRK and many others.

~
Media Arts Cultures is a 2-year mobility program, enabling students to
study across Europe and in Asia. Students spend three semesters at
different universities, complete an internship at a Consortium
Associated Partner, and write a Master Thesis at the best-suited partner
during the final semester. Upon completion, students receive a 120 ECTS
joint master degree in Media Arts Cultures from three universities.
Graduates may further pursue a PhD within Europe or other international
higher education regions as well as choose to enter the world of work in
the Creative and Cultural Sector.
Securing your early acceptance to the program enables applicants to
submit materials to the various scholarship opportunities: 
External-funding scholarships, Erasmus+ fully-funded scholarships, and
MediaAC Consortium scholarships with Erasmus+ mobility bursaries. 
The MediaAC Consortium invites dedicated and energetic applicants from
all countries and all relevant fields of study and experience to apply.

~
MediaAC is one of the few culture-centered Erasmus Mundus programs, and
the only program connecting culture to the media arts. Digital media art
plays a major role at international festivals and in contemporary
culture. But, in part due to the obsolescence of presentation equipment
and storage formats, media art has not yet fully arrived in archives and
museums. The collection, exhibition and conservation strategies of
digital art, as well as their mediation, are necessary for the
modernization of the Creative and Cultural Sector.
The joint Master of Arts MediaAC aims to generate a better
understanding of the image revolution. It addresses the needs of the
evolving fields related to the futures and histories of Media Art
Cultures. MediaAC provides education and training for future specialists
in Media Arts Cultures and prepare them for emerging careers in the
creative and cultural sectors, research and academia. 
Selected topics like Media Cultural Histories, Digital Heritage,
Archiving, Experience Design, Media Arts Theory, New Media Aesthetics,
Infrastructures of Digital Cultures, Long Time Preservation, Curating&
Arts Management, or Media Arts Futures provide students
bothinternationally-advanced theoretical as well as practical knowledge
in the Media Arts, through a singular combination of pedagogical foci,
trans-disciplinary approaches, and critical thinking in connection to
the needs of both academic and non-academic stakeholders.

~~
Contact: Media Arts Culture Consortium 
www.mediaartscultures.eu
mediaac(at)donau-uni.ac.at


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[rohrpost] LIVE-STREAM: Research Summit: Making Digital Heritage Multisensory

[Image Science]

Making Digital Heritage Multisensory
Strategies and Political Impact

*
Research Summit
Sep 4, 2019
2:30 pm - 6:00 pm
Audimax, Danube University Campus
Organized by the Department for Image Science
www.donau-uni.ac.at/dbw 
*


Digital technologies and culture have become part of the fabric of our
societies. In the digital sphere, artistic creation and scientific
research are closely intertwined with the latest technological
developments. Interfaces, visualizations, social media platforms,
innovative communication devices, and data mining are significant
components of our digital heritage. Does the inclusion of digital
heritage into the museum world also enable digital arts to be finally
represented in our publicly funded institutions?

Because of the postdigital turn, digital materialities are explored
through multisensory devices, haptic interfaces and tangible user
applications. Simultaneously, through digitalization, new experiences of
(inaccessible) cultural heritage have been established with virtual and
immersive installations, 3D illusions and data visualizations. Today, we
live in ever-changing knowledge societies: how do these new digital
infrastructures influence socio-cultural transformations?

The Research Summit is a new conference format at Danube University
with the overall goal of bringing together scientists, technicians,
students and the interested public for an interdisciplinary exchange.

LIVE-STREAM start times: San Francisco 5:30, New York 8:30, Sao Paulo
9:30, London 13:30, Krems 14:30, Moscow 15:30, New Delhi 18:00,
Singapore 20:30, Sydney 22:30.

LINK TO LIVE STREAM
www.donau-uni.ac.at/researchsummit/live 
www.donau-uni.ac.at/dbw 

Virtual Q&A email to image.scie...@donau-uni.ac.at 


/// Keynotes ///

Prof. Dr. Sarah KENDERDINE Director of Laboratory for Experimental
Museology (eM+) 
École polytechnique fédérale de Lausanne
Experimental Museology: Sculpting Cultural Data

Prof. Dr. Hiroshi ISHII Associate Director of MIT Media Laboratory
Director of Tangible Media Group
Making Digital Tangible

 /// Panel ///

Prof. Dr. Ryszard Kluszczyński, Chair Professor, Department of Media
and Audiovisual Culture, University of Lodz, Poland

Ass. Prof. Dr. Morten Søndergaard, Research Laboratory for Art and
Technology, Aalborg University, Denmark

Prof. Dr. Oliver Grau, MAE, Chair professor, Department for Image
Science, Danube University Krems, Austria
Moderation: Wendy Coones, Department for Image Science

/// Information ///

http://www.mediaartscultures.eu/ 
www.digitalartarchive.at 

The Research Summit will be held at Audimax, Danube University Campus,
Dr.-Karl-Dorrek-Straße 30, 3500 Krems, Austria.

New Publication:
Oliver GRAU, Janina HOTH and Eveline WANDL-VOGT (eds.): Digital Art
through the Looking Glass: New strategies for archiving, collecting and
preserving in Digital Humanities 
free download:
https://www.academia.edu/40089496/Digital_Art_through_the_Looking_Glass_



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[rohrpost] Research Summit: Making Digital Heritage Multisensory (Danube University)

[Image Science]

Making Digital Heritage Multisensory
Strategies and Political Impact

*

Research Summit
Sep 4, 2019
2:30 pm - 6:00 pm
Audimax, Danube University Campus
Organized by the Department for Image Science
www.donau-uni.ac.at/dbw ▪  zbw[at]donau-uni.ac.at 

*

Digital technologies and culture have become part of the fabric of our
societies. In the digital sphere, artistic creation and scientific
research are closely intertwined with the latest technological
developments. Interfaces, visualizations, social media platforms,
innovative communication devices, and data mining are significant
components of our digital heritage. Does the inclusion of digital
heritage into the museum world also enable digital arts to be finally
represented in our publicly funded institutions?

Because of the postdigital turn, digital materialities are explored
through multisensory devices, haptic interfaces and tangible user
applications. Simultaneously, through digitalization, new experiences of
(inaccessible) cultural heritage have been established with virtual and
immersive installations, 3D illusions and data visualizations. Today, we
live in ever-changing knowledge societies: how do these new digital
infrastructures influence socio-cultural transformations?

The Research Summit is a new conference format at Danube University
with the overall goal of bringing together scientists, technicians,
students and the interested public for an interdisciplinary exchange. 

/// Intro ///

Prof. Dr. Oliver Grau, MAE, Chair Professor, Department for Image
Science, Danube University Krems, Austria Digital Arts & The Museum: A
Political Game

/// Keynotes ///

Prof. Dr. Sarah KENDERDINE Director of Laboratory for Experimental
Museology (eM+) École polytechnique fédérale de Lausanne 
Experimental Museology: Sculpting Cultural Data 

Prof. Dr. Hiroshi ISHII Associate Director of MIT Media Laboratory 
Director of Tangible Media Group
Making Digital Tangible

 /// Panel ///

Prof. Dr. Ryszard Kluszczyński, Chair Professor, Department of Media
and Audiovisual Culture, University of Lodz, Poland

Ass. Prof. Dr. Morten Søndergaard, Research Laboratory for Art and
Technology, Aalborg University, Denmark

Prof. Dr. Oliver Grau, MAE, Chair professor, Department for Image
Science, Danube University Krems, Austria
Moderation: Wendy Coones, Department for Image Science

/// Information ///

www.donau-uni.ac.at/dbw 
http://www.mediaartscultures.eu/ 
www.digitalartarchive.at 

The Research Summit will be held at Audimax, Danube University Campus,
Dr.-Karl-Dorrek-Straße 30, 3500 Krems, Austria.

New Publication: 
Oliver GRAU, Janina HOTH and Eveline WANDL-VOGT (eds.): Digital Art
through the Looking Glass: New strategies for archiving, collecting and
preserving in Digital Humanities
free download:
https://www.academia.edu/40089496/Digital_Art_through_the_Looking_Glass_


The event is free of admission. We kindly ask you to register at
zbw[at]donau-uni.ac.at.


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[rohrpost] CFP: MediaArtHistories at CIHA 2020 world congress, Pao Paulo

[Image Science]

CIHA world congress 2020, Sao Paulo with MediaArtHistories Session

Migration, Climate, Surveillance – What does Media Arts Complexity
want?(Sess. 5)

Chairs:
Giselle BEIGUELMAN, Universidade de São Paulo, São Paulo
Oliver GRAU, Danube University, Austria
Nara Cristina SANTOS, Universidade Federal de Santa Maria, Santa Maria

MediaArtHistories is an interdisciplinary field of research that
explores the current developments as well as the history and genealogy
of new media art, digital art, and electronic art. (GRAU 2007, DOMINGUES
2009). On the one hand, media art histories address the contemporary
interplay of art, technology, and science. (WILSON 2010, HENDERSON 1983)
It aims to reveal the historical relationships and aspects of the
‘afterlife’ (Aby Warburg) in new media art by means of a historical
comparative approach.

This strand of research encompasses questions of the history of media
and perception, of so- called archetypes, as well as those of
iconography and the history of ideas. Moreover, one of the main agendas
of media art histories is to point out the role of digital technologies
for contemporary, post-industrial societies and to counteract the
marginalization of according art practices and art objects as pointed
out in the Liverpool Declaration: "Digital technology has fundamentally
changed the way art is made. Over the last fifty years, media art has
become a significant part of our networked information society. Although
there are well-attended international festivals, collaborative research
projects, exhibitions and database documentation resources, media art
research is still marginal in universities, museums and archives. It
remains largely under-resourced in our core cultural institutions (5a)
Hence, scholars stress that the technological advances in current media
cultures are best understood on the backdrop of an extensive media and
art history. Contributions to this field are widespread and include
researchers who have disciplinary focuses such as the history of science
(Lorraine Daston), art history and image science (Oliver Grau, Barbara
Stafford, Jonathan Crary), media studies and media archaeology
(Friedrich Kittler, Erkki Huhtamo, Siegfried Zielinski), sound studies
(Douglas Kahn), film studies (Sean Cubitt, Jorge La Ferla), media art
aesthetics (Christiane Paul, Giselle Beiguelman, Lev Manovich), archives
(Grau, Beiguelman).

The term new media art itself is of great importance to the field.
Thefocus of new media art lies in the cultural, political, and social
implications as well as the aesthetic possibilities – more or less its
‘media-specificity’ – of digital media. Furthermore, the field of new
media art is increasingly influenced by new technologies that surmount a
traditional understanding of (art) media. The list of genres that are
commonly subsumed under the label of new media art illustrates its broad
scope and includes, among others, virtual art, Software Art, Internet
Art, Glitch Art, Telematic Art, Bio Art / Genetic Art, Interactive Art,
computer animation and graphics, Urban Media Art, Mobile Art, Hacktivism
and Tactical Media. These latter two ‘genres’ in particular have a
strong focus on the interplay of art and (political) activism. Recently,
with the development with Artificial Intelligence, there is also an
emerging trend exploring its aesthetics. The diversity of fields makes
clear that digital art with its histories is a complex system, which is
not only complicated but has rapidly-accelerating complexity. With the
Algorithmic, Computational and even Post-digital turn over recent
decades, the digital image is becoming contextual, ephemeral, immersive,
interactive and processual, made as it is out of many technologies.

This session addresses the role Media Art plays in today’s
sociopolitical issues such as migration, climate, virtual finance, and
surveillance society. We welcome going beyond state-of-the-art analytic
methods in the humanities, combining for example qualitative close gaze
(of critical visual analysis) and the quantitative distant-reading (from
computer-assisted data analysis/empirical research). A main session
outcome is added value for the humanities with “a socio-political
iconography of the present”, and discussion of a new “way of seeing”, of
“thinking with pictures”, and asking “what do complex images want?” in
the Digital Age. Therefore, this session welcomes as well proposals for
adequate research infrastructures following the Liverpool Declaration,
which was signed by scholars and artists based at institutions all over
the globe to develop systematic strategies to fulfill the task that
digital culture and its research demands in the 21st Century
(http://www.mediaarthistory.org/declaration).

This session focuses on an evaluation of the status of the
meta-discipline MediaArtHistories today. Immersed in both contemporary
and historiographical aspects of the digital world, we explore the most
immediate socio-cultural questio

[rohrpost] New Publ.: Digital Art through the Looking Glass: New strategies for archiving, collecting and preserving in Digital Humanities

[Image Science]

NEW PUBLICATION (free e-book download) 

Oliver GRAU, Janina HOTH and Eveline WANDL-VOGT (eds.):

Digital Art through the Looking Glass:

New strategies for archiving, collecting and preserving in Digital
Humanities


With CONTRIBUTIONS by: 
Frieder Nake, George Legrady, José R. Alcalá Mellado /Beatriz Escribano
Belmar, Anne-Marie Duguet, Howard Besser, Giselle Beiguelman, Wendy
Coones, Sarah Kenderdine, Marianne Ping-Huang, Raphael Lozano Hemmer,
Annet Dekker, Janina Hoth, Laura Leuzzi, Diego Mellado, Oliver Grau,
Goki Miyakita/Keiko Okawa, Sabine Himmelsbach, Francesca Franco,
Patricia Falcão.

https://www.academia.edu/40089496/Digital_Art_through_the_Looking_Glass_


ISBN: 978-3-903150-51-5, tredition press, Edition Donau-Universität,
Austrian Academy of Sciences Press, Hamburg/Krems/Vienna 2019, 316
pages.

Digital art challenges archiving, collecting and preserving methods
within and outside of gallery, library, archive and museum (GLAM)
institutions. By its media, art in the digital sphere is processual,
contextual, modular and ephemeral, and its creative process is
collaborative. From artists, scholars, technicians and conservators – to
preserve this contemporary art is a transdisciplinary task.

This book brings together leading international experts from digital
art theory and preservation, digital humanities, collection management,
conservation and media art histories. In a transdisciplinary approach,
theoretic and practice-based research from these stakeholders in art,
research, education and exhibition are presented to create an overview
of present preservation methods and discuss demands and opportunities
for the future. Finally, the need for a new appropriate museum and
archive infrastructure is shown to preserve the art of our time.


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[rohrpost] MediaArtHistories 2019: RE:SOUND, Aalborg Denmark 20-23 August

[Image Science]

Angélica PIEDRAHITA (MX).

**MediaArtHistories Conference Series Board (Steering Comittee)**
Andreas BROECKMANN (Leuphana Universität, DE), Sean CUBITT (Goldsmiths,
UK), Andres BURBANO (Universidad de los Andes, CO), Oliver GRAU (Danube
University, AT), Prof. Dr. Inge HINTERWALDNER (Karlsruhe Institute of
Technology GER), Erkki HUHTAMO (University of California, US), Machiko
KUSAHARA (Waseda University, JP), Gunalan NADARAJAN (Ann Arbor School of
Art&Design, US), Katja KWASTEK, Vrije Universiteit Amsterdam NL), (Paul
THOMAS (University of New South Wales, AU), Chris SALTER, (Concordia
University and Hexagram, Montreal CA)

Headquarter Wendy COONES (DanubeU)

MAH-HONORARY BOARD
Rudolf ARNHEIM†, Douglas DAVIS†, Jasia REICHARDT, Itsuo SAKANE, Peter
WEIBEL

Venues:
The RE:SOUND conference will be held at the CREATE Campus of Aalborg
University, located in the heart of this great city in Northern
Denmark.
CREATE is a spacious modern building housing the Aalborg University
Department of Architecture, Design, and Media Technology. It contains a
large auditorium that seats 249 persons where the main keynotes and
conference presentations will be held. CREATE also consists of a large
open hall with big glass front that overlooks the beautiful Aalborg
waterfront and Limfjord. It contains a canteen area where coffee breaks
and lunch will be available. The CREATE Campus of Aalborg University is
a rich and vibrant environment filled with creative students and student
projects that will complement the energy and excitement surrounding the
RE:SOUND conference.

**PARTNERS: **
AALBORG UNIVERSITY, Denmark // VisitAalborg // STRUER TRACKS // CatCh
// RELATE – Research Laboratory for Art and Technology // DanubeU /
ADA-Archive for Digital Art

**SPONSORS AND FUNDING**
// CARLSBERG FOUNDATION // Novo Nordisk Fonden // GN Group Denmark /
Dep. for Image Science, DanubeU

**
http://www.mediaarthistory.org/resound 
**
MediaArtHistories Master: www.mediacultures.net/mah/ 
Archive for Digital Art: www.digitalartarchive.at

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[rohrpost] Research Summit: Making Digital Heritage Multisensory (Danube University)

[Image Science]

Making Digital Heritage Multisensory
Strategies and Political Impact
! Save the Date !

*
Research Summit #03
Sep 4, 2019
2:30 pm - 6:00 pm
Audimax, Danube University Campus
Organized by the Department for Image Science, DanubeU
www.donau-uni.ac.at/dbw ▪  zbw[at]donau-uni.ac.at 
*

Digital technologies and culture have become part of the fabric of our
societies. In the digital sphere, artistic creation and scientific
research are closely intertwined with the latest technological
developments. Interfaces, visualizations, social media platforms,
innovative communication devices, and data mining are significant
components of our digital heritage. Does the inclusion of digital
heritage into the museum world also enable digital arts to be finally
represented in our publicly funded institutions?

Because of the postdigital turn, digital materialities are explored
through multisensory devices, haptic interfaces and tangible user
applications. Simultaneously, through digitalization, new experiences of
(inaccessible) cultural heritage have been established with virtual and
immersive installations, 3D illusions and data visualizations. Today, we
live in ever-changing knowledge societies: how do these new digital
infrastructures influence socio-cultural transformations?

The Research Summit is a new conference format at Danube University
with the overall goal of bringing together scientists, technicians,
students and the interested public for an interdisciplinary exchange. 

/// Keynotes ///

Prof. Dr. Sarah KENDERDINE (École polytechnique fédérale de Lausanne)
Experimental Museology: Sculpting Cultural Data 

Prof. Dr. Hiroshi ISHII (Tangible Media Group, MIT Media Lab)
Making Digital Tangible

 /// Panel ///

Prof. DLitt Steve DIXON (Lasalle College of the Arts, Singapore)
Prof. Dr. Oliver GRAU (Danube University Krems, Austria)
Prof. Dr. Ryszard KLUSZCZYŃSKI (University of Lodz)
Ass. Prof. Dr. Morten SØNDERGAARD

/// Information ///

www.donau-uni.ac.at/dbw 
http://www.mediaartscultures.eu/
www.digitalartarchive.at 

The Research Summit will be held at Audimax, Danube University Campus,
Dr.-Karl-Dorrek-Straße 30, 3500 Krems, Austria.

The event is free of admission. We kindly ask you to register at
zbw[at]donau-uni.ac.at.



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[rohrpost] Media Arts: Histories and Futures :: International, low-residency, Master of Arts

[Image Science]

Dear colleagues, 
Please share with interested persons.

MEDIA ARTS: Histories and Futures
International - low-residency – Master of Arts – Starts September 2019


Deepening praxis and critical comprehension of the digital developments
in contemporary art
An interdisciplinary field at the intersection of art, science,
technology and the humanities, MediaArtHistories examines scientific
discovery and technological innovation emerging in art praxis, as well
as the genealogies of their historical development and context. At a
time when digital technologies are fundamentally revolutionizing the
very ways in which we communicate, interact, and perceive images, the
MediaArtHistories program trains students from diverse backgrounds to
critically analyze the plethora of visual media cultures of today.

CONTENT
Courses cover Media Art genres such as Net, Telematic and Genetic Art
as well as the most recent reflections on Nano, Bio and Transgenic Art,
Video Games, Computer Graphics and Animation, Virtual Reality, Augmented
Reality, and Intelligent Environments, Hacktivism and Tactical Media,
Performance, Glitch Art, Hybrid Art and Robotics. MediaArtHistories
offers a basis for understanding the evolutionary history of media, from
historic examples such as the Laterna Magica and Mechanical Automaton of
the 17th century, to computer art at the earliest stages of the Internet
in the mid-Twentieth Century and the algorithmic art of today. Special
attention is given to the challenges of documentation and preservation
of these born-digital, ephemeral and multifarious works. Explored in
depth are key methods and theory from Digital Humanities, Image Science,
Media Archaeology, Sound Studies, the Intellectual History of Science &
Technology, and Digital Gender Theory. Excursions, and on site faculty
seminars, introduce students to the main cultural heritage institutions
in the field, such as Ars Electronica and ZKM, archives such as the
Archive of Digital Art (ADA www.digitalartarchive.at), festivals such as
Transmediale, and the Media Art market.
The program is a two-year low-residency, either 90 or 120 ECTS Master
degree offered in English. In addition to individual study and project
work at your home location, students gather 2-3 times a year for intense
seminar modules with internationally renowned media artists and
scholars. These enriching sessions take place at Danube University or
another European location relevant to the community of media art, such
as Linz, Austria as well as Karlsruhe and Berlin, Germany.

BRAIN TRUST
MediaArtHistories program faculty include: Irina ARISTARKHOVA, Andreas
BROECKMANN, Andres BURBANO, Sean CUBITT, Oliver GRAU, Monika
FLEISCHMANN, Francesca FRANCO, Darko FRITZ, Jens HAUSER, Kathy Rae
HUFFMAN, Erkki HUHTAMO, Ryszard KLUSZCZYNSKI, Andreas LANGE, Martina
LEEKER, Christopher LINDINGER, Wolf LIESER, Roger MALINA, Lev MANOVICH,
Nat MULLER, Gunalan NADARAJAN, Frieder NAKE, Jussi PARIKKA, Christiane
PAUL, Ana PERAICA, Margit ROSEN, Christopher SALTER, Paul SERMON,
Edward SHANKEN, Jeffrey SHAW, Christa SOMMERER, Morten SONDERGAARD,
UBERMORGEN, and others.

Since its beginnings in 2006, Danube University’s prestigious
MediaArtHistories MA has offered its students both a deeper critical
comprehension and a practical orientation regarding the most important
developments of this most contemporary art, by building on its faculty
network of renowned international theorists, artists, and curators.
These faculty come from across the globe to give seminars during the
modules held at Danube University, and from their home universities
maintain through online network and project collaboration individualized
instruction with students throughout the program.
www.mediacultures.net/mah

STUDY in EUROPE
The low-residency modularized teaching system allows working
professionals to maintain their usual employment, and gives students
entering directly after a Bachelor degree the opportunity to gain
valuable career experience while they study. Modules take place on the
main campus and at the Center for Image Science housed at the Göttweig
Abbey. The Danube University is located in the UNESCO World Cultural
Heritage “WACHAU” and offers a spectacular backdrop for learning and
living.
The Department for Image Science holds important resources of the field
like the largest international Archive of Digital Art:
www.digitalartarchive.at and the MediaArtHistories Conference Archive
www.mediaarthistory.org/maharchive and integrates its cutting-edge
research projects into teaching.

STUDENTS
International students to our program have come from locations
including Austria, Australia, Brazil, Canada, China, Egypt, Germany,
Iceland, Japan, Jordan, Korea, Mexico, Russia, Spain, Ukraine, and USA.
Alumni of the program are employed not only as freelance curators,
creative designers or working artists, but also at renowned cultural
sector institutions like: Austrian National Library, Süddeutsche
Zeitung, Chicago Art Insti

[rohrpost] DIGITALES SAMMLUNGSMANAGEMENT Start Oktober – Anmeldungen ab jetzt möglich

[Image Science]

DIGITALES SAMMLUNGSMANAGEMENT
Berufsbegleitendes Certified Programm im Weltkulturerbe Wachau mit
internationaler Faculty 
START im Oktober 2019 zum 10. Mal

Anmeldung ab jetzt möglich! 


Aufgearbeitete, digitale Bildsammlungen besitzen kulturpolitischen und
ökonomischen Wert in einer globalen Gesellschaft, die
Bildinformationen wie einen wertvollen Rohstoff behandelt. Das
berufsbegleitende Certified Program „Digitales Sammlungsmanagement“
bietet einen optimalen Einstieg in die Welt der digitalen Erfassung,
Erschließung und Langzeitarchivierung von Bildern. Seit 2007 wurde es
immer weiter entwickelt und bietet heute die wohl profundeste
Vermittlung im Feld der Digital Humanities.

Es richtet sich an Personen aller Berufsbereiche, die für ihre weitere
Karriereentwicklung Schlüsselkompetenzen in der digitalen Sammlung,
Erschließung und Archivierung von Bildmaterialien erwerben möchten
(insbesondere aus Kultur- und Wissenschaftseinrichtungen wie Museen,
Archiven und Bibliotheken sowie aus den Bereichen Fotografie,
Journalismus, Bildredaktion, PR). AbsolventInnen des Departments für
Bildwissenschaften arbeiten an renommierten Einrichtungen des
Kultursektors - wie Albertina Wien, Deutsche Kinemathek, Deutsches
Filmmuseum, Österreichische Nationalbibliothek, Süddeutsche Zeitung,
Chicago Arts Institute, Hochschule für angewandte Wissenschaften
Augsburg, ETH Zürich, Schweizerisches Bundesarchiv u.v.m.

Grundlegendes Wissen über Hard- und Software für
Digitalisierungsprojekte wird in dem zweisemestrigen Studium vermittelt
(die Präsenzzeit an der Universität wird berufsbegleitend in 3
Wochenmodule aufgeteilt). Die Studierenden analysieren und evaluieren
praxisnahe Lösungsmodelle, die für Sammlungen und Archive jeglicher
inhaltlicher Ausrichtung vom Unternehmen bis zur Kultureinrichtung
gelten. Die Vermittlung von Projektmanagement-Knowhow sowie von
rechtlichen und finanziellen Grundlagen sind wesentliche Schwerpunkte.
Die Studierenden entwickeln innovative Konzepte zur Planung und
Durchführung von Digitalisierungsprojeken und bewerten Strategien
publikumswirksamen Präsentierens und Nutzungsmöglichkeiten digitaler
Bildbestände.

Internationale ausgewiesene FachexpertInnen wie Georg SCHELBERT, Harald
KRAEMER, Michael FREITTER, Axel ERMERT, Monika HAGEDORN-SAUPE, Holger
SIMON, Michel PFEIFFER, Christian BRACHT, Oliver GRAU, Martin WARNKE,
Christian HUEMER u.a. vermitteln praxisnah den aktuellen Stand des
Wissens in der inspirierenden Umgebung im Stift Göttweig und auf dem
Campus der Donau-Universität Krems in der UNESCO Kulturlandschaft
Wachau. Durch den modularen Aufbau ist eine Teilnahme auch für weiter
entfernt lebende Studierende neben dem Beruf sehr gut möglich.

Hauptsäulen unserer Forschung sind das Digitale Sammlungsmanagement und
die Langzeitarchivierung. Mit der Datenbank der Graphischen Sammlung
Göttweig (www.gssg.at) und ADA – Archive of Digital Art
(www.digitalartarchive.at) sind zwei Pionierprojekte zur Archivierung
von Graphik und Digitaler Kunst an der Donau-Universität angesiedelt,
die von der mittelalterlichen Buchillumination bis zur Medienkunst alles
an einem Ort zusammenführen. Das Certified Program „Digitales
Sammlungsmanagement“ profitiert so von einer Verbindung von innovativer
Forschung und exzellenter Lehre.

Studienaufbau, -inhalte und weitere Informationen finden Sie unter: 
www.donau-uni.ac.at/digimanagement 

Module – zeitlicher Rahmen:
Modul 1 | 14. - 18. Oktober 2019 | Digitalisierung und Archivierung

Modul 2 | 02. - 06. Dezember 2019 | Digitalisierungskonzepte und
Projektmanagement

Modul 3 | 02. - 06. März 2020 | Umsetzung und Präsentation

Referenzen des Departments: http://www.donau-uni.ac.at/dbw/reader 

Das Certified Program „Digitales Sammlungsmanagement“ startet im
Oktober 2019 – Bewerbungen sind ab jetzt möglich!


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[rohrpost] Publ.: Museum and Archive on the Move / Reviews and E-book

[Image Science]

Dear List Members, 
 
we would be delighted by your interest in our collective work, now
published as e-book.

Oliver GRAU (Ed.) / Wendy COONES / Viola RÜHSE
Museum and Archive on the Move
Changing Cultural Institutions in the Digital Era

WITH CONTRIBUTIONS BY:
Okwui ENWEZOR, Sean CUBITT, Christiane PAUL, Oliver GRAU, Lev MANOVICH,
Sarah KENDERDINE /Jeffrey SHAW, Jorge WAGENSBERG, Viola RÜHSE, Dieter
BOGNER, Erkki HUHTAMO, Ryszard W. KLUSZCZYŃSKI, Youngjin LEE, Wendy
COONES,  Morten SØNDERGAARD, Andreas BROECKMANN, Harald KRAEMER, Lutz
ENGELKE / Anja OSSWALD

English, DeGruyter, Munich/New York
ISBN  978-3-11-052963-0  - 324 pp. 
DeGruyter:
https://www.degruyter.com/view/product/480930?result=1&rskey=UUEo70 


The digital revolution fundamentally changed how cultural heritage is
created, documented, analyzed, and preserved. The book focuses on this
transformation’s impact. How must museums and archives meet the
challenges of digitally generated cultures and how does the digital
revolution influence traditional object collection, research, and
education? How do digital technologies and digital art and culture
affect our interaction with images? Leading international experts from
various disciplines break new ground. Pioneering interdisciplinary
research results collected in this book are relevant to education,
curators and archivists in the arts and culture sector and in the
digital humanities.


New Reviews:
Danielle O‘ DONOVAN and Tom LONERGAN in: MUSEUM INTERNATIONAL [ICOM’s
peer-reviewed journal], No. 277-278, 2018, p. 176-177:
“Museum and Archive on the Move provides an excellent synopsis of
current thinking across the field. If you are planning a new museum or
archive, we recommend that you read this book first. In museology terms,
this book also offers thought-provoking aspirations and useful
criticisms.”
https://www.academia.edu/38549448/RevMusOnMov.pdf?fbclid=IwAR2fRox-IFRotl2VVCKLuFZ22hTPYuv_ISITuft3nUjWO0_QfZywdsOn4kE


Gabriela GALATI in: LEONARDO, December 2018: “The publication provides
an excellent overview on the current issues at stake in museums,
archives and institutions that need to deal with, but also hopefully can
profit from, the possibilities opened by either the digitalisation of
their collections, or the conservation and presentation of collections
of digital art or other media. In other words, it is a highly
recommended read to all professionals in the field.”
https://www.leonardo.info/review/2018/12/review-of-museum-and-archive-on-the-move-changing-cultural-institutions-in-the


Claudia ROTHKAMP in: Kommunikationsraum. Kompendium für Technik und
Design im Raum 02/2017 Digital: „Das vorliegende Buch ist definitiv eine
interessante und ausführliche Lektüre für alle, die wissen möchten, in
welche Richtung die Digitalisierung Museen und Archive verändern kann –
und vermutlich auch wird.“
https://www.kommunikationsraum.net/ausstellungenmuseen/buchtipp-museum-and-archive-on-the-move/


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[rohrpost] ARCHIVE OF DIGITAL ART features ANDRÉS BURBANO

[Image Science]

The ARCHIVE OF DIGITAL ART features ANDRÉS BURBANO: NEW FEATURE AND
ARTIST INTERVIEW

Andres Burbano is a researcher, curator and interdisciplinary artist
whose work ranges from documentary video (in both science and art), to
sound installation and telecommunication art. Burbano is currently
Associate Professor of the Department of Design at the Universidad de
los Andes in Bogota, Colombia. The wide spectrum of his research
projects includes: media archaeology of Latin America, 3D-modelling of
Photogrammetry technology and data-translation into digital media.
Burbano was the Chair of SIGGRAPH 2018 Art Gallery and the Chair of
ISEA2017 Academic. He held the keynote speech at ZKM’s “Potential Spaces”
Conference in 2017. He has taught as lecturer in Europe, USA and Canada,
where he also established the ethnographic online archive with the local
indigenous communities. For over a decade now, Burbano has developed
technological approaches to investigate the geographic change of nature
landscapes.

ARTWORKS & RESEARCH
Focusing on the combined mechanics and opportunities of cinematic
narratives, human language and information data, Andres Burbano’s
arts-based research illustrates how media technology shapes the way we
communicate with different cultures and societies today. In his
collaborative research projects, Burbano investigates the
socio-technological histories of landscapes and cultural sites. As one
research outcome, Burbano translates the data and knowledge gained from
his fieldtrips into media art installations. In „The New Dunites“
(2009), the research team investigated the desert landscape at
California‘s Central Coast for archaeological traces of film settings
from the early Twentieth Century. Once a shooting location for „The Ten
Commandments“ (1923), these modern geographical sites are now, due to
sand drift, only detectable through traces and signals by combining
methods and tools from geophysics, computational media, and art
practice.
In „Imaging Macondo“ (2015), Burbano and his partners George LeGrady
and Angus Forbes created an animated, interactive visual installation to
recreate the fictional town, or „literary village“, Macondo as
envisioned in Gael Garcia Marquez‘ writings. Based on eight key concepts
from the novels, viewers attached their own photographies to one of the
eight key concepts developed, bridging private with literary heritage.
By linking memory, literature, keywords and images in this panoramic
installation, Burbano created an imaginary space of personal and social
identities.

:: EXPLORE :: Andrès‘ ADA Profile
https://www.digitalartarchive.at/database/artists/general/artist/burbano.html


:: READ :: Artist Interview with Andrés
https://www.digitalartarchive.at/index.php?id=182 

/  /  /  /  /  /  /  /  /  / 
/  /  /  /  /  /  
BECOME A MEMBER ON THE ARCHIVE OF DIGITAL ART (ADA)

ARTISTS and SCHOLARS are invited to become members of the online
community and set up their own ADA profile! To ensure a high academic
standard, five published articles and/or exhibitions are required to
become members of the ADA community. Apply for an account here:
www.digitalartarchive.at/support/account-request.html 

SHARE YOUR RESEARCH WITH PEERS AND THE COMMUNITY
Community members can upload publications and PDFs, announce upcoming
events, post comments, document exhibitions, conferences and other
relevant news.

ADA: THOUSANDS OF ARTWORKS
Since its foundation in 1999, the ARCHIVE OF DIGITAL ART (former
Database of Virtual Art) has grown to be the most important online
archive for digital art. In cooperation with established media artists,
researchers and institutions it has been documenting the rapidly
evolving world of digital art and its related fields for more than a
decade and contains today a selection of thousands of artworks at the
intersection of art, science and technology.  ARTISTS and SCHOLARS are
invited to join the community and set up their own archive pages.

EXPANDED DOCUMENTATION FOR THE NEEDS OF DIGITAL ART
Due to the processual, ephemeral, interactive, technology-based and
fundamentally context-dependent character of digital art, it is at risk
for becoming extinct without an adequate documentation. Therefore, the
ADA is based on an expanded concept of documentation, which takes
account of the specific conditions of digital art.

ARTISTS represented, among many others: Rebecca ALLEN, Suzanne ANKER,
Cory ARCANGEL, Roy ASCOTT, Louis BEC, Maurice BENAYOUN, Paolo CIRIO,
Charlotte DAVIES, FLEISCHMANN & STRAUSS, Masaki FUJIHATA, Ken GOLDBERG,
Agnes HEGEDÜS, Lynn HERSHMAN LEESON, Ryoji IKEDA, Eduardo KAC, Ken
RINALDO, KNOWBOTIC RESEARCH, Lev MANOVICH, George LEGRADY, Golan LEVIN,
Rafael LOZANO-HEMMER, Joseph NECHVATAL, Michael NAIMARK, David ROKEBY,
Jeffrey SHAW, Julius v. BISMARCK, Paul SERMON, Karl SIMS, SOMMERER &
MIGNONNEAU, STANZA, Nicole STENGER, THOMSON & CRAIGHEAD, Peter WEIBEL,
et al.

Advisory board: Chr

[rohrpost] Call for applications (Deadline 6.Jan.2019) - Media Arts Cultures Joint Master - 19 full Scholarships

[Image Science]

Dear Colleagues,
We would be grateful if you could communicate this program and the
possibility to apply for fully-funded scholarships to any students
seeking an interdisciplinary MA,  and emerging scholars or new
practitioners in the field. All countries are eligible to apply. (please
excuse cross-postings)


~

MEDIA ARTS CULTURES
Erasmus Mundus Joint Master Degree
Erasmus+ - European Master of Excellence
KREMS / AALBORG / LODZ / SINGAPORE
19 full Scholarships

Call for 2019 applications deadline January 6, 2019
www.mediaartscultures.eu 

With support for the MediaAC 2014-2019 program extended to 3.7 million
Euro, the European master of excellence program “Media Arts Cultures –
Media AC” will broaden in 2019-2024. This distinctive award is based on
offering high-quality international learning opportunities for students
in an emerging field and also affirms the importance of Media Art
research and practice for the cultural and educational future of
Europe.

~

Media Arts Cultures is organized jointly by: 
Danube University Krems (Austria, lead)
Aalborg University (Denmark)
University of Lodz (Poland) and
Lasalle College of the Arts (Singapore).

Associated Partners: Archive of Digital Art, Ars Electronica Linz,
ArtSciMuseum, DAM, Europeana, FACT, Het Nieuwe Instituut, Instrument
Inventors Initiative, imai, Impakt Festival, MOCAK, monochrome, Neural
Magazine, SPEKTRUM, WRO Art Center, ZKM

The language of instruction is English and includes taught semesters,
internship, and master thesis supervised by lecturers from the partner
universities. 

MediaAC faculty include: Andreas Broeckmann, Wendy Coones, Palle
Dahlstedt, Steven Dixon, Oliver Grau, Jens Hauser, Elizabeth Jochum,
Ryszard W. Kluszczyński, Wolfgang Muench, Maciej Ożóg, Christiane Paul,
Ana Peraica, Katarzyna Prajzner, Jeffrey Shaw, Morten Søndergaard,
Audrey Wong and many others.

~

Media Arts Cultures is a 2-year mobility program, enabling students to
study across Europe and in Asia. Students spend three semesters at
different universities, complete an internship at a Consortium
Associated Partner, and write a Master Thesis at the best-suited partner
during the final semester. Upon completion, students receive a 120 ECTS
joint master degree in Media Arts Cultures from three universities
allowing graduates to further pursue a PhD within Europe or other
international higher education regions.

Each year, 19 of the best EU and non-EU candidates will be offered
Erasmus+ fully-funded scholarships for the duration of the program.
Other funding from the MediaAC Consortium and external-sources are also
available.

The MediaAC Consortium invites dedicated and energetic applicants from
all countries and all relevant fields of study or experience to apply.

~

MediaAC is one of the few culture-centered Erasmus Mundus programs, and
the only program connecting culture to the digital arts. Digital media
art plays a major role at international festivals and in contemporary
culture. But, in part due to the obsolescence of presentation equipment
and storage formats, media art has not yet fully arrived in archives and
museums. The collection, exhibition and conservation strategies of
digital art, as well as their mediation, are necessary for the
modernization of art institutions.

The joint Master of Arts MediaAC aims to generate a better
understanding of the image revolution. It addresses the needs of the
evolving fields related to the futures and histories of Media Art.
MediaAC provides education and training for future specialists in Media
Arts Cultures and prepare them for emerging careers in the creative and
cultural sectors, research and academia. 

Selected topics like Media Cultural Histories & Heritage, Archiving,
Experience Design, Media Arts Theory, New Media Aesthetics, Curating &
Arts Management, or Media Arts Futures provides students both
internationally-advanced theoretical as well as practical knowledge in
the Media Arts, through a singular combination of pedagogical foci,
trans-disciplinary approaches, and critical thinking in connection to
the needs of both academic and non-academic stakeholders.

~~

Contact:
Media Arts Culture Consortium 
www.mediaartscultures.eu
mediaac(at)donau-uni.ac.at



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[rohrpost] CALL FOR PROPOSALS to host the 9th International Conference on the Histories of Media Art, Science and Technology: Re: 2021

[Image Science]

The Media Art Histories Board invites applications to host the 9th
International Conference on the Histories of Media Art, Science and
Technology.
 
The international conference series, which was inaugurated in 2005 in
Banff, Canada, has since been held in several international venues
around the globe including Berlin in 2007, Melbourne 2009, Liverpool
2011, Riga 2013, Montreal 2015, Krems/Wien 2017 and will be held August
2019 in Aalborg.
 
The conference series aims to engage the growing community of scholars
from a range of disciplines including art history, contemporary arts
practice, art theory, history of science, history of technology, science
and technology studies, media studies, image science, visual studies,
philosophy, cultural studies, anthropology, architecture theory, sound
studies, computer science among others to develop and share new research
and scholarship in the intersecting fields of the histories of media
art, science and technology. The host of the conference in 2021 will
have the opportunity to continue to build on the impressive history of
the conference series.
　
CONFERENCE SERIES MISSION
*Recognizing the increasing significance of media art for our culture,
the conference series on the Histories of Media Art will discuss the
history of media arts within the interdisciplinary and intercultural
contexts of the histories of the arts. Numerous individuals and
institutions collaborate to produce the international art history
conference series covering the media arts, the arts and technology,
art-science interaction, and the history of media as pertinent to the
contemporary arts.*
 
GUIDELINES, SELECTION CRITERIA AND DEADLINES
http://www.mediaarthistory.org/call-for-proposals-host-re2021
Proposals to host the conference will include the following
information:
 
1. Proposed Dates
2. Proposed Venues (including information on number, capacity and AV
and network capabilities of spaces)
3. Rationale for hosting the conference
4. Host Local Organizing Committee
5. Relevant previous experience (e.g., committee members* experience in
hosting conferences, events, etc.)
6. Publicity Plan
7. Funding / Sponsorship plan
8. Preliminary Budget
 
Those interested in making a bid to host the conference can download
GUIDELINES here
(http://www.mediaarthistory.org/wp-content/uploads/2016/07/MAH-conf-guidelines_2019.pdf)
 
Deadline for final submission of proposals: 
Feb 1st, 2019 
MAH Advisory Boards final decision for the 2021 host: 
May 1st, 2019.
 
***
MediaArtHistory Board (Steering Committee)
 
Andreas BROECKMANN, Leuphana Universität
Andres BURBANO, Universidad de los Andes
Sean CUBITT, Goldsmiths College, University of London
Oliver GRAU, Danube University
Inge HINTERWALDNER, Karlsruhe Institute of Technology
Erkki HUHTAMO, University of California Los Angeles
Machiko KUSAHARA, Waseda University, Tokyo
Katja KWASTEK, Vrije Universiteit Amsterdam
Gunalan NADARAJAN, University of Michigan
Chris SALTER, Concordia University and Hexagram, Montreal
Paul THOMAS, UNSW Sydney
 
MEDIA ART HISTORIES PLATTFORM http://www.mediaarthistory.org 
ARCHIVE OF DIGITAL ART http://www.digitalartarchive.at 
LIVERPOOL DECLARATION: http://www.mediaarthistory.org/declaration 
CONFERENCE PUBLICATIONS
http://www.mediaarthistory.org/pub/mediaarthistories.html 
http://www.mediaarthistory.org/pub/place_studies.html 
http://mitpress.mit.edu/books/relive 
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[rohrpost] CFP: International MediaArtHistories Conference (deadline extended to 10. November)

[Image Science]

MEDIA ART HISTORIES 2019 – RE:SOUND
Call For Papers (deadline extended to 10. November) 
The 8th International Conference in the Histories of Media Art, Science
and Technology.
Aalborg University, Denmark, August 20-23, 2019
　
The 8th International Conference on the Histories of Media Art, Science
and Technology – RE:SOUND – will be hosted by RELATE (Research
Laboratory for Art and Technology), Aalborg University and will be held
at the CREATE campus, Aalborg, Denmark, August 20-23, 2019 in
partnership with the STRUER Sound Art Festival and CATCH – Center for
Art & Tech in Elsinor. 
RE:SOUND will host four days with 10 tracks of paper sessions, panels,
workshops, practice-based interventions, exhibitions, performances,
poster sessions, a PhD workshop and keynotes. The tracks were generated
based on the first call for topics contextualized under the wide frame
of media art history and sound. Each track has several smaller thematic
sessions for submissions that are chaired by experts in the field.
Through the 10 tracks (listed below), RE:SOUND MAH2019 calls for
proposals that revisit and (re)investigate, through a variety of prisms
and on a multiplicity of trajectories, the ontologies and epistemologies
of Media Art History as a field of practice and research. Moreover,
there are also specific calls for proposals investigating sound in Media
Art + theories + histories + practices.
Based on the first call for topics, the call is now open for individual
submissions within the following tracks (all of which are further
detailed and specified at
http://www.mediaarthistory.org/resound-maincall/
 
1. Track: Resounding Media Art: Archaeologies, Indeterminate
Textualities, and Possible Futures
This track will revisit the foundations and formulations, the
contextual and epistemological entanglements, of the histories of Media
Art.
 
2. Track: Sounding Difference: Gender, Sound, and Technology
This track calls for proposals that investigate and discuss the
histories of women in sound art through academic papers and
performances.
 
3. Track: Sound and Voice: Art Practices and Politics
This track calls for proposals and participants that explore the
histories and contemporaneity of art practices working with sound and
voice as a vehicle for memory and political agency.
　
4. Track: Art and Technology: Histories, Methodologies, Practices
The track calls for proposals that explore and contextualize the
histories, methodologies and practices of art and technology.
　
5. Track: Sound Art Curating. Critical Histories, Strategies and
Practices.
The track calls for proposals that addresses sound curation, which
areinvestigating the critical histories of sound art exhibitions and/or
exploring the role and influence of the curator on sound art.
　
6. Track: Sound within Bodies, Moist Media Practices, Environment and
Life-World: Organisms, Geology and Ecological Niches.
The track calls for proposals looking closer at the wide area of
sound-art based practices and theories that are concerned with embodied,
fleshy, moist, medical, scientific, environmental approaches and
formulations. The topics may address sound in relation to bodies of
biological organisms (human and non-human), natural environment, ecology
and geology.
　
7. Track: The Return of the Sonic Real.
The track calls for proposals that explore New Materialism, Speculative
Realism and the phenomenology of sound in sonic practices experimenting
and operating in-between the sound object as a vital sonic/material
hybrid and the psychology of the sonic real.
　
8. Track: Archive Archives Archiving
This track calls for proposals that address the situation, histories,
and current / future challenges of archives of media art, Topics might
include: the challenges of archiving sound, archiving v. collecting, the
material/medial condition of archives in general and of sonic objects in
particular, leaking archives, post-digital and post-institutional
archives.
　
9. Track: General Topics.
This track call for proposals that do not fit into any of the tracks
above, and that are addressing general topics within the field of the
histories of media art, science and technology
　
10. Track: Matters in Flux – Ph.d. Summer Camp in collaboration with
CATCH – Centre for Art and Tech
This track calls for proposals from Ph.D. students working in-between
practice and theory for a summer camp at CATCH culminating at the
MAH2019.
　
DEADLINE for abstracts: 1 November, 2018.
Notification of acceptance will be announced by 15 December, 2018.
　
Individual proposals should consist of a 300-word abstract.
Submitters should upload a short bio file (Word), no longer than ½ page
per person.
　
Further details regarding the call and the tracks, including link to
the submission page: http//www.mediaarthistory.org/resound-maincall/ 

 * * * 

There will be a call for full papers for a special issue of the
Seismograf Journal (www.seismograf.org), edited by Laura Beloff and
Morten Søndergaard, camera ready papers, d

[rohrpost] The ARCHIVE OF DIGITAL ART features ELLEN PEARLMAN

[Image Science]

The ARCHIVE OF DIGITAL ART features ELLEN PEARLMAN
www.digitalartarchive.at 
"First I’m gonna take you to La La Land, then to dystopia land." 
Ellen Pearlman, Keynote at RIXC Festival 2017
For Ellen PEARLMAN, dichotomy is a centrally recurrent motif. Across
her oeuvre as artist, curator, director, and scholar, Pearlman makes
visible the aesthetic and innovative qualities in digital technology
(e.g. cybernetics and telematics), while at the same time also their
destructivity (regarding issues of public surveillance, environmental
pollution, and government control). In Pearlman’s performances, she
combines dance with image and sound in data visualisations, translating
bodily movement and experience into their technological correspondents
and opposites.
Ellen Pearlman is co-founder of several media art research projects and
artist residency programmes, including Art-A-Hack and ThoughtWorks Arts
Residency. Based in New York, she achieved her PhD at Hong Kong City
University. Lecturing all over the world, including at the first
collaborative laboratory on cyborg art at Parsons/The New School,
Pearlman’s telematic and interactive video performances have been shown
at major media art festivals such as Microwave Festival, SIGGRAPH, ISEA,
RIXC Festival.
ARTWORKS
Pearlman’s media artworks address issues of human communication and
connection through performative explorations and telematics methods,
with influences from Asian culture, Buddhist and Zen thought. During her
PhD research at the School of Creative Media (City U, HK), Pearlman
developed Noor: A Brain Opera (2015). Within a fully immersive
360-degree environment, a performer moved through the audience wearing a
wireless EEG headset, her brainwaves displayed on screen, and changing
in accordance to her mood and in response to the audience. The
performance discussed the hazards and hopes for cybernetic innovation,
while raising the question: "is there a place in human consciousness
where surveillance cannot go?"
In the video dialogue Surveillance Siddhi (2014), Pearlman searched for
the meaning of being human in terms of privacy, individuality,
authority, and the state. Using robotized voices, and enhanced visual
processing developed by MIT’s CSAIL Lab, Pearlman created digital
imagery as poetic as it was disturbing. 
Explore Ellen Pearlman’s work on her artist profile on the Archive of
Digital Art
BOOKS & QUOTES
In her extensive writings as book author and art journalist, Ellen
Pearlman explores the histories and intersections between religion,
Buddhism, dance, performativity, and modern technology. Her book Nothing
and Everything: The Influence of Buddhism on the American Avantgarde
(2012) drew a comparison between the art scene in America during the
late 1950s to early 1960s and Zen Buddhism’s emphasis on "enlightenment
at any moment" and "living in the now".
"Zen thinking permeates Western arts: the mid-century pivot to Eastern
influence is a truism of previous generations, but curiously absent from
contemporary mastications of history. Ellen Pearlman gets it all right:
Nothing and Everything is the perfectly balanced lesson—art, and change,
and friendship" wrote John Reed, novelist and book editor of The
Brooklyn Rail, on Nothing and Everything.
ELLEN PEARLMAN AND MEDIAART/HISTORIES
Browse through the Media' Art Research Thesaurus and search for
Keywords related to Pearlmanʼs work in order to find visual comparisons
and conceptual bridges with the Graphic Print Collection of the
Goettweig Collection.
Keywords: Telematics art, performance, immersive environments,
surveillance, brain sensors, post-human, embodiment, telepresence
BECOME A MEMBER ON THE ARCHIVE OF DIGITAL ART (ADA)
ARTISTS and SCHOLARS are invited to become members of the online
community and set up their ADA profile! To ensure a high academic
standard, five published articles and/or exhibitions are required to
become members of the ADA community. Apply for an account here:
www.digitalartarchive.at/support/account-request.html 
SHARE YOUR RESEARCH WITH PEERS AND THE COMMUNITY
Community members can upload publications and PDFs, announce upcoming
events, post comments, document exhibitions, conferences and other
relevant news.
ADA: THOUSANDS OF ARTWORKS
Since its foundation in 1999, the ARCHIVE OF DIGITAL ART (former
Database of Virtual Art) has grown to be the most important online
archive for digital art. In cooperation with established media artists,
researchers and institutions it has been documenting the rapidly
evolving world of digital art and its related fields for more than a
decade and contains today a selection of thousands of artworks at the
intersection of art, science and technology. ARTISTS and SCHOLARS are
invited to join the community and set up their own archive pages.
EXPANDED DOCUMENTATION FOR THE NEEDS OF DIGITAL ART
Due to the processual, ephemeral, interactive, technology-based and
fundamentally context-dependent character of digital art, it is at risk
for becoming extin

[rohrpost] Media Arts: Histories and Futures :: International, low-residency, Master of Arts

[Image Science]

Dear colleagues, 
Please share with interested persons.
 
MEDIA ARTS: Histories and Futures
International - low-residency – Master of Arts – Starts May 2019
Deepening praxis and critical comprehension of the digital developments
in contemporary art
An interdisciplinary field at the intersection of art, science,
technology and the humanities, MediaArtHistories examines scientific
discovery and technological innovation emerging in art praxis, as well
as the genealogies of their historical development and context. At a
time when digital technologies are fundamentally revolutionizing the
very ways in which we communicate, interact, and perceive images, the
MediaArtHistories program trains students from diverse backgrounds to
critically analyze the plethora of visual media cultures of today.
CONTENT
Courses cover Media Art genres such as Net, Telematic and Genetic Art
as well as the most recent reflections on Nano, Bio and Transgenic Art,
Video Games, Computer Graphics and Animation, Virtual Reality, Augmented
Reality, and Intelligent Environments, Hacktivism and Tactical Media,
Performance, Glitch Art, Hybrid Art and Robotics. MediaArtHistories
offers a basis for understanding the evolutionary history of media, from
historic examples such as the Laterna Magica and Mechanical Automaton of
the 17th century, to computer art at the earliest stages of the Internet
in the mid-Twentieth Century and the algorithmic art of today. Special
attention is given to the challenges of documentation and preservation
of these born-digital, ephemeral and multifarious works. Explored in
depth are key methods and theory from Digital Humanities, Image Science,
Media Archaeology, Sound Studies, the Intellectual History of Science &
Technology, and Digital Gender Theory. Excursions, and on site faculty
seminars, introduce students to the main cultural heritage institutions
in the field, such as Ars Electronica and ZKM, archives such as the
Archive of Digital Art (ADA www.digitalartarchive.at (
http://x7w9.mj.am/link/x7w9/xxs9t2hh/a4/XuIk1Vlz0Xc0IrHulm0Row/aHR0cDovL3d3dy5kaWdpdGFsYXJ0YXJjaGl2ZS5hdC8
)), festivals such as Transmediale, and the Media Art market.
The program is a two-year low-residency, either 90 or 120 ECTS Master
degree offered in English. In addition to individual study and project
work at your home location, students gather 2-3 times a year for intense
seminar modules with internationally renowned media artists and
scholars. These enriching sessions take place at Danube University or
another European location relevant to the community of media art, such
as Linz, Austria as well as Karlsruhe and Berlin, Germany.
BRAIN TRUST
MediaArtHistories program faculty include: Irina ARISTARKHOVA, Andreas
BROECKMANN, Andres BURBANO, Sean CUBITT, Oliver GRAU, Monika
FLEISCHMANN, Francesca FRANCO, Darko FRITZ, Jens HAUSER, Kathy Rae
HUFFMAN, Erkki HUHTAMO, Ryszard KLUSZCZYNSKI, Andreas LANGE, Martina
LEEKER, Christopher LINDINGER, Wolf LIESER, Roger MALINA, Lev MANOVICH,
Nat MULLER, Gunalan NADARAJAN, Frieder NAKE, Jussi PARIKKA,
Christiane PAUL, Ana PERAICA, Margit ROSEN, Christopher SALTER, Paul
SERMON, Edward SHANKEN, Jeffrey SHAW, Christa SOMMERER, Morten
SONDERGAARD, UBERMORGEN, and others.
Since its beginnings in 2006, Danube University’s prestigious
MediaArtHistories MA has offered its students both a deeper critical
comprehension and a practical orientation regarding the most important
developments of this most contemporary art, by building on its faculty
network of renowned international theorists, artists, and curators.
These faculty come from across the globe to give seminars during the
modules held at Danube University, and from their home universities
maintain through online network and project collaboration individualized
instruction with students throughout the program.
www.mediacultures.net/mah
STUDY in EUROPE
the low-residency modularized teaching system allows working
professionals to maintain their usual employment, and gives students
entering directly after a Bachelor degree the opportunity to gain
valuable career experience while they study. Modules take place on the
main campus and at the Center for Image Science housed at the Göttweig
Abbey. The Danube University is located in the UNESCO World Cultural
Heritage “WACHAU” and offers a spectacular backdrop for learning and
living.
The Department for Image Science holds important resources of the field
like the largest international Archive of Digital Art:
www.digitalartarchive.at ( https://www.digitalartarchive.at/ ) and the
MediaArtHistories Conference Archive www.mediaarthistory.org/maharchive
and integrates its cutting-edge research projects into teaching.
STUDENTS
International students to our program have come from locations
including Austria, Australia, Brazil, Canada, China, Egypt, Germany,
Iceland, Japan, Jordan, Korea, Mexico, Russia, Spain, Ukraine, and USA.
Alumni of the program are employed not only as freelance curators,
creative designer

[rohrpost] European Commission prolongs and expands support for Erasmus+ master “Media Arts Cultures”

[Image Science]

MEDIA ARTS CULTURES
Erasmus Mundus Joint Master Degree
Erasmus+ funded - European Master of Excellence
KREMS / AALBORG / LODZ / SINGAPORE
Call for 2019 applications open soon
www.mediaartscultures.eu
 
With support extended to 3.7 million Euro, the European master of
excellence program “Media Arts Cultures – Media AC” will broaden in
2019-2024. This distinctive award is based on offering high-quality
international learning opportunities for students in an emerging field
and also affirms the importance of Media Art research and practice for
the cultural and educational future of Europe.
 
~
 
Media Arts Cultures is organized jointly by 
Danube University Krems (Austria, lead)
Aalborg University (Denmark)
University of Lodz (Poland) and
Lasalle College of the Arts (Singapore).
 
Associated partners: Archive of Digital Art, Ars Electronica Linz,DAM,
Europeana,FACT, Het Nieuwe Instituut, Instrument Inventors Initiative,
imai, Impakt Festival, MOCAK,monochrome, Neural Magazine, SPEKTRUM, WRO
Art Center, ZKM
 
The language of instruction is English and includes taught semesters,
internship a master's thesis supervised by lecturers from the partner
universities. 
MediaAC faculty include:
Andreas Broeckmann, Wendy Coones , Palle Dahlstedt, Steven Dixon,
Oliver Grau, Jens Hauser, Elizabeth Jochum,Ryszard W. Kluszczyński,
Wolfgang Muench, Maciej Ożóg, Christiane Paul, Ana Peraica,Katarzyna
Prajzner, Jeffrey Shaw, Morten Søndergaard, Audrey Wongand many others.
 
~
 
MediaAC is one of the few culture-centered Erasmus Mundus programs, and
the only program connecting culture to the digital arts. Digital media
art plays a major role at international festivals and in contemporary
culture. But, in part due to the obsolescence of presentation equipment
and storage formats, media art has not yet fully arrived in archives and
museums. The collection, exhibition and conservation strategies of
digital art, as well as their mediation, are necessary for the
modernization of art institutions.
 
The joint Master of Arts MediaAC aims to generate a better
understanding of the image revolution. It addresses the needs of the
evolving fields related to the futures and histories of Media Art.
MediaAC provides education and training for future specialists in Media
Arts Cultures and prepare them for emerging careers in the creative and
cultural sectors, research and academia. 
 
Selected topics like Media Cultural Histories & Heritage, Archiving,
Experience Design, Media Arts Theory, New Media Aesthetics, Curating &
Arts Management, or Media Arts Futures provides students both
internationally-advanced theoretical as well as practical knowledge in
the Media Arts, through a singular combination of pedagogical foci,
trans-disciplinary approaches, and critical thinking in connection to
the needs of both academic and non-academic stakeholders.
 
Media Arts Cultures is a 2-year mobility program, enabling students to
study across Europe and in Asia. Students spend three semesters at
different universities and write a Master Thesis at the best-suited
partner during the final semester. Upon completion, students receive a
120 ECTS joint master degree in Media Arts Cultures from three
universities allowing graduates to further pursue a PhD within Europe or
other international higher education regions.
 
Each year, 19 of the best EU and non-EU candidates will be offered
Erasmus+ fully-funded scholarships for the duration of the program.
Other funding from the MediaAC Consortium and external-sources are also
available.
 
The MediaAC Consortium invites dedicated and energetic applicants from
all countries and all relevant fields to apply.
 
Contact:
Media Arts Culture Consortium Coordination
Department for Image Science
Danube University, Austria
www.mediaartscultures.eu
 
www.donau-uni.ac.at/dbw
www.digitalartarchive.at
www.mediaarthistory.org
 
 
 

-- 
rohrpost - deutschsprachige Liste zur Kultur digitaler Medien und Netze
Archiv: http://www.nettime.org/rohrpost 
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[rohrpost] ADA as platform for Media Art Histories Research - new introduction video

[Image Science]

Dear Colleagues,

As a pioneer in the field of Media Arts research, the ARCHIVE OF
DIGITAL ART (ADA) documents the rapidly evolving field of digital art
forms for almost two decades now. This complex, research-oriented
overview of works at the intersection of art, science, and technology
has been developed in cooperation with international media artists,
researchers and institutions, as a collective project.

Watch our new video on the transdisciplinary research in Digital Art,
based on ADA's interconnected data infrastructure.
https://vimeo.com/265171805 

Today’s digital artworks are processual, ephemeral, interactive,
multimedia-based and fundamentally context dependent. Thus requiring a
modified, we call it an ‘expanded concept of documentation‘, ascribing
high importance to artistic inventions like innovative interfaces,
displays or software. ADA ensures high academic standards and represents
artist and scholar contributors with at least five published articles
and/or exhibitions from relevant fields. The ADA community contributes
and encodes their user-generated visual and textual documents in this
open access research database.

A collaborative and social living archive, the mission of the Archive
of Digital Art (ADA) is to document the ever-changing world of Media
Artalso called Digital Art or New Media Artand its related disciplines
from the mid-20th century to today. www.digitalartarchive.at 


The ADA Team
Department for Image Science
Digital Humanities Lab
Danube University Krems


-- 
rohrpost - deutschsprachige Liste zur Kultur digitaler Medien und Netze
Archiv: http://www.nettime.org/rohrpost 
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[rohrpost] Book review of Museum and Archive on the Move by Oliver Grau et al. (eds.)

[Image Science]

Museum and Archive on the Move: Changing Cultural Institutions in
Digital Era
by Oliver Grau, Wendy Coones and Viola Rühse (eds.), Walter De Gruyter,
Berlin, Germany, 2017, 316 pp. 39,95 €, ISBN: 978-3-11-052051-4
(https://www.degruyter.com/view/product/480930?format=G).

Reviewed by Ana Peraica in Leonardo Reviews, December 2017,
https://www.leonardo.info/review/2017/12/review-of-museum-and-archive-on-the-move-changing-cultural-institutions-in-digital


Since Douglas Crimp’s canonical book, The Postmodern Museum, a
discourse contrasting two different cultures has arisen. These are ones
of the museum and one of the archives, commonly distinguished on the
level of exclusivity and inclusivity, and are one of the centres of
debates in humanist studies of collections. Museum and Archive on the
Move, edited by a team of recognized Media Art History scholars from the
University of Danube––Oliver Grau, Wendy Coones and Viola
Rühse––published by Walter De Gruyter, is a new reading of
this area. This volume, in overlapping fields of museum and archive
studies, introduces emerging questions of media art in terms of its rare
and very often unsuccessful preservation. Eminent media theorists,
including Sean Cubitt, Erkki Huhtamo, Ryszard W. Kluszczyński, or
curators such as Documenta XI curator Okwui Enwezor and Transmediale
director Andreas Broeckmann, contribute to this crucial theme.

The introductory essay (by Jorge Wagensberg) overviews the theme of a
museum of art and science, followed by Viola Rühse’s essay pointing to
the digital collection of Rijksmuseum whose decade-long restoration saw
the opportunity to rise a large online digital collection. Dieter
Bogner’s text focuses on museum planning and exhibition dynamics,
usually not visible from common museum discourse, starting with
narratology and audience [reception] theories. Bogner uncovers various
factors, often not taken into account by architects, such as
ventilation, the position of speakers, size of the area behind
interface, etc. Erkki Huhtamo, from the position of “exhibition
anthropology,” is pointing to the growing need, but also consequences
of, interactive material in museums, in which a sense of touch is
questioned, arriving to the interesting concept of “tactiloclasm”.
To counter this, Huhtamo is advocating “tactical transgression.”
Besides the touch prohibition inside the museum, he is also analysing
the expansion of museum via different apps (as Museum of London’s
Streetmuseum) in mixed reality, and their role as cultural industries in
shaping quality of visitor experience.

Ryszard W. Kluszczyński analyses the position of linear (narrative) and
non-linear (interactive) art in contemporary museum displays. Since the
“process of videofication” in the 70s and interaction in
contemporary age, masking differences in cinema (and creating something
as museum/cinema), where the difference from expanded cinema to
interactive film seems to be illustrative of the second shift.
Kluszczyński also provides definitions and conceptual criteria for
mapping/analysing different types of interactive films. Next is Digital
Art’s Complex Expression and Its Impact on Archives and Humanities, by
one of three editors of this reader, Oliver Grau. Grau warns on the
total loss of media art due to fast technological and media changes and
a lack of interest of museum context, offering the solution in databases
and platforms that serve for preserving information on such art (such as
Archive of Digital Arts - ADA expanded in Interactive Archive and
Meta-Thesaurus for Media Art Research – AT.MAR), Youngjin Lee
continues with archive and research practice in Asia, while Okwui
Enwezor focuses on Gaba’s Museum of Contemporary African Art. Enwezor
analyses African a-museum positions, being outside of the discourse of
the museum at all (not anti as - being opposed to, but rather – being
completely outside of the discourse). This enforces the idea of archives
that better describes non-narrative cultures, based on dynamic/oral,
rather than fixed written histories. Wendy Coones’ essay on scientific
and non-scientific approach to Mars (including different archives)
functions as reductio ad absurdum of museum logic shaken already by
previous essays, showing how any data collection (as Mars, in this case
study) can behave as a museum, providing different objects and
information for interpretation.

The second section, of the archive, starts with Sean Cubitt’s
approach to archival ethics (clear in the selection of what to preserve
and which materials are preserved. Christine Paul provides a
comprehensive overview of media art and its archivisation, with a case
study in Douglas Davis’ The World’s First Collaborative Sentence
(1994), unrolling key issues of the preservation of the work in details,
followed by practical solutions. Morten Søndergaard elaborates on Media
Art Platform (MAP) group, working from 2004 - 2008, while Sarah
Kenderdine and Jeffrey Shaw focus on conservation of immate

[rohrpost] Live Stream of Re:Trace—7th International Conference on the Histories of Media Art, Science and Technology

[Image Science]

Dear colleagues,

I would like to draw your attention to the live stream of the
conference Re:Trace. Please find more information below and excuse
cross-posting.

Kind regards,
Viola Rühse

LIVE STREAM OF RE:TRACE—7TH INTERNATIONAL CONFERENCE ON THE HISTORIES
OF MEDIA ART, SCIENCE AND TECHNOLOGY

NOVEMBER 23–25, 2017

Re:Trace will be hosted by the Department for Image Science and held
jointly at Danube University, Göttweig Abbey and the Austrian Academy of
Sciences, Vienna. Following Banff 2005, Berlin 2007, Melbourne 2009,
Liverpool 2011, Riga 2013 and Montreal 2015, the Media Art History
Boards and Co-Chairs invite you to attend Re:Trace 2017 in
Krems/Göttweig/Vienna in person or virtually.

Over three days (November 23 to 25, 2017), the following 5 keynotes and
other lectures will be live-streamed from the conference at three venues
in the UNESCO World Heritage Wachau region of Austria, at Danube
University Krems, Göttweig Abby, and the Austrian Academy of Sciences in
Vienna. You will have access to the live streaming via the conference
website (http://www.mediaarthistory.org/retrace) or department website
(www.donau-uni.ac.at/dis).

RE:TRACE KEYNOTE LECTURES LIVE STREAMING
THURSDAY, NOVEMBER 23, 2017 (DANUBE UNIVERSITY)

3:20am NY / 9:20am Austria / 3:20pm Bangkok / 7:20pm Sydney 
Ryszard Kluszczyński (University of Lodz, PL): Monument as Archive:
Artistic Strategies from Anti- to Meta-Memorial
11:30am NY / 5:30pm Austria / 11:30pm Bangkok / 3:30am (Friday) Sydney

Morten Søndersgaard (Aalborg University, DK): Archiving Agencies:
Tracing the Implied Producers of Media Art Collections

FRIDAY, NOVEMBER 24, 2017 (GÖTTWEIG ABBEY)

3:45am NY / 9:45am Austria / 3:45pm Bangkok / 7:45pm Sydney 
Wendy Hui Kyong Chun (Brown University, US): Approximate Repetitions:
Latent Big Data

SATURDAY, NOVEMBER 25, 2017 (AUSTRIAN ACADEMY OF SCIENCES, VIENNA)
4am NY / 10am Austria / 4pm Bangkok / 8pm Sydney 
Sarah Kenderdine (École Polytechnique Fédérale de Lausanne, CH):
Postdigital Pasts
noon NY / 6pm Austria / midnight (Sunday) Bangkok / 4am (Sunday) Sydney

Martin Kemp (Oxford University, UK): Computerising Leonardo: A Visual
Dialogue from 1988 to Now

More information about the keynote lectures–including presenter bios
and presentation abstracts–can be found on the RE:TRACE homepage
(http://www.mediaarthistory.org/keynote_speakers).

OTHER LIVE STREAMING SESSIONS AND PRESENTERS
(daily 5–11am NY, 11am–5pm Austria, 5–11pm Bangkok, 9pm–3am
Sydney)
Media Art & Politics (Steve Dixon, Andres Burbano, Kevin Hamilton,
Gerald Nestler), Politics - Ambitious goals with tactical media (Dmitry
Galkin, Polonia Tratnik), Politics - Ecology, politics, and aesthetics I
(Aaron Burton, Jens Hauser, Yvonne Volkart, Viola Rühse), Political and
aesthetic impacts of automated classifications (Maciej Ożóg, Jennifer
Gradecki/Derek Curry, Devon Schiller), Internet infrastructure under
scrutiny (David Gauthier /Michael Dieter/Marc Tuters, Natalia Fedorova,
Martín Nadal/César Escudero Andaluz, Andre Mintz), DH: Preservation
strategies: Performing and rethinking materiality (Laura Leuzzi, Margrét
Elísabet Olafsdóttir, Denisa Kera /Cynthia Selin), Dariah Connectivity
Part I: Collection - Archiving – Preservation (Francesca Franco,
Andreas Broeckmann, Giselle Beiguelman, Janina Hoth, Annet Dekker),
Dariah Connectivity Part II: Preservation strategies: Dynamic archiving
(George Legrady, Ann-Marie Duguet)
After the live streaming, videos of the lectures will be accessible via
the Media Art Research Archive:
http://pl02.donau-uni.ac.at/jspui/handle/10002/777.

The entire online program with speakers and presenters from more than
50 nations is available here:
http://www.mediaarthistory.org/retrace/program 

CONFERENCE CO-CHAIRS: Oliver Grau and Inge Hinterwaldner

RE:TRACE PARTNERS: Austrian Academy of Sciences, Vienna / Lower Austria
/ Humboldt University, Berlin / Archive of Digital Art / DARIAH-EU /
Erasmus Mundus Media Arts Cultures / Academia Europaea / Leonardo /
Kunsthalle Krems

RE:TRACE HOST: The Department for Image Science at Danube
University–located in the UNESCO world heritage Wachau–is an
internationally unique institution for research and innovative teaching
with an international faculty, with 120 scholars from various
disciplines (www.donau-uni.ac.at/dis). The innovative approach of the
Department for Image Science with the close connection to practice has
developed the Archive of Digital Art and in 2006 founded the
low-residency MediaArtHistories-Advanced, MA (www.donau-uni.ac.at/mah),
and the low-residency Exhibition Development, CP
(www.donau-uni.ac.at/exhibit).

MediaArtHistories on Facebook: www.facebook.com/groups/377264145713664/



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[rohrpost] MediaArtHistories Award will be presented posthumously to Werner Nekes

[Image Science]

MediaArtHistories Award will be presented posthumously to Werner Nekes

The award of the international conference series „On the Histories of
Media Art, Science and Technology“ will be presented at Danube
University Krems on November 23, 2017 to the well-known collector, film
artist, and theorist Werner Nekes.

For more than several decades, German film director Werner Nekes
(1944-2017) assembled what is widely regarded to be the most exceptional
private collection on cinematic pre-history. With over 40,000 objects,
the collection represents the history of art and image media with a
comprehensiveness that is unrivaled, and that substantially contributes
to contemporary study into visual perception, optical technology, and
the media informatization of lived experience. For these achievements,
among others, Werner Nekes is considered one of the most important
pioneers of MediaArtHistories. The Conference Jury is pleased to
recognize Werner Nekes for his commitment to field by conferring this
posthumous award.

Born in Erfurt, Germany, Werner Nekes began his career as an
experimental filmmaker in the 1960s. Over his career, he made more than
50 short and long films. One of the most famous is “Uliisses”
(1982), in which Nekes translated James Joyce’s literary technique
into the visual language of cinema. A film titled “Johnny Flash”
(1985) parodying German Schlager music, and with Helge Schneider in his
first leading role, also gained huge popularity. At the young age of 25,
Werner Nekes was appointed as professor for experimental film at the
University of Fine Arts in Hamburg. Later, he held professorships in
Wuppertal, Offenbach and Cologne, and gave numerous lectures and
presentations both in Germany and internationally. Nekes received
several awards for his work, among them the “BAMBI Award” and, on
several occasions, the “Deutscher Filmpreis” (German Film Prize). 
In addition to his artistic work, Nekes achieved international
prominence thanks to how with creativity and vision he innovated his
unprecedented archive for the pre-history of film. This collection
contains graphic stills prints and stills, instruments used in
anamorphic projection, optical devices, rare publications and
documents–among other objects.
Nekes presented selected objects from his collection in his documentary
“Media Magica I. […]” in 1986, which was telecasted in over 50
countries. And today, the Nekes Archive continues to be exhibited all
over the world, and is regarded to be an important fundament to
MediaArtHistories. 

MediaArtHistories-Honorary Award

Werner Nekes, who passed away in early 2017, receives now posthumously
the MediaArtHistories-Honorary Award. This prize is awarded after an
international proposal and jury procedure, and in 2015 was previously
given to American art historian Barbara Stafford.

The appraisal of Werner Nekes will take place at the Re:Trace 2017
Conference on the Histories of Media Art, Science and Technology, to be
held in November 23-25, 2017 in Krems and Vienna, Austria. There, more
than a hundred international attendees will discuss consequences of the
latest media revolution(s), new methods in the field of Digital
Humanities, as well as the future archiving and conservation of media
art. The award ceremony itself will take place at Kunsthalle Krems on
November 23, 2017.

The executive committee for the Conference Series and MediaArtHistories
Award Jury comprise: Prof. Dr. Sean Cubitt (Goldsmith), Dr. Andreas
Broeckmann (Lüneburg), Prof. Dr. Oliver Grau (Danube University), Prof.
Dr. Linda Henderson (Austin), Prof. Dr. Erkki Huhtamo (Los Angeles),
Prof. Dr. Douglas Kahn (Sydney), Prof. Dr. Martin Kemp (Oxford), Prof.
Dr. Machiko Kusahara (Tokyo), Prof. Dr. Tim Lenoir (Duke), Prof. Dr.
Gunalan Nadarajan (Ann Arbour), and Prof. Dr. Paul Thomas (Sydney).

More information:  http://www.mediaarthistory.org/retrace 



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[rohrpost] The MediaArtResearch Thesaurus is online

[Image Science]

THE MEDIA ART RESEARCH THESAURUS IS ONLINE!
www.digitalartarchive.at
 
The ARCHIVE OF DIGITAL ART is pleased to announce the official
publication of the MEDIA ART RESEARCH THESAURUS, the innovational
achievement of a 3-year project supported by the Austrian Science Fund
(FWF)!
 
Just accepted by Leonardo (preprint)
https://www.academia.edu/33653398/Documenting_Media
Art_A_WEB_2.0-Archive_and_Bridging_Thesaurus_for_MediaArtHistories (
https://www.academia.edu/33653398/Documenting_Media%20Art_A_WEB_2.0-Archive_and_Bridging_Thesaurus_for_MediaArtHistories
)
 
 
DOING KEYWORD-BASED MEDIA ART HISTORIES
 
Based on a newly developed keyword index of terms selected by expert
critique, the MEDIA ART RESEARCH THESAURUS enables the comparative
analyses of contemporary Digital Art and its art historical
predecessors. The THESAURUS’ cross-database search function, for what is
called federated or meta-searching, makes visible the genealogical
conflictions and correspondences between Digital Art’s 1) AESTHETICS, 2)
SUBJECT, and 3) TECHNOLOGY.
 
With the robust semantic interoperability of the THESAURUS, user
queries link simultaneously across resources (including an expanded
documentation of digitized image, text, and video); domains (the ARCHIVE
OF DIGITAL ART, as well as the online graphic print collection of
GÖTTWEIG ABBEY–with further historical databases coming soon!); and
communities (of both artists and scholars). Innovated as an effective
tool for DIGITAL HUMANITIES, this keyword-‘bridging’ THESAURUS supports
researchers at the intersection of art, science, and technology in
creating original MEDIA ART HISTORIES.
 
 
USING THE THESAURUS
 
The MEDIA ART RESEARCH THESAURUS encompasses keywords both at the
cutting edge of Digital Art–a field also known as Media Art or ‘New’
Media Art–as well from ‘traditional’ art history. Organized into a
‘tree-like’ taxonomical structure, the broad comprehensive categories
of the THESAURUS divide into increasingly specific subcategories–as in
the manner of genus/species, whole/part, or class/instance. As
exemplified in the “Panorama” case study sketched below, a user’s search
path might trace “Aesthetics” > “Panoramic,” “Subject” > “Arts and
Visual Culture” > “Panorama,” or “Technology” > “Display” > “Electronic
Display” > “Projection Screen.” Users can depart from any individual
keyword location, discovering terms higher, lower, or related, as
defined by the hierarchical order of the controlled vocabulary, in scope
notes, and through case studies.
 
As metadata, the THESARUS’ keywords allow for content indexing (in) and
content retrieval (from) the ARCHIVE OF DIGITAL ART (ADA), as well as
the online graphic print collection of GÖTTWEIG ABBEY (GSSG). Each
keyword links image JPEG–, text PDF–, and video MP4– formatted
resources, and in ADA a ‘expanded concept of documentation’ spanning
from installation iterations, and production processes, to information
and schematics under the broad category of TECHNOLOGY with specific
subcategories for SOFTWARE, HARDWARE, INTERFACE, and DISPLAY.
 
Users of the THESAURUS, in performing cross-database keyword searches,
create and re-create database resources from the ARCHIVE OF DIGITAL ART
and GÖTTWEIG ABBEY. Keyword metadata together with these information
objects semantically represent MEDIA ART HISTORIES, such that the
initial critical analysis of the THESAURUS structure naturally entangles
image, text, and video documents with notions such as cause, subject,
and time. Thus, user queries navigate combinatorial narratives and new
MEDIA ART HISTORIES that can be saved on a visual pin-board or LIGHT BOX
feature, and published in an online exhibition for a wide variety of
applications from scientific or art-based research to educational or
public outreach.
 
 
DEVELOPING THE THESAURUS
 
As a hierarchically organized semantic classification schema, the
THESAURUS explicitly represents the relationship between diverse ranges
of cross-cultural, inter-disciplinary, and trans-historical terms. To
best describe its specific knowledge domain of Media Art, the THESAURUS
is limited in scope to 400 individual terms for a field
comprehensiveness that also promotes usability. The continuously fluxing
terminologies of Digital Art, such as “Interface” or “Panoramatic,” are
included along with relatively fixed lexicons of classical art history,
like “Body” or Landscape.” Thus, the THESAURUS serves a bridge-building
function between the art forms such as Bio, Net, and Virtual Art and
those like lithography, painting, and textile.
 
To develop the THESAURUS, our experts surveyed four primary resource
groups: 1) ‘Traditional’ art history vocabularies, such as Iconclass,
Getty Art and Architecture Thesaurus (AAT), Warburg Subject Index
demonstrated, respectively, an alphanumeric classification scheme
designed for the iconography of art, a structured thesaurus used for
describing items of art, architecture, and material culture that
contains only generic terms, and a

[rohrpost] The MediaArtResearch Thesaurus is online

[Image Science]

THE MEDIA ART RESEARCH THESAURUS IS ONLINE!
www.digitalartarchive.at (
file://org2/COMMON/TEAM/DBW/PR_Marketing/Mailinglisten/MailinglistenPostings/www.digitalartarchive.at
)
 
The ARCHIVE OF DIGITAL ART is pleased to announce the official
publication of the MEDIA ART RESEARCH THESAURUS, the innovational
achievement of a 3-year project supported by the Austrian Science Fund
(FWF)!
 
Just accepted by Leonardo (preprint)
https://www.academia.edu/33653398/Documenting_Media
Art_A_WEB_2.0-Archive_and_Bridging_Thesaurus_for_MediaArtHistories (
https://www.academia.edu/33653398/Documenting_Media%20Art_A_WEB_2.0-Archive_and_Bridging_Thesaurus_for_MediaArtHistories
)
 
 
DOING KEYWORD-BASED MEDIA ART HISTORIES
 
Based on a newly developed keyword index of terms selected by expert
critique, the MEDIA ART RESEARCH THESAURUS enables the comparative
analyses of contemporary Digital Art and its art historical
predecessors. The THESAURUS’ cross-database search function, for what is
called federated or meta-searching, makes visible the genealogical
conflictions and correspondences between Digital Art’s 1) AESTHETICS, 2)
SUBJECT, and 3) TECHNOLOGY.
 
With the robust semantic interoperability of the THESAURUS, user
queries link simultaneously across resources (including an expanded
documentation of digitized image, text, and video); domains (the ARCHIVE
OF DIGITAL ART, as well as the online graphic print collection of
GÖTTWEIG ABBEY–with further historical databases coming soon!); and
communities (of both artists and scholars). Innovated as an effective
tool for DIGITAL HUMANITIES, this keyword-‘bridging’ THESAURUS supports
researchers at the intersection of art, science, and technology in
creating original MEDIA ART HISTORIES.
 
 
USING THE THESAURUS
 
The MEDIA ART RESEARCH THESAURUS encompasses keywords both at the
cutting edge of Digital Art–a field also known as Media Art or ‘New’
Media Art–as well from ‘traditional’ art history. Organized into a
‘tree-like’ taxonomical structure, the broad comprehensive categories
of the THESAURUS divide into increasingly specific subcategories–as in
the manner of genus/species, whole/part, or class/instance. As
exemplified in the “Panorama” case study sketched below, a user’s search
path might trace “Aesthetics” > “Panoramic,” “Subject” > “Arts and
Visual Culture” > “Panorama,” or “Technology” > “Display” > “Electronic
Display” > “Projection Screen.” Users can depart from any individual
keyword location, discovering terms higher, lower, or related, as
defined by the hierarchical order of the controlled vocabulary, in scope
notes, and through case studies.
 
As metadata, the THESARUS’ keywords allow for content indexing (in) and
content retrieval (from) the ARCHIVE OF DIGITAL ART (ADA), as well as
the online graphic print collection of GÖTTWEIG ABBEY (GSSG). Each
keyword links image JPEG–, text PDF–, and video MP4– formatted
resources, and in ADA a ‘expanded concept of documentation’ spanning
from installation iterations, and production processes, to information
and schematics under the broad category of TECHNOLOGY with specific
subcategories for SOFTWARE, HARDWARE, INTERFACE, and DISPLAY.
 
Users of the THESAURUS, in performing cross-database keyword searches,
create and re-create database resources from the ARCHIVE OF DIGITAL ART
and GÖTTWEIG ABBEY. Keyword metadata together with these information
objects semantically represent MEDIA ART HISTORIES, such that the
initial critical analysis of the THESAURUS structure naturally entangles
image, text, and video documents with notions such as cause, subject,
and time. Thus, user queries navigate combinatorial narratives and new
MEDIA ART HISTORIES that can be saved on a visual pin-board or LIGHT BOX
feature, and published in an online exhibition for a wide variety of
applications from scientific or art-based research to educational or
public outreach.
 
 
DEVELOPING THE THESAURUS
 
As a hierarchically organized semantic classification schema, the
THESAURUS explicitly represents the relationship between diverse ranges
of cross-cultural, inter-disciplinary, and trans-historical terms. To
best describe its specific knowledge domain of Media Art, the THESAURUS
is limited in scope to 400 individual terms for a field
comprehensiveness that also promotes usability. The continuously fluxing
terminologies of Digital Art, such as “Interface” or “Panoramatic,” are
included along with relatively fixed lexicons of classical art history,
like “Body” or Landscape.” Thus, the THESAURUS serves a bridge-building
function between the art forms such as Bio, Net, and Virtual Art and
those like lithography, painting, and textile.
 
To develop the THESAURUS, our experts surveyed four primary resource
groups: 1) ‘Traditional’ art history vocabularies, such as Iconclass,
Getty Art and Architecture Thesaurus (AAT), Warburg Subject Index
demonstrated, respectively, an alphanumeric classification scheme
designed for the iconography of art, a structured thesaurus us

[rohrpost] The ARCHIVE OF DIGITAL ART (ADA) releases CHRISTOPHER SALTER documentation

[Image Science]

The ARCHIVE OF DIGITAL ART (ADA) releases documentation on CHRISTOPHER
SALTER 
 
Chris Salter is Concordia University Research Chair in New Media,
Technology and the Senses, Co-Director of the Hexagram network, Director
of the Hexagram Concordia Centre for Research and Creation in Media Art
and Technology and Associate Professor for Computation Arts in the
Department of Design and Computation Art at Concordia University,
Montreal. 
 
His numerous articles and books (Alien Agency, 2015; Entangled, 2010,
MIT Press) reflect on his artistic development between research in the
humanities, multi-sensory engineering and collaborative practice in the
fields of digital art and theatre. By combining digital sound and
animation with questions of materiality and performance in his
experimental art installations and projects, Salter critically and
aesthetically reflects on discourses in literature, psychology,
performativity, sensory experience, cultural theory and philosophy. His
projects were exhibited all over the world at e.g. National Art Museum
of China, Venice Architecture Biennale, Elektra Festival, Ars
Electronica, Transmediale.
 
QUOTES
Roberto SIMANOWSKI (City University, Hong Kong) on “TGARDEN”: “[Salter]
calls the goal of his work a kind of reflected immersion, where the
audience participates as both collaborator and critic […].”
 
Sarah BAY-CHENG (Bowdoin College, Maine): Chris Salter’s extensively
researched and compellingly argued Entangled: Technology and the
Transformation of Performance (2010) is the most wide-ranging survey of
digital performance practices since Steve Dixon’s Digital Performance.
MediaArtResearch KEYWORDS: Architecture, Environment, Senses,
Performative, Poly-sensory, Body, Theatre, Dance, Light, Movement.
Click on a keyword to see the entries on the crosshistorical
Meta-Thesaurus with works from Graphic Collection Göttweig Abbey and the
Archive of Digital Art.
 
 
SALTER on ADA 
The ongoing documentation of Chris Salter’s work on ADA goes back to
early interactive installations with Sponge in 1996 to his recent works
in 2016. Videos, images, information on technology and a bibliography of
his inspirations from science and philosophy can be found among the data
on the respective artwork profiles as well as a general bibliography
with Salter’s publications and all the authors mentioned on the artist
profile. 
The ADA documentation also sheds light on the conceptualisation of an
artwork. Several installation plans and exhibition views can demonstrate
along with the technical data not only the final project, but the
development process as well. A blog on blogspot.co.at (now part of
Google’s blogger.com), initiated by Sha Xin Wei for the “Membrane”
installation at V2, was archived by the ADA team for future analysis.
The international team of artists and scholars used the blog to share
and discuss a few results in the development of the art project. Parts
of the conceptualisation and execution of the artwork can be traced when
reading the blog entries and commentaries such as the development of a
first 3D model made of cartonage to illustrate the visual and sculptural
design of the responsive screen and the display of live video feed
software for the final installation. See Chris Salter’s Profile on ADA:
https://www.digitalartarchive.at/database/artists/general/artist/salter.html

 
 
BECOME A MEMBER ON THE ARCHIVE OF DIGITAL ART (ADA)
ARTISTS and SCHOLARS are invited to become members of the online
community and set up their ADA profile! To ensure a high academic
standard, five published articles and/or exhibitions are required to
become members of the ADA community. Apply for an account here:
www.digitalartarchive.at/support/account-request.html (
file:///C:/Users/SBierbaumer/Desktop/www.digitalartarchive.at/support/account-request.html
) 
 
SHARE YOUR RESEARCH WITH PEERS AND THE COMMUNITY
Community members can upload publications and PDFs, announce upcoming
events, post comments, document exhibitions, conferences and other
relevant news.
 
ADA: THOUSANDS OF ARTWORKS
Since its foundation in 1999, the ARCHIVE OF DIGITAL ART (former
Database of Virtual Art) has grown to be the most important online
archive for digital art. In cooperation with established media artists,
researchers and institutions it has been documenting the rapidly
evolving world of digital art and its related fields for more than a
decade and contains today a selection of thousands of artworks at the
intersection of art, science and technology.  ARTISTS and SCHOLARS are
invited to join the community and set up their own archive pages.
 
EXPANDED DOCUMENTATION FOR THE NEEDS OF DIGITAL ART
Due to the processual, ephemeral, interactive, technology-based and
fundamentally context-dependent character of digital art, it is at risk
for becoming extinct without an adequate documentation. Therefore, the
ADA is based on an expanded concept of documentation, which takes
account of the specific conditions of digital art.
ARTISTS

[rohrpost] Post-Graduate Exhibition Development – Call for Applications, Deadline Sept 4, 2017

[Image Science]

Start Nov 4, 2017 - Certified Program “Exhibition Development” (
http://mediacultures.net/exhibitionstrategies/ ) (low residency,
parallel to employment, international faculty, in the UNESCO World
Cultural Landscape Wachau in Austria) 
 
This modularized and low-residency certified program taught in English
imparts the core skills of contemporary exhibition practice. In addition
to individual study and project work at your home location, students
gather twice for intense two-week seminars with internationally active
practitioners in November 2017 and February 2018.
 
International experts like Prof. Jorge WAGENSBERG (scientific director;
Fundacio ‘la Caixa’ & Hermitage Barcelona), Frank den OUDSTEN (designer,
teacher, writer, performer), Pat MUNRO (exhibition evaluator),
Christiane PAUL (curator; Whitney Museum of Art), Stefan IGLHAUT + Gesa
von GROTE (exhibition designers & museum planners), Brigitte FELDERER
(freelance author and exhibition developer) Dr. Dieter BOGNER (museum
planner), Christopher LINDINGER (Director of Research & Innovation; Ars
Electronica), Becky GILBERT (board member; European Fundraising
Association), Enrique GUITART (freelance curator and exhibit developer)
and others are brought together through this singular program – a
network that combines historic vision with the latest knowledge about
current developments and trends. 

The exhibition medium is one of the most innovative areas of modern
culture and economy. Globalization and digitization are revolutionizing
forms and strategies of exhibition development, their interpretation,
reception and international expansion. The definition of exhibition is
expanding to virtual, public, private and hitherto philosophical spaces.
ExDev covers competencies for the professional assessment of chances and
risks in contemporary exhibition planning and shows how to apply these
skills in concrete projects.  At the end of the course, participants
will be better equipped to undertake the project organization of
designing and managing exhibitions and experiential worlds. 
 
After the certified program (30 ECTS), the students can continue with a
Master of Arts in Image Science (120 ECTS).
 
==> STUDENTS - Staff in museums, collections and similar institutions,
promoters and curators of science and art/culture, staff in tourist,
fair or theme park establishments and anyone who need new skills for
handling the realization of exhibition projects across Europe and
beyond. 


==> DANUBE UNIVERSITY - located 70 km from Vienna in the UNESCO world
heritage Wachau region, Danube University is the only public university
in Europe specializing in advanced continuing education by offering
low-residency degree programs for working professionals and life-long
learners. Portions of the modules are held at DanubeU’s Center for Image
Science, housed in the Göttweig Monastery, a 14th century building
remodeled to fit the needs of modern research in singular surroundings.
 
==> APPLICATION (digital) - application form, a letter of motivation,
copies of previous degree(s), copy of passport and a Europass CV.
Contact: Department for Image Science, Mag.a Stefanie Bierbaumer,
stefanie.bierbau...@donau-uni.ac.at, +43 (0)2732 893-2569 (
tel://027328932569/ ) 
 
www.donau-uni.ac.at/exhibit  
www.mediacultures.net/exhibitionstrategies 
 
 
==> Duration: 2 semesters ~~ 30 ECTS ~~ Language of Instruction:
English
1st semester includes low-residency presence modules Nov 4-11, 2017 and
Feb 3-11, 2018. 
2nd semester includes research and project work from home. 
Application deadline: September 4, 2017
 
 
FORTHCOMING PUBLICATION:
 
Museum and Archive on the Move: Changing Cultural Institutions in the
Digital Era
Edited by Oliver Grau together with Wendy Coones and Viola Rühse
De Gruyter, Munich, September 2017 (
https://www.degruyter.com/view/product/480930?result=3&rskey=IX91UP )
 
The digital revolution fundamentally changed how cultural heritage is
created, documented, analyzed, and preserved. The book focuses on this
transformation’s impact. How must museums and archives meet the
challenges of digitally generated cultures and how does the digital
revolution influence traditional object collection, research, and
education? How do digital technologies and digital art and culture
affect our interaction with images? Leading international experts from
various disciplines (Lev Manovich, Okwui Enwezor, Christiane Paul,
Dieter Bogner, Jeffrey Shaw, Sean Cubitt, Sarah Kenderdine, Oliver Grau,
Lutz Engelke et al.) break new ground. Pioneering interdisciplinary
research results collected in this book are relevant to education,
curators and archivists in the arts and culture sector and in the
digital humanities.
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[rohrpost] RE-TRACE 2017 - 7th Conference on the Histories of Media Art, Science and Technology (Call for Papers - extended deadline, April 12)

[Image Science]

nia FEDEROVA (RU/UC Davis, US); Sabine
FLACH (University of Graz, AT); Katharina GSÖLLPOINTNER (University of
Applied Arts, Vienna, AT); Erkki HUHTAMO (University of California Los
Angeles, US); Ryszard KLUSZCZYNSKI (University of Lodz, PL); Katja
KWASTEK (University of Amsterdam, NL); Daniel Cardoso LLACH (Carnegie
Mellon University, US); Sjoukje van der MEULEN (Utrecht University, NL);
Gunalan NADARAJAN (University of Michigan, US); Gerald NESTLER (Vienna,
A); Ana PERAICA (Split, HR); Christopher SALTER (Concordia University,
CA); Yukiko SHIKATA (Tokio, JP), Christa SOMMERER (University of Art and
Design, Linz, AT); Morten SøNDERGAARD (Aalborg University, DK); Axel
STOCKBURGER (Academy of Fine Arts, Vienna, AT); Gerfried STOCKER (Ars
Electronica, Linz, AT); Eveline WANDL-VOGT (ÖAW, Vienna, AT).
　
Venues:
Danube University / Located 70km from Vienna in the UNESCO World
Heritage Wachau region and Austrian Academy of Sciences, Vienna
　
Danube University is the only public university in Europe specializing
in advanced continuing education by offering low-residency degree
programs for working professionals and life-long learners. Located at
both a modern university campus and in the Göttweig Monastery, the Dept.
for Image Science is an internationally unique institution for research
and innovative teaching with an international faculty, at this point 120
scholars from various nations and disciplines. The innovative approach
of the Department for Image Science with the close connection to
practice has developed the and founded in 2006 the low-residency Master
program MediaArtHistories and Futures answering the need for
international, post-graduate studies.
　
Austrian Academy of Science, Vienna / The vibrant capital of the
Republic of Austria in Central Europe meeting international travel
standards with safe and exciting surroundings that embrace culture both
old and new. Planning for Vienna is being organized with partner
institutions and colleagues. Fast and frequent public transportation
between Vienna and Krems allows for a blending of two locations into one
venue, distributing separate days in each venue.
　
www.mediaarthistory.org/retrace 
www.mediacultures.net/mah 
www.digitalartarchive.at 
https://www.academia.edu/30551255/What_is_MediaArtHistories_.pdf 
　
PARTNERS:
Danube University, Austrian Academy of Sciences (ÖAW), Academia
Europaea (AE), Erasmus+ MediaArtCultures, Archive of Digital Arts (ADA),
Leonardo, Humboldt-University Berlin, Kunsthalle Krems
　
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Re: [rohrpost] TRACE 2017 - 7th Conference on the Histories of Media Art, Science and Technology (Call for Papers - extended deadline, April 12)

[Image Science]

nia FEDEROVA (RU/UC Davis, US); Sabine
FLACH (University of Graz, AT); Katharina GSÖLLPOINTNER (University of
Applied Arts, Vienna, AT); Erkki HUHTAMO (University of California Los
Angeles, US); Ryszard KLUSZCZYNSKI (University of Lodz, PL); Katja
KWASTEK (University of Amsterdam, NL); Daniel Cardoso LLACH (Carnegie
Mellon University, US); Sjoukje van der MEULEN (Utrecht University, NL);
Gunalan NADARAJAN (University of Michigan, US); Gerald NESTLER (Vienna,
A); Ana PERAICA (Split, HR); Christopher SALTER (Concordia University,
CA); Yukiko SHIKATA (Tokio, JP), Christa SOMMERER (University of Art and
Design, Linz, AT); Morten SøNDERGAARD (Aalborg University, DK); Axel
STOCKBURGER (Academy of Fine Arts, Vienna, AT); Gerfried STOCKER (Ars
Electronica, Linz, AT); Eveline WANDL-VOGT (ÖAW, Vienna, AT).
　
Venues:
Danube University / Located 70km from Vienna in the UNESCO World
Heritage Wachau region and Austrian Academy of Sciences, Vienna
　
Danube University is the only public university in Europe specializing
in advanced continuing education by offering low-residency degree
programs for working professionals and life-long learners. Located at
both a modern university campus and in the Göttweig Monastery, the Dept.
for Image Science is an internationally unique institution for research
and innovative teaching with an international faculty, at this point 120
scholars from various nations and disciplines. The innovative approach
of the Department for Image Science with the close connection to
practice has developed the and founded in 2006 the low-residency Master
program MediaArtHistories and Futures answering the need for
international, post-graduate studies.
　
Austrian Academy of Science, Vienna / The vibrant capital of the
Republic of Austria in Central Europe meeting international travel
standards with safe and exciting surroundings that embrace culture both
old and new. Planning for Vienna is being organized with partner
institutions and colleagues. Fast and frequent public transportation
between Vienna and Krems allows for a blending of two locations into one
venue, distributing separate days in each venue.
　
www.mediaarthistory.org/retrace 
www.mediacultures.net/mah 
www.digitalartarchive.at 
https://www.academia.edu/30551255/What_is_MediaArtHistories_.pdf 
　
PARTNERS:
Danube University, Austrian Academy of Sciences (ÖAW), Academia
Europaea (AE), Erasmus+ MediaArtCultures, Archive of Digital Arts (ADA),
Leonardo, Humboldt-University Berlin, Kunsthalle Krems
　
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[rohrpost] MediaArtHistories Master 2017-2019 – Call for Applications

[Image Science]

=> MEDIA ART HISTORIES, MA (4/5 Semester) 
*low residency* *world renowned faculty* 
*international network* *world heritage Wachau*
> Start: May/Sept 2017
www.mediacultures.net/mah

The MediaArtHistories MA at Danube University is the only international
Master of Arts program focused on preparing art professionals and
researchers through a deep exploration of the diverse histories of Media
Art, Science and Technology. An interdisciplinary field at the
intersection of digital technology and humanities disciplines,
MediaArtHistories examines the knowledge frontiers of new media,
digital, and electronic art. It addresses the scientific discovery and
technological innovation that emerge as part of these art practices and
productions, as well as the genealogies of their historical development
and context. At a time when digital technologies are fundamentally
revolutionizing the very ways in which we communicate, interact, and
perceive images, the MediaArtHistories program trains students from
diverse backgrounds to critically analyze the visual media cultures of
today.

==> BRAIN TRUST Faculty:
Lev MANOVICH, Christiane PAUL, Roger MALINA, Andreas BROECKMANN, Jens
HAUSER, Jeffrey SHAW, Jussi PARIKKA, Sean CUBITT, Paul SERMON, Oliver
GRAU, Christa SOMMERER, Edward SHANKEN, Frieder NAKE, Ana PERAICA, Nat
MULLER, Gunalan NADARAJAN, Monika FLEISCHMANN, Margit ROSEN, Martina
LEEKER, Christopher LINDINGER, Kathy Rae HUFFMAN, KNOWBOTIC RESEARCH,
Wolf LIESER, UBERMORGEN, Andreas LANGE, Christopher SALTER, Darko FRITZ,
Morten SONDERGAARD, Irina ARISTARKHOVA, and others. 
　
　
The program is a two-year low-residency, either 90 or 120 ECTS Masters
degree offered in English. In addition to individual study and project
work at your home location, students gather 2-3 times a year for intense
seminar modules with internationally renowned media artists and
scholars. These enriching sessions take place at Danube University or
another European location relevant to the community of media art, such
as Linz, Austria as well as Karlsruhe and Berlin, Germany.


Since its beginnings in 2006, Danube Universitys prestigious
MediaArtHistories MA has offered its students both a deeper critical
comprehension and a practical orientation regarding the most important
developments of this most contemporary art, by building on its faculty
network of renowned international theorists, artists, and curators.
These faculty come from across the globe to give seminars during the
modules held at Danube University, and from their home universities
maintain through online network and project collaboration individualized
instruction with students throughout the program.
www.donau-uni.ac.at/mah 


==> CONTENT - Courses cover Media Art genres such as Net, Telematic and
Genetic Art as well as the most recent reflections on Nano, Bio and
Transgenic Art, Video Games, Computer Graphics and Animation, Virtual
Reality, Augmented Reality, and Intelligent Environments, Hacktivism and
Tactical Media, Performance, Glitch Art, hybrid art and Robotics.
MediaArtHistories offers a basis for understanding the evolutionary
history of media, from historic examples such as the Laterna Magica and
Mechanical Automaton of the 17th century, to computer art at the
earliest stages of the Internet in the mid-Twentieth Century and the
algorithmic art of today. Explored in depth are key methods and theory
from Digital Humanities, Image Science, Media Archaeology, Sound
Studies, the Intellectual History of Science & Technology, and Digital
Gender Theory. Excursions, and on site faculty seminars, introduce
students to the main cultural heritage institutions in the field, such
as Ars Electronica and ZKM, archives such as the Archive of Digital Art
(ADA www.digitalartarchive.at), festivals such as Transmediale, and the
Media Art market. 


==> AUSTRIA - the low-residency modules allow working professionals to
maintain their usual employment, and students entering directly after a
Bachelors degree will have opportunity to gain valuable career
experience while they study. Students are eligible for student visas for
year-round residency, enabling parallel pursuit of a research project
with the Archive of Digital Art or digitized Graphic Art Collection of
nearby Göttweig Abbey, both developed by Danube University, or other
opportunities for internships within the MediaArtHistories network.
Portions of the Modules take place at the Center for Image Science
housed at the Göttweig Abbey. The Danube University is located in the
UNESCO World Cultural Hertiage "WACHAU" and offers a spectacular
backdrop for learning and living.
http://www.donau.com/en/wachau-nibelungengau-kremstal/ National
Geographic:
http://travel.nationalgeographic.com/travel/sustainable/pdf/destination-scorecard.pdf

==> STUDENTS - International students to our program have come from
locations including Austria, Brazil, Canada, Germany, Nigeria, China,
Egypt, Iceland, Japan, Korea, Mexico, Ru

Re: [rohrpost] TRACE 2017 - 7th International Conference on the Histories of Media Art, Science and Technology (Call for Papers)

[Image Science]

); Katharina GSÖLLPOINTNER (University of
Applied Arts, Vienna, AT); Erkki HUHTAMO (University of California Los
Angeles, US); Ryszard KLUSCZYNSKI (University of Lodz, PL); Katja
KWASTEK (University of Amsterdam, NL); Daniel Cardoso LLACH (Carnegie
Mellon University, US); Sjoukje van der MEULEN (Utrecht University, NL);
Gunalan NADARAJAN (University of Michigan, US); Gerald NESTLER (Vienna,
A); Ana PERAICA (Split, HR); Christopher SALTER (Concordia University,
CA); Christa SOMMERER (University of Art and Design, Linz, AT); Morten
SøNDERGAARD (Aalborg University, DK); Axel STOCKBURGER (Academy of
Fine Arts, Vienna, AT); Gerfried STOCKER (Ars Electronica, Linz, AT);
Eveline WANDL-VOGT (ÖAW, Vienna, AT).
　
Venues:
Danube University / Located 70km from Vienna in the UNESCO World
Heritage Wachau region,
Danube University is the only public university in Europe specializing
in advanced continuing education by offering low-residency degree
programs for working professionals and life-long learners. Located at
both a modern university campus and in the Göttweig Monastery, the Dept.
for Image Science is an internationally unique institution for research
and innovative teaching with an international faculty, at this point 120
scholars from various nations and disciplines. The innovative approach
of the Department for Image Science with the close connection to
practice has developed the and founded in 2006 the low-residency Master
program MediaArtHistories and Futures answering the need for
international, post-graduate studies.
　
Academy of Science, Vienna / The vibrant capital of the Republic of
Austria in Central Europe meeting international travel standards with
safe and exciting surroundings that embrace culture both old and new.
Planning for Vienna is being organized with partner institutions and
colleagues. Fast and frequent public transportation between Vienna and
Krems allows for a blending of two locations into one venue,
distributing separate days in each venue
　
www.mediaarthistory.org/retrace 
www.mediacultures.net/mah 
www.digitalartarchive.at 
https://www.academia.edu/30551255/What_is_MediaArtHistories_.pdf 
　
　
PARTNERS: 
Danube University, Austrian Academy of Sciences (ÖAW), Academia
Europaea (AE), Erasmus+ MediaArtCultures, 
Archive of Digital Arts (ADA), Leonardo, Humboldt-University Berlin,
Kunsthalle Krems
　
　
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Re: [rohrpost] TRACE 2017 - 7th International Conference on the Histories of Media Art, Science and Technology (Call for Papers)

[Image Science]

RE:TRACE 2017: Call for Papers 
 
The 7th International Conference on the Histories of Media Art, Science
and Technology titled RE:TRACE focuses on an evaluation of the status of
the meta-discipline MediaArtHistories today.
 
More than a decade after the first conference founded the field now
recognized worldwide as a significant historical inquiry at the
intersection of art, science, and technology, Media Art Histories is now
firmly established as a dynamic area of study guided by changing media
and research priorities, drawing a growing community of scholars,
artists and artist-researchers. 
 
Immersed in both contemporary and historiographical aspects of the
digital world, we explore the most immediate socio-cultural questions of
our time: from body futures, information society, and media
(r)evolutions, to environmental interference, financial virtualization,
and surveillance. And we do so through a fractal lens of inter- and
trans-disciplinarity, bridging art history, media studies, neuroscience,
psychology, sociology, and beyond. MediaArtHistories is a field whose
theory, methods, and objects of study interweave with and overlay other
disciplines.
 
The organizing committee invites researchers of different areas,
disciplines and practices to submit individual papers, posters and full
panels with new and original research preferably in the following
themes:
 
•  MediaArtHistories – historiographies and futures of an
ever-emerging field
•  Institutional histories of Media Art
•  Media Art & Politics (surveillance, climate,
visualizations, etc.)
•  Collecting media art / Media Art market
•  Archiving, preserving and representing Media Art
•  Re-Use of cultural heritage data, including education,
learning and research
•  Methodologies and research tools for MediaArtHistories
with a focus on Digital Humanities
•  International and local histories and practices of media
art
•  (Post-)Colonial experiences and non-Western histories of
media art, science and technology
•  Paradigm shift – Digital vs. Post-Digital Theory
•  Alternative histories for Media Art in relation to newly
evolving or unexpected fields.
•  Models and perspectives of research fields adapted
across traditional disciplinary lines.
•  New symbolic architecture of digital super companies
(Apple, Amazon, Microsoft, FB, Google)
 
 
The conference program will include competitively selected,
peer-reviewed individual papers, panel presentations and posters, as
well as a small number of invited speakers. Presentations will be
delivered in a range of formats, from panel discussions to a poster
session. We particularly encourage submissions by researchers from
international contexts outside of Europe and North America.
 
Keynote lectures by internationally renowned, outstanding leaders in
the field, will deliberate on the central themes of the conference
series, its histories and futures.
 
Submission Deadline: March 26, 2017
Notification of acceptance will be announced by April 30, 2017.
 
Individual proposals for papers should consist of a max. 250-word
abstract with title.
Proposals for full panels should consist of a max. 500-word abstract
outlining the panel and individual topics of confirmed speakers.
Submission language is English. Submitters should upload a short bio
file (Word), no longer than ½ page per person. The short bios will be
used on the conference website together with your abstracts.
 
Initiated by the Media Art Histories Board (Steering Committee): 
Prof. Dr. Sean CUBITT (Deputy Head of Department & PhD Tutor / Media
and Communications / Goldsmiths University of London / UK); Univ.-Prof.
Dr. habil. Dr.h.c. Oliver GRAU, MAE (Head of Dept & Chair Professor in
Image Science / Danube University / AT); Dr. Linda Dalrymple HENDERSON
(David Bruton, Jr. Centennial Professor in Art History / Dept of Art +
Art History / University of Texas at Austin / US); Dr. Andreas
BROECKMANN (Leuphana Arts Program, Leuphana University of Lüneburg,
GER); Prof. Dr. Erkki HUHTAMO (Departments of Design Media Arts, and
Film, Television, and Digital Media / University of California Los
Angeles / US); Prof. Dr. Douglas KAHN (Professor of Media and Innovation
/ National Institute of Experimental Arts (NIEA) / University of New
South Wales, Sydney / AU); Prof. Dr. Machiko KUSAHARA (School of
Letters, Arts and Sciences / Waseda University / Tokyo, Japan); Prof.
Dr. Tim LENOIR (Kimberly J. Jenkins Chair for New Technologies in
Society / Duke University / US); Prof. Dr. Gunalan NADARAJAN (Dean /
Stamps School of Art & Design / University of Michigan / US); Prof. Dr.
Paul THOMAS (Director / Fine Arts at College of Fine Art / University of
New South Wales /AU)
 
MAH Honorary Board: Martin KEMP, Jasia REICHARDT, Itsuo SAKANE, Peter
WEIBEL, 
Douglas DAVIS †, Rudolf ARNHEIM †
 
Conference da

[rohrpost] MediaArtHistories International Award: Call for Nominations

[Image Science]

MediaArtHistories International Award: Call for Nominations
 
On the occasion of its 7th Biannual Conference Re:Trace, the Media Art
Histories Conference Board is pleased to announce its call for
nominations for the Media Art Histories Award for Outstanding
Achievement! 
 
This award will be conferred upon an individual scholar working in any
language in recognition for their innovative and inspirational
contribution to the field of Media Art Histories, sustained development
of the global community and research program of Media Art, and for
scholarly excellence at the highest level. 
 
Two years ago, Dr. Barbara Maria STAFFORD, University of Chicago,
received the inaugural award for her achievements in imaging arts,
optical sciences, and performance technologies.  
 
Presentation of the 2nd Media Art Histories Award will take place at
the Re:Trace 2017 Conference on the Histories of Media Art, Science and
Technology, to be held in early December 2017 in Krems and Vienna,
Austria. The individual awarded will also be recognized at all future
conferences, as well as in the Media Art Histories Archive and on the
Conference Series social media forums. 
 
www.mediaarthistory.org 
 
The Media Art Histories Board asks for your nominations. Please submit
proposals of approximately 500 words describing the nominee's merit and
achievements in scholarship in the histories of the media arts, the arts
and science and/or the arts and technology, and related fields.
 
The time for nominations will close on April 10, 2017. Please submit
your proposals to coordination(at)mediaarthistory.org A committee of
board and non-board members will select the MediaArtHistories Award
winner.
 
Initiated by the Media Art Histories Board: 
Prof. Dr. Sean CUBITT (Deputy Head of Department & PhD Tutor / Media
and Communications / Goldsmiths University of London / UK), Univ.-Prof.
Dr. habil. Dr.h.c. Oliver GRAU (Head of Dept & Chair Professor in Image
Science / Danube University / AT), Dr. Linda Dalrymple HENDERSON (David
Bruton, Jr. Centennial Professor in Art History / Dept of Art + Art
History / University of Texas at Austin / US), Dr. Andreas BROECKMANN
(Leuphana Arts Program, Leuphana University of Lüneburg, GER), Prof. Dr.
Erkki HUHTAMO (Departments of Design Media Arts, and Film, Television,
and Digital Media / University of California Los Angeles / US), Prof.
Dr. Douglas KAHN (Professor of Media and Innovation / National Institute
of Experimental Arts (NIEA) / University of New South Wales, Sydney /
AU),  Prof. Dr. Martin KEMP (Emeritus Professor of the History of Art /
Oxford University / UK), Prof. Dr. Machiko KUSAHARA (School of Letters,
Arts and Sciences / Waseda University / Tokyo, Japan), Prof. Dr. Tim
LENOIR (Kimberly J. Jenkins Chair for New Technologies in Society / Duke
University / US), Prof. Dr. Gunalan NADARAJAN (Dean / Stamps School of
Art & Design / University of Michigan / US), Prof. Dr. Paul THOMAS
(Director / Fine Arts at College of Fine Art / University of New South
Wales /AU)
 
 
MISSION MAH Conference Series
"Recognizing the increasing significance of media art for our culture,
this conference for the Histories of Media Art Histories discusses the
history of media art within the interdisciplinary and intercultural
contexts of the histories of art, media, science and technology." (Villa
Vigoni 2004)
 
Media Art History Conference Series and Archive  -- 
www.mediaarthistory.org 
MediaArtHistories – Advanced, MA  --  www.mediacultures.net/mah 
Archive of Digital Art  --  www.digitalartarchive.at 
 
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[rohrpost] STIP: Digitales Sammlungsmanagement

[Image Science]

<= HALBSTIPENDIUM DIGITALES SAMMLUNGSMANAGEMENT >
 
In Zusammenarbeit mit dem Deutschen Museumsbund vergibt das Department
für Bildwissenschaften ein Halbstipendium für die Teilnahme am
Studiengang „Digitales Sammlungsmanagement“. Das renommierte,
berufsbegleitende Programm startet am 03. April 2017 bereits zum neunten
Mal. 
 
Experten, für die Namen wie Harald KRAEMER, Michael FREITTER, Axel
ERMERT, Monika HAGEDORN-SAUPE, Oliver GRAU, Christian BRACHT oder Martin
WARNKE stehen, vermitteln den aktuellen Stand des Wissens zum optimalen
Einstieg in die Welt der digitalen Erfassung, Erschließung und
Langzeitarchivierung von Bildern.
 
Das Halbstipendium richtet sich an InteressentInnen jeglicher
nationaler Zugehörigkeit. Stichtag der Bewerbung ist der 01. Februar
2017. Eine aus beiden Institutionen zusammen gesetzte Jury entscheidet
über die Vergabe. 
 
Informationen und Bewerbung:
www.donau-uni.ac.at/digimanagement
http://www.donau-uni.ac.at/digi-stipendium
 
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[rohrpost] Lecture Series: Media Arts and the Archive, DanubeU

[Image Science]

Lecture Series: Media Arts and the Archive 

Danube University / Department of Image Science / Krems, Austria

Leading experts discuss contemporary handleing of Media Art from
research to the archive. How have digital media changed our perception
and interaction with images? How do museums and archives address the new
challenges of collecting, researching, indexing and interpreting Media
Art? Numerous contemporary issues arise for debate through Media Arts,
from the image and media revolutions, human-machine interaction, to
globalization and surrveillience society. What connections do we find
between media art and the archive addressed in these controversial
topics. 

The Lecture Series "Media Art and the Archive" focuses on proposed
solutions for the central dilemma of arts politics of our time.
Internationally chosen experts from art history, humanities, museum
studies and art envision solutions, strategies, and ground-breaking
results from a variety of research fields. 


PROGRAMM

Prof. Jeffery Shaw (CityU / HK)
08.08.2016, Danube University
The Age of Experience

Dr. Ana Peraica (DanubeU / AT)
02.11.2016, Danube University
Media of Self-Representation and Media Politics

Dr. Andreas Broeckmann (Leuphana / GER)
03.11.2016, Danube University
Machine Art - History and Aesthetics

Patricia Falcao (Tate Modern / UK)
10.11.2016, Danube University
Preserving, Documenting and Displaying Media Art

Dr. Harald Kraemer (CityU / HK)
05.12.2016, Danube University
Multimedia Classics - Hypermedia Hermeneutics: 
On the Increasing Loss of Digital Cultural Heritage

Morten Sondergaard (AalborgU / DK)
6. 12. 2016, Danube University
Sound + Art + Archives

Ramón Reichert (Universität Wien / A)
13. 12. 2016, Stift Göttweig, Zentrum für Bildwissenschaften
Analogizität Digitalität Postdigitalität,

Erna Fiorentini (Humboldt Universität zu Berlin / GER)
16.02. 2017, Danube University
Visual Worlds


LOCATION
Donau-Universität Krems, Dr.-Karl-Dorrek-Straße 30, 3500 Krems / 17.00
18:30, unless otherwise noted.

Department für Bildwissenschaft: www.donau-uni.ac.at/dbw 
Archive of Digital Art www.digitalartarchive.at 

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[rohrpost] CALL FOR PROPOSALS to host the 8th International Conference on the Histories of Media Art, Science and Technology: Re:2019

[Image Science]

CALL FOR PROPOSALS to host the 8th International Conference on the
Histories of Media Art, Science and Technology: Re:2019
 
The Media Art Histories Board invites applications to host the 8th
International Conference on the Histories of Media Art, Science and
Technology.
 
The international conference series, which was inaugurated in 2005 in
Banff, Canada, has since been held in several international venues
around the globe including Berlin in 2007, Melbourne 2009, Liverpool
2011, Riga 2013, Montreal 2015 and will be held this fall in Paris.
The conference series aims to engage the growing community of scholars
from a range of disciplines including art history, contemporary art
practice, art theory, history of science, history of technology,
science and
technology studies, media studies, image science, visual studies,
philosophy, cultural studies, anthropology, architecture theory, sound
studies, computer science among others to develop and share new
research and scholarship in the intersecting fields of the histories of
media
art, science and technology. The host of the conference in 2019 will
have the opportunity to continue to build on the impressive history of
the conference series.
　
CONFERENCE SERIES MISSION
*Recognizing the increasing significance of media art for our culture,
the conference series on the Histories of Media Art will discuss the
history of media arts within the interdisciplinary and intercultural
contexts of the histories of the arts. Numerous individuals and
institutions collaborate to produce the international art history
conference series covering the media arts, the arts and technology,
art-science interaction, and the history of media as pertinent to the
contemporary arts.*
 
GUIDELINES, SELECTION CRITERIA AND DEADLINES
Proposals to host the conference will include the following
information:
 
1. Proposed Dates
2. Proposed Venues (including information on number, capacity and AV
and network capabilities of spaces)
3. Rationale for hosting the conference
4. Host Local Organizing Committee
5. Relevant previous experience (e.g., committee members* experience
in hosting conferences, events, etc.)
6. Publicity Plan
7. Funding / Sponsorship plan
8. Preliminary Budget
 
Those interested in making a bid to host the conference can download
GUIDELINES here
(http://www.mediaarthistory.org/wp-content/uploads/2016/07/MAH-conf-guidelines_2019.pdf)
 
Deadline for final submission of proposals: March 31, 2017
MAH Advisory Boards final decision for the 2015 host: June 31, 2017.
 
***
MediaArtHistory Board (Steering Committee)
 
Sean CUBITT Goldsmiths College, University of London
Jorge LAFERLA University of Buenos Aires
Oliver GRAU Danube University
Linda HENDERSON, University of Texas, Austin
Erkki HUHTAMO University of California Los Angeles
Douglas KAHN University of New South Wales
Martin KEMP Oxford University
Timothy LENIOR Duke University
Machiko KUSAHARA Waseda University, Tokyo
Gunalan NADARAJAN University of Michigan
Paul THOMAS UNSW Sydney
　
MEDIA ART HISTORIES PLATTFORM www.mediaarthistory.org 
 
ARCHIVE OF DIGITAL ART www.digitalartarchive.at
 
LIVERPOOL DECLARATION: http://www.mediaarthistory.org/declaration
 
CONFERENCE PUBLICATIONS
http://www.mediaarthistory.org/pub/mediaarthistories.html
http://www.mediaarthistory.org/pub/place_studies.html
http://mitpress.mit.edu/books/relive
 
 
---
Univ.-Prof. Dr. habil. Dr. h.c. Oliver Grau, MAE
Head Department for Image Science
Head Lab for Digital Humanities
DANUBE UNIVERSITY
Dr.-Karl-Dorrek-Strasse 30
3500 Krems, AUSTRIA
www.donau-uni.ac.at/dbw
ADA – Archive of Digital Art www.digitalartarchive.at
GSSG - Göttweig online www.gssg.at
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[rohrpost] New Media and the Arts (Ra'anana, 23 Nov 16)

[Image Science]

New Media and the Arts (Ra'anana, 23 Nov 16)
 
The Open University of Israel, Ra'anana Campus (Neuderfer Hall), 
Ra’anana, Israel, November 23, 2016
 
New Media and the Arts: Interfaces, Challenges, and New Insights
Symposium
 
Since the early 1960s, a rapidly growing and highly challenging corpus

of new-media art (initially addressed as "digital art") has made its 
appearance. Recently, scholars, curators and artists are expressing a 
growing concern about archiving, preservation, research and exhibition

of this important corpus, given the vulnerability of both hardware and

software, and particularly their rapid fall into obsolescence. To quote

from the the 2008 Liverpool Declaration, signed by leading curators and

scholars: "as a result of rapid changes in technology […] we face 
losing an art form that is a central part of our post-industrial 
digital culture".
 
Various attempts have been made, worldwide, to meet this challenge. Of

notable contribution to the field is the Archive of Digital Art (ADA
https://www.digitalartarchive.at/nc/home.html), initiated by Prof. 
Oliver Grau, a major proponent of research and studies of Media Art 
Histories.
 
The present symposium will take place at the Open University of Israel.

Prof. Grau's keynote address will be followed by papers addressing 
various aspects of the interface between new media and the visual arts.

The event will open with a performative experiment in virtual reality 
("Time-Body Study", Doron Friedman and Daniel Landau, Advanced Reality

Lab, IDC Herzliya), and will end with "Light Sense vE", a live 
performance by Shaul Tzemach.
 
Symposium organizer: Dr. Hava Aldouby, Department of Literature, 
Language, and the Arts, The Open University of Israel, 
hav...@openu.ac.il 
 
 
PROGRAM
 
9:30-10:00 Gathering
 
10:00-10:30 
Greetings and Welcome Address
Prof. Jacob (Kobi) Metzer, President, The Open University of Israel
Prof. Adia Mendelson Maoz, Chair, Department of Literature, Language
and the Arts, The Open University of Israel
 

10:30-11:30 
Chair: Dr. Anat Ben David, Department of Sociology, Political Science 
and Communication, The Open University of Israel
 
Dr. Doron Friedman and Daniel Landau, Advanced Reality Lab, Sammy Ofer

School of Communication, IDC Herzliya
Time Body Study / Performative Experiment
 
11:30-11:45 Coffee Break
 
 
11:45-13:00 
Chair: Prof. Oren Soffer, Chair, Department of Sociology, Political 
Science and Communication, The Open University of Israel
 
Keynote Address
Prof. Oliver Grau, Department of Image Science, Danube University, 
Austria
Digital Art's Challenges to the Humanities: MediaArtHistories and Image

Science
 
13:00-14:00 Lunch Break

   
14:00-15:00 
Chair: Dr. Susan Hazan, Curator of New Media and Head of the Internet 
Office The Israel Museum, Jerusalem
 
Prof. Paul Frosh, Department of Communications and Journalism, The 
Hebrew University of Jerusalem
Reaching Out and Being Moved: Embodied Aesthetics, Moral Affordances, 
and the Graphical User Interface
 
Tsila Hassine, Laboratoire Art & Sciences, Université Paris 1 Panthéon

Sorbonne, and Department of Software Engineering, Shenkar College of 
Engineering, Design and Art
Sensoring Art: The Art Object in the IoT (Internet of Things) Era
 
15:00-15:15 Coffee Break
 
15:15-16:15 
Chair: Prof. Mati Meyer, Department of Literature, Language and the 
Arts, The Open University of Israel
 
Dr. Susan Hazan, Curator of New Media and Head of the Internet Office,

The Israel Museum, Jerusalem
Performing the Digital Museum
 
Dr. Yael Eylat Van Essen, Faculty of Design, Holon Institute of 
Technology; Tel Aviv University
Between the Real and the Virtual: Rethinking the Museum
 
16:15-16:30 Coffee Break
 
 
16:30-17:30 
Chair: Tsila Hassine, Laboratoire Art & Sciences, Université Paris 1 
Panthéon Sorbonne, and Department of Software Engineering, Shenkar 
College of Engineering Design and Art
 
Ronen Leibman, Screen-Based Arts Department, Bezalel Academy of Art and

Design, Jerusalem
From Video Art to Video Games and Back
 
Dr. Avi Rozen, New Media Artist and Independent Scholar
Cyberspace: Toward a Minor Art
 
Dr. Hava Aldouby, Department of Literature, Language and the Arts, The

Open University of Israel
Concluding Remarks

  
17:30-18:00 | Live Performance
Shaul Tzemach, Interdisciplinary Artist
Light Sense vE
 
 
Full program at: http://www.publicators.com/app/dms.asp?ms_id=17018 
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[rohrpost] 1st ADA Media Art Online Exhibition launched: CODeDOC Remediated curated by Christiane PAUL

[Image Science]

1st ADA Media Art Online Exhibition launched: CODeDOC Remediated
curated by Christiane PAUL 
 
www.digitalartarchive.at 
 
ADA is pleased to announce the launch of its first online exhibition,
which lets users ‘re-experience’ two exhibitions on Net Art, and
uses a diverse set of documentation media. On display are two
outstanding exhibitions from the early 2000s – CODEDOC (Whitney
Museum, 2002) and CODEDOC II (Ars Electronica, 2003), which explored the
relationship between frontend and backend in Digital Art Works.
Participating Artists are Ed BURTON, Mark NAPIER, Mary FLANAGAN,
EpidemiC, Camille UTTERBACK, Scott SNIBBE, Joan LEANDRE, Martin
WATTENBERG, Alexander R. GALLOWAY, Maciej WISNIEWSKI, Bradford PALEY,
Golan LEVIN, et. al.
 
In the curatorial process, we were faced with two challenges: 
1. How to document and disseminate the variable and differing
interfaces and stages of the art work?
2. How to deal with technical obsolescence?
 
Since most digital artworks cannot be viewed by every user due to
outdated software or browser settings, the aim was to document artworks
in all of their complexity - allowing every user a comprehensive insight
into them. We developed a 'Grid of Analysis', in which several
documentation media –from keywords, technology, texts to videos- can
be viewed simultaneously. This not only ensures documentation as
encompassing as possible, but is meant to display the most important
aesthetics and subjects of Digital Art such as interactivity,
sequentiality and narration. Links to the original art works can be
accessed, while media such as our video narratives document and showcase
the artworks.
You can enter the exhibition at the bottom of ADA’s front page. In
the introduction slide, you will find a text collection available for
download and information on technical requirements. Then you can browse
through the art works slide by slide, search through the documentation
and try out the links to the original art works from CODeDOC and CODeDOC
II – remediated for your re-experience! 
 
SEND US YOUR CONCEPTS
ADA is a Web 2.0 based online database for Media Art, which actively
includes its community of hundreds of scholars and artists. We hope the
online exhibition has sparked your interest and imagination – feel
free to send us your own exhibition concepts and participate in the
documentation of Digital Art!
 
Sincerely
 
The ADA Team (digitalart.edi...@donau-uni.ac.at)
 
ARTISTS and SCHOLARS are invited to become members of the online
community and set up their ADA profile! 
To ensure a high academic standard, five published articles and/or
exhibitions are required to become members of the ADA community. Apply
for an account here:
www.digitalartarchive.at/support/account-request.html 
 
SHARE YOUR RESEARCH WITH PEERS AND THE COMMUNITY 
Community members can upload publications and PDFs, announce upcoming
events, post comments, document exhibitions, conferences and other
relevant news. 
 
ADA: THOUSANDS OF ARTWORKS
Since its foundation in 1999, the ARCHIVE OF DIGITAL ART (former
Database of Virtual Art) has grown to be the most important online
archive for digital art. In cooperation with established media artists,
researchers and institutions it has been documenting the rapidly
evolving world of digital art and its related fields for more than a
decade and contains today a selection of thousands of artworks at the
intersection of art, science and technology.  ARTISTS and SCHOLARS are
invited to join the community and set up their own archive pages. 
 
EXPANDED DOCUMENTATION FOR THE NEEDS OF DIGITAL ART
Due to the processual, ephemeral, interactive, technology-based and
fundamentally context-dependent character of digital art, it is at risk
for becoming extinct without an adequate documentation. Therefore, the
ADA is based on an expanded concept of documentation, which takes
account of the specific conditions of digital art. 
ARTISTS represented, among many others: Rebecca ALLEN, Suzanne ANKER,
Cory ARCANGEL, Roy ASCOTT, Louis BEC, Maurice BENAYOUN, Paolo CIRIO,
Charlotte DAVIES, FLEISCHMANN & STRAUSS, Masaki FUJIHATA, Ken GOLDBERG,
Agnes HEGEDÜS, Lynn HERSHMAN LEESON, Ryoji IKEDA, Eduardo KAC, Ken
RINALDO, KNOWBOTIC RESEARCH, Lev MANOVICH, George LEGRADY, Golan LEVIN,
Rafael LOZANO-HEMMER, Joseph NECHVATAL, Michael NAIMARK, David ROKEBY,
Jeffrey SHAW, Julius v. BISMARCK, Paul SERMON, Karl SIMS, SOMMERER &
MIGNONNEAU, STANZA, Nicole STENGER, THOMSON & CRAIGHEAD, Peter WEIBEL,
et al.
Advisory board: Christiane PAUL, Roy ASCOTT, Erkki HUHTAMO, Gunalan
NADARAJAN, Martin ROTH, Jorge La FERLA et. al.
 
ADA TEAM:
Oliver GRAU (Head and Scientific Conception),  Janina HOTH, Wendy
COONES, Ann-Christin RENN, Viola RÜHSE, Devon SCHILLER, Florian WIENCEK
(Editorial Team)
 
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[rohrpost] HONORARY PROFESSORSHIP FOR JEFFREY SHAW

[Image Science]

<== HONORARY PROFESSORSHIP FOR JEFFREY SHAW: CEREMONY SEPTEMBER 8th,
DANUBE UNIVERSITY ==>
 
Danube University awards Prof. Jeffrey Shaw a honorary professorship on
the merit of his long-time achievements in the fields of artistic and
technological development, and for the scientific dissemination of media
art. Through his work as an artist, researcher, curator and instructor
at highly regarded universities, Shaw has contributed significantly to
the development and research of immersive visualization environments,
innovative user interfaces and interactive narration systems, and
imparting of knowledge in media art.
 
With his special artistic and technical competences, Shaw is a pioneer
in the investigation and enhancement of creative and interactive
possibilities with new technologies. Already in the 1960s Jeffrey Shaw
co-founded artist groups that realized progressive participatory
projects. Later, Shaw expanded his architectural and dynamic models
using computer technology. 
 
JEFFREY SHAW's benchmarking and pioneering oeuvre is documented on ADA
with over 140 media art works from his earliest 'happenings' like
"Corpocinema" (1967) to his most recent site-specific immersions like
"Look Up Bombay" (2015). An extensive quantity of images from concept
drawings to exhibition photographs record his artistic process from
inception to installation. In addition to these still images, and the
art history of the digital age to which they are witness, an extended
documentation enables ADA community members to more deeply explore
SHAW'S body of work. Digital videos document his interactive and
multi-media works.  And textual material that includes artists
statements, press releases, scholarly articles, and technical
schematics, offer qualitative information on the multifarious iterations
of SHAW'S artworks, exhibitions around the world, and collaborations
with specialists such as those in the computer sciences. Further, a
transhistorical keyword index, the Media Art Research Thesaurus,
interconnects these contemporary media artworks by SHAW with their art
historical predecessors on other digital databases, so that users of ADA
are able to comparatively investigate his works through the very terms
central to his practice–'acoustic,' 'expanded cinema,' 'panorama,'
'virtual,' and beyond!
 
Jeffrey Shaw's work on ADA:
https://www.digitalartarchive.at/database/artists/general/artist/shaw.html
 
Comparative analysis on „Panorama“:
http://mediaartresearch.org/search/key-liste.html?tx_vaindex_pi1%5Bkeyworduid%5D=233&cHash=57f47efae2f4cb0282ce39a33eca8264
 
Shaw worked as the founding director at the Institute for Image Media
at ZKM in Karlsruhe from 1991 to 2003. Among other major exhibitions, he
curated with Peter Weibel “Future Cinema” in 2002/2003. Shaw led his
self-founded iCinema Centre for Interactive Cinema Research at the
University of New South Wales in Sydney from 2003 to 2009. And since
2009, he is chair professor for Media Art and dean of the School of
Creative Media at City University Hong Kong.
 
A decisive factor for distinguishing Shaw with this award in addition
to his artistic and scientific achievements, is his long relation and
contribution to the Department of Image Science at Danube University. He
teaches in courses that include the MediaArtHistories master’s program.
And, as (former) dean and professor of the School of Creative Media at
City University Hong Kong, Shaw functions as an important partner in the
new Erasmus+ program Media Arts Cultures, developed by a consortium of
Danube University, Aalborg University, Univerisity of Łódz, and City
University Hong Kong, and led by Professor Grau, Chair of the Department
of Image Science at Danube University.
 
The solemn ceremony will take place on Thursday, September 8th 2016, 6
p.m. at Danube University. 
 
 
Department for Image Science 
DANUBE UNIVERSITY 
AUSTRIA
www.donau-uni.ac.at/dbw
 
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[rohrpost] The ARCHIVE OF DIGITAL ART features LANFRANCO ACETI

[Image Science]

The ARCHIVE of DIGITAL ART features LANFRANCO ACETI
http://www.digitalartarchive.at   


Lanfranco ACETI works across the borders of academia, art and
curatorial practice and currently is the Director of Arts Administration
at Boston University. His extensive interdisciplinary research focuses
on a variety of subjects such as transmedia, inter-semiotic translations
between traditional and new media and digital hybridization processes 
and digital activism. He has exhibited at the Institute of Contemporary
Art (ICA) in London and created digital art interventions
internationally at venues such as TATE Modern, MOMA, ICA and the Irish
Museum of Modern Art, was Artistic Director and Conference Chair for
ISEA2011 Istanbul, and held lectures at numerous international
conferences and institutions (Visual Culture Biennial, Boston
University; Goldsmiths University; Victoria and Albert Museum; NYU).
Furthermore, he is editor-in-chief and author of the Leonardo Electronic
Almanach Series. Aceti is currently based at Boston University as
Associate Professor of the Practice and Director of Arts Administration.

Both as an artist and curator, Aceti is known for his interest in
politicized art media practices that bring new critical perspectives and
alternative forms of engagement. During his time at Sabanci University
in Istanbul, he was director of Kasa Gallery, where he exhibited a range
of innovative artworks like 75Watts by Revital Cohen and Tuur Van Balen
from the MoMA collection, or Paolo Cirios Loophole for all.

In 2012, he founded the Operational and Curatorial Research in Art,
Design, Science and Technology (OCR) and the Museum of Contemporary Cuts
(MoCC), which develop artistic and curatorial commissions, projects,
publications, and academic events for international biennials, museums,
and festivals. As lead artist and curator, he has developed a series of
international projects over the past twenty years and continues to do so
by creating synergies between institutions and cultural operators
internationally. 

Jonathan MUNRO: Through his artworks, installations, performances and
activism, Aceti explores the incongruity of contemporary times and the
dissolution of social space. Absurdity, folly and a dark irony
characterize his artworks which explore the Kafkian relationship between
the individual, the body and the power of personified corporations and
institutions.

Dalia BOLOTNIKOV: One of Acetis fundamental goals as an artist is to
justly represent the multitude of personal recollections, realities, and
reflections during times of war and immense violence.  He sees great
potential in digital art for merg[ing] the narratives of the military
and those of the civilians and constructing the locus of a compromise,
where the images, by layering a shared past, wage war against each other
in the attempt to reconcile the irreconcilable nature of the event that
they represent. 

Download articles and find out more about Lanfranco ACETI on ADA:
https://www.digitalartarchive.at/database/scholar-detail/artist/aceti.html


The ARCHIVE OF DIGITAL ART (ADA), the first web 2.0 based online
archive in the humanities, expands its scope of documentation by
including scholars to the database. ARTISTS and SCHOLARS are invited to
become members of the online community and set up their ADA profile! 
To ensure a high academic standard, five published articles and/or
exhibitions are required to become members of the ADA community. Apply
for an account here:
www.digitalartarchive.at/support/account-request.html 

SHARE YOUR RESEARCH WITH PEERS AND THE COMMUNITY 
Community members can upload publications and PDFs, announce upcoming
events, post comments, document exhibitions, conferences and other
relevant news. 

ADA: THOUSANDS OF ARTWORKS
Since its foundation in 1999, the ARCHIVE OF DIGITAL ART (former
Database of Virtual Art) has grown to be the most important online
archive for digital art. In cooperation with established media artists,
researchers and institutions it has been documenting the rapidly
evolving world of digital art and its related fields for more than a
decade and contains today a selection of thousands of artworks at the
intersection of art, science and technology.  ARTISTS and SCHOLARS are
invited to join the community and set up their own archive pages. 

EXPANDED DOCUMENTATION FOR THE NEEDS OF DIGITAL ART
Due to the processual, ephemeral, interactive, technology-based and
fundamentally context-dependent character of digital art, it is at risk
for becoming extinct without an adequate documentation. Therefore, the
ADA is based on an expanded concept of documentation, which takes
account of the specific conditions of digital art. 

ARTISTS represented, among many others: Rebecca ALLEN, Suzanne ANKER,
Cory ARCANGEL, Roy ASCOTT, Louis BEC, Maurice BENAYOUN, Paolo CIRIO,
Charlotte DAVIES, FLEISCHMANN & STRAUSS, Masaki FUJIHATA, Ken GOLDBERG,
Agnes HEGEDÜS, Lynn HERSHMAN LEESON, Ryoji IKEDA, Eduardo KAC, Ken
RINALDO, 

[rohrpost] Simon Biggs featured by the Archive of Digital Art

[Image Science]

Simon BIGGS featured by the ARCHIVE of DIGITAL ART
Simon Biggs’ artistic interest in electronic and digital media goes
back to the 1970s. Since then, he has evolved into one of the leading
artists of the field and works as scholar, writer and curator who
explores a multitude of subjects within Digital Art such as digital
poetics, interactive and performative environments and posthumanity. His
art works have been exhibited all over the world (including Tate Modern,
Centre George Pompidou, Walker Art Center, Akademie der Kuenste Berlin)
and he has held keynotes at conferences worldwide (including ISEA 2015
and ICA 2008). He was principal investigator of the HERA-funded research
project ELMCIP, which developed an open.access, contributory database
for electronic literature. Publications include "Remediating the
Social"(2012) and "Autopoeisis" (with James Leach, 2004).
His earliest works in the genre of Digital Graphics consisted of
minimalistic real-time computer animations constructed algorithmically.
Today, his research topics vary from augmented reality, performance
environments to electronic writing and data analysis, where he focuses
on the influence of digitisation on our bodily perception between
artificial intelligence, phenomenology and semiotics. His works give
insights into the production and reception of meaning within a
socio-technical system. The manifold expressions of his art vary from
digitally mediated performance installations to computer programmes.
"The Great Wall of China" (1996) is a real-time interactive language
machine, which was shown in a website, a CD-ROM and an interactive
installation. Through object-oriented and behavioural programming
techniques and based on a basic grammar system, text emerges from the
formation of the language itself as something simultaneously written and
read. In "Dark Matter" (2016), multi participants interact with textual
fragments and become inferred from the physical and cultural information
around it to question the meaning of a "collective unconscious" within
individual knowledge and identity.
Sean CUBITT: Unlike the familiar human-computer interface, Biggs opens
up the body to the experience of the digital: moves the corporeal from
the stasis of cinema (and the railway carriage) to the movement of
architecture, ghosting in the secular the Gothic’s divine architecture
of light, but preserving the escape from destiny so long fought for and
so weakly held.
Wolf LIESER: As one of the first artists ever, Simon Biggs has not only
made his net art works available online, but pioneered in publishing a
CD-ROM with interactive software art in 2000, which sold out
immediately. 
Find out more about Simon BIGGS from his early works to new
installations, or search for related topics and art on the keyword
index:
www.digitalartarchive.at/database/artists/general/artist/biggs.html 
ADA keywords: Artificial intelligence, Algorithm, Digital Graphics,
Installation, Representation of Knowledge, Literature, Performativity.
www.digitalartarchive.at 
The ARCHIVE OF DIGITAL ART (ADA), the first web 2.0 based online
archive in the humanities, expands its scope of documentation by
including scholars to the database. 
ARTISTS and SCHOLARS are invited to become members of the online
community and set up their ADA profile! 
To ensure a high academic standard, five published articles and/or
exhibitions are required to become members of the ADA community. Apply
for an account here:
www.digitalartarchive.at/support/account-request.html
SHARE YOUR RESEARCH WITH PEERS AND THE COMMUNITY 
Community members can upload publications and PDFs, announce upcoming
events, post comments, document exhibitions, conferences and other
relevant news. 
ADA: THOUSANDS OF ARTWORKS
Since its foundation in 1999, the ARCHIVE OF DIGITAL ART (former
Database of Virtual Art) has grown to be the most important online
archive for digital art. In cooperation with established media artists,
researchers and institutions it has been documenting the rapidly
evolving world of digital art and its related fields for more than a
decade and contains today a selection of thousands of artworks at the
intersection of art, science and technology. ARTISTS and SCHOLARS are
invited to join the community and set up their own archive pages. 
COLLABORATIVE ARCHIVING OF DIGITAL ART
The large assortment of information on Jeffrey SHAW and hundreds of
other leading artists and their artworks were carried out by the artists
themselves in assistance with members of the ADA community. The new ADA
web tool allows members to archive artist statements, works
descriptions, literature, information on exhibitions, high resolution
images, blueprints, videos etc. Artists and scholars are invited to
contribute actively to the archive and to work collaboratively on the
documentation and analysis of digital art. 
EXPANDED DOCUMENTATION FOR THE NEEDS OF DIGITAL ART
Due to the processual, ephemeral, interactive, technology-based and
fundamentall

[rohrpost] Lectures of “Challenges of Digital Art for Our Societies”: Keynotes - LEV MANOVICH

[Image Science]

Department for Image Science presents
Conference Lectures "Challenges of Digital Art for Our Societies"
MUMOK, Vienna
Lev MANOVICH (New York): Archiving and Analyzing Digital Art the scale
of Big Data
https://www.youtube.com/watch?v=sYSd0hoBFZA
Lev MANOVICH explores how digital art and technology has fundamentally
changed how we perceive and interact with images, outlining a framework
for cultural analysis using big data analysis and its visualisation as a
'medium.' Also discussed are the characteristics of visual social media
relevant for the study of cultural and social patterns, including
questions of connectivity and engagement; how exceptional events are
represented in social media platforms and how social media can be used
to predict socio-economic indicators; the visual signatures of cities,
their sampling and aggregating images from social media platforms; and
large-sample mapping of cultural fields such as those of news media such
as "Time" Magazine, the MoMA photograph collection, and artistic
movements such as that of the French impressionists.
Lev MANOVICH is professor at CUNY Graduate Center, USA, Director of the
Software Studies Initiative at the California Institute for
Telecommunications and Information Technology (http://manovich.net/). He
is author of Soft Cinema: Navigating the Database (MIT Press, 2005) and
Software Takes Command (Bloomsbury, 2013). The Language of New Media
(2001) was reviewed over 50 times and can be regarded as one of the most
far-reaching media histories since Marshall McLuhan (Telepolis). In 2004
MANOVICH was included in the list of 50 "most interesting people
building the future" (The Verge), and in 2013 he appeared on the List of
25 People Shaping the Future of Design. At present, MANOVICH
investigates strategies of visualization of Big Data in the sciences and
humanities.
Department for Image Science, Danube University, Austria
http://www.donau-uni.ac.at/dbw 
ADA – Archive of Digital Art http://www.digitalartarchive.at
 
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[rohrpost] Jody Zellen featured by the Archive of Digital Art

[Image Science]

Jody ZELLEN featured by The ARCHIVE of DIGITAL ART
www.digitalartarchive.at 

Jody ZELLEN is a multi-disciplinary artist, curator and author working
within the field of digital poetry, imagery and hypermediacy. She has
had exhibitions around the world in museums and festivals such as ISEA
(Vancouver), FILE (Sao Paolo) and Web Biennial (Istanbul). In addition,
her digital drawings were published in several publications such as
Without a trace (2010), where she analyses image production in
information media.

Johanna DRUCKER: Jody Zellen embraces media as her art form, focusing
on both the images and processes that surround and penetrate our current
lives and environments. The very methods of mediation often serve as the
starting point for her practice.

C.T. FUNKHOUSER: Zellens combinations [of digital texts and images]
broaden and deliver a type of interconnected awareness that singular
representations cannot.

ZELLEN is known for her intermedia work - combining text, image and
sound to investigate the pictorial conditions of society within the
fields of animation, digital images and drawing. Fragmentation, remixing
and modification of texts and images are central in her installations
and user devices and challenge participants to question their perception
mechanisms. Her apps invite users to actively participate in her art
works allowing them to experiment with new forms of digitisation and
question the representation of knowledge within the medium itself.

In one of her latest works News Wheel (2015), an application for mobile
devices that coins random phrases of current headlines from nine
different newspapers, the user can stop the wheel and modify the result
for her own desire. In Time Jitters (2014), digital photographs,
paintings, animations and iPad apps are arranged within a panoramatic
view to question the image overload in contemporary society.

Find out more about Jody ZELLEN, her exhibitions, publications and
recent art works on her ADA profile page:
https://www.digitalartarchive.at/database/artists/general/artist/zellen.html


COLLABORATIVE ARCHIVING OF DIGITAL ART
The large assortment of information on Jody ZELLEN and hundreds of
other leading artists and their artworks were carried out by the artists
themselves in assistance with members of the ADA community. The new ADA
web tool allows members to archive artist statements, works
descriptions, literature, information on exhibitions, high resolution
images, blueprints, videos etc. Artists and scholars are invited to
contribute actively to the archive and to work collaboratively on the
documentation and analysis of digital art.

To ensure a high academic standard, five published articles and/or
curated exhibitions are required for scholars to become members of the
ADA community. Interested scholars and artists may apply for an account
here:

www.digitalartarchive.at/support/account-request.html 

COLLABORATIVE ANALYSIS AND PROACTIVE KNOWLEDGE TRANSFER 
With the support of two large international grants, the archive has
been transferred into a Web 2.0 environment. The aim is to provide
community features and user-oriented applications to enable a collective
scientific exchange between artists, researchers, engineers and the
public to foster interdisciplinary and global collaborative analysis and
a proactive process of knowledge transfer.

ADA: THOUSANDS OF ARTWORKS
Since its foundation in 1999, the ARCHIVE OF DIGITAL ART (former
Database of Virtual Art) has grown to be the most important online
archive for digital art. In cooperation with established media artists,
researchers and institutions it has been documenting the rapidly
evolving world of digital art and its related fields for more than a
decade and contains today a selection of thousands of artworks at the
intersection of art, science and technology. 

ARTISTS represented, among many others: Rebecca ALLEN, Suzanne ANKER,
Cory ARCANGEL, Roy ASCOTT, Louis BEC, Maurice BENAYOUN, Paolo CIRIO,
Charlotte DAVIES, FLEISCHMANN & STRAUSS, Masaki  FUJIHATA, Ken GOLDBERG,
Agnes HEGEDÜS, Lynn HERSHMAN LEESON, Ryoji IKEDA, Eduardo KAC, Ken
RINALDO, KNOWBOTIC RESEARCH,  Lev MANOVICH, George LEGRADY, Golan LEVIN,
Rafael  LOZANO-HEMMER, Joseph NECHVATAL, Michael NAIMARK, David ROKEBY,
Jeffrey SHAW, Julius v. BISMARCK, Paul SERMON, Karl SIMS,  SOMMERER &
MIGNONNEAU, STANZA, Nicole STENGER, THOMSON &  CRAIGHEAD, Peter WEIBEL,
et al.

ADVISORY BOARD: Christiane PAUL, Roy ASCOTT, Erkki HUHTAMO, Gunalan
NADARAJAN, Martin ROTH, et. al.


ADA team:

Oliver GRAU, Janina HOTH (Editor, Community Admin)
Devon SCHILLER, Viola RÜHSE, Wendy COONES, Ann-Christin RENN (Editorial
Team)

digitalart.edi...@donau-uni.ac.at 
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[rohrpost] Lectures of “Challenges of Digital Art for Our Societies”: Keynotes - Sean CUBITT

[Image Science]

Department for Image Science presents
Conference Lectures "Challenges of Digital Art for Our Societies"
MUMOK, Vienna
SEAN CUBITT (London): Aesthetics and Anaesthetics:
Eudaimonism and Melancholia in the Archive
https://www.youtube.com/watch?v=IyC_85lRqqU 
ABSTRACT
Sean Cubitt questions the vulnerability of media archives and
henceforth our obligation to them. He analyzes the values of media
archives today, and what the structure of these values can tell us about
the nature of ethical and political obligation in the 21st century.
Beginning with eudaimonism, Aristotle's ethical principle of the pursuit
of good life, it claims a special privilege for aesthetics in political
life, but confesses a certain impossibility in living up to the claims
of the past, only to discover in that distressing failure a model for an
aesthetic politics inspired by the inevitable inadequacy of the
confrontation with the archive object.
Sean CUBITT is professor for Film and Television at Goldsmiths,
University London; Fellow at Melbourne University und honorary professor
Dundee University. His publications include Videography: Video Media as
Art and Culture (Palgrave, 1993), Timeshift: On Video Culture
(Routledge, 2003), Simulation and Social Theory (SAGE, 2001), The Cinema
Effect (MIT Press, 2005), EcoMedia (Rodopi, 2005), Digital Aesthetics
(Sage, 2009) and The Practice of Light: A Genealogy of Visual Technology
from Prints to Pixels (MIT Press, 2014). His research focuses on the
history and philosophy of visual technologies, media art history and
ecocritisism.
Department for Image Science, Danube University, Austria
http://www.donau-uni.ac.at/dbw 
ADA Archive of Digital Art http://www.digitalartarchive.at 
　
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[rohrpost] Call for Applications: European Excellence Master in MEDIA ARTS CULTURES

[Image Science]

Dear List members, 
Please share.
~
MEDIA ARTS CULTURES
Erasmus Mundus Joint Master Degree
Erasmus+ funded - European Program of Excellence
CALL FOR APPLICATIONS OPEN
www.mediaartscultures.eu
 ~
We are pleased to announce the call for applications for the Erasmus
Mundus Joint Master of Arts Degree in Media Arts Cultures, organized
jointly by Danube University Krems (Austria), Aalborg University
(Denmark), University of Lodz (Poland) and City University of Hong Kong
(China).
Associated partners: Ars Electronica, DAM, FACT, monochrom, Laboratory
of Research in Art and Techno Science, transmediale, ZKM
This new masters of arts program funded by the European Union is
recognized as a European Master of Excellence. This distinction is based
on offering high-quality learning opportunities for students in an
emerging field and also signifies the importance of Media Arts for the
cultural and educational future of Europe.
~
The objective of this joint master program is to provide education and
training for future specialists in Media Arts Cultures and prepare them
for emerging careers in the creative and cultural sectors, research and
academia.
Students from European or non-European countries will study as a group
and in individually chosen modules on selected topics like Media
Cultural Heritage, Archiving, Experience Design, Media Arts Theory, New
Media Aesthetics, Curating & Arts Management, or Media Arts Futures. The
language of instruction is English. As part of the program, students
will complete an internship at one of the consortium's full or
associated partners and complete a master's thesis supervised by
lecturers from the partner universities. MediaAC faculty include: Ana
PERAICA, Christiane PAUL, Falk HEINRICH, Harald KRAEMER, Irina
ARISTARKHOVA, Jane PROPHET, Jeffrey SHAW, Lev MANOVICH, Maciej OZÓG,
Margit ROSEN, Morten SONDERGAARD, Oliver GRAU, Ryszard W. KLUSZCZYZSKI,
Sean CUBITT, Wendy COONES and many others…
www.mediaartscultures.eu 
Media Arts Cultures is a mobility program, enabling students to study
across Europe and in Asia. During the two-year program, each student
will spend three semesters in at least three universities, and choose
among the EU partners for the final semester. After completing the
program, students will receive a joint master degree in Media Arts
Cultures from the universities they have attended. The program is 120
ECTS and allows graduates to further pursue a PhD within Europe or other
international higher education regions.
More than 13 of the best EU and non-EU candidates will be offered
Erasmus+ fully-funded scholarships for the duration of the program. As
an internationally recognized Erasmus Mundus Joint Master Degree,
students accepted into the MediaAC program without Erasmus+ scholarships
will have increased chances of securing funding from external-funding
sources.
www.mediaartscultures.eu/mediaac/scholarships/erasmus-scholarships 
www.mediaartscultures.eu/mediaac/external-funding 
~
For applicants requesting an Erasmus+ scholarship via the MediaAC
Consortium the deadline for submitting applications is January 1, 2016.
For self-funded / external-funded applicants the deadline for
submitting applications is April 15, 2016 and June 1, 2016.
www.mediaartscultures.eu/mediaac/application 
~
For more information on the program, please visit:
www.mediaartscultures.eu/ 
~
sent from:
Department for Image Science (coordinating Partner)
Danube University, Austria
www.donau-uni.ac.at/dis 
 
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[rohrpost] Barbara Stafford to Receive the MediaArtHistories Award

[Image Science]

Barbara Stafford to Receive the MediaArtHistories Award 
On November 7, 2015, Prof. Dr. Barbara Maria Stafford will be honored
in Montreal with the MediaArtHistories Award of the International
conference series on the Histories of Media Art, Science and Technology.
Dr. Stafford is one of the most renowned and innovative contemporary art
historians.
Born in Vienna, Barbara Stafford graduated from the Warburg Institute
in London with Ernst Gombrich as her doctoral supervisor. Stafford
taught at the University of Chicago for several decades and held the
professorship chair. Her much-cited research on the relationships
between art, science, and optical media have greatly influenced the
historical understanding of media art and initiated the reappraisal of
media arts’ connections to the history of art and science. For a decade,
the biannual MediaArtHistories conference series has been closely linked
to this academic agenda. The conference series has been supported by the
Department of Image Science at the Danube University and, this year,
organized by Hexagram in cooperation with Concordia University and the
Université du Québec in Montreal.
Among Stafford’s academic milestones, she described the image history
of anatomy and life sciences that she as outlined in her book, Body
Criticism. In her publications Artful Science and Devices of Wonder, she
explores historic apparatuses that augment visual perception and, hence,
highlight the importance of visual and sensory arts for science. Her
recent publications Echo Objects and A Field Guide to a New Metafield
brought together the latest findings of within neuroscience and the
theory of art and imagery. 
In 2005 and 2007, Barbara Stafford delivered the keynote addresses at
the MediaArtHistories conference in Banff (Canada) as well as Göttweig
(Austria). Moreover, she acted as a member of the International advisory
board of the conference series. Stafford taught at the University of
Chicago from 1972 until her retirement in 2010. Furthermore, she provide
countless lectures and participated in fellowships all over the world
including the Guggenheim Museum, Getty Institute, Humboldt University,
the Smithsonian, the University of Melbourne and the Institute for
Advanced Study in Berlin. Since 2010, she has been a visiting professor
at Georgia Tech. Stafford has received numerous academic awards such as
the Aby Warburg Prize (Hamburg). Since she is a member of influential
advisory boards ranging from the Getty Center in Los Angeles, the
Parisian Bibliothèque National, and the EXPO in Hannover in 2000.
Laureates for the Media Art Histories Award are selected through an
international process. The Media Art Histories Award will be presented
to Prof Dr. Stafford during a plenary ceremony in Montreal on November
7, 2015 by the board members of the conference series: Prof. Dr. Sean
Cubitt (London), Prof. Dr. Dr. h.c. Oliver Grau (Krems), Prof. Dr. Linda
Henderson (Austin), Prof. Dr. Erkki Huhtamo (Los Angeles), Prof. Dr.
Douglas Kahn (Sydney), Prof. Dr. Martin Kemp (Oxford), Prof. Dr. Machiko
Kusahara (Tokio), Prof. Dr. Tim Lenoir (Durham), Prof. Dr. Gunalan
Nadarajan (Ann Arbour) und and instead of und Prof. Dr. Paul Thomas
(Sydney).
　
http://www.mediaarthistory.org/ 
http://www.mediaarthistory.org/recreate-2015/re-create-2015-programme-preview
http://barbaramariastafford.com/ 
 
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[rohrpost] MUSEUM & ARCHIVE ON THE MOVE

[Image Science]

MUSEUM & ARCHIVE ON THE MOVE

Danube University, Department for Image Science / Vienna MUMOK
01.09. 07.12.2015

Leading experts discuss how digital technologies and digital art change
our perception of and interaction with images and how museums and
archives answer the new challenges of collection management, research
and education. The lecture series "Museum and Archive on the Move"
invites international renowned experts from art, art history, cultural-,
media- and museum studies to present their latest findings, new
approaches and improvement strategies and introduces pioneering
interdisciplinary research results.

PROGRAM

Tuesday, 01.09.2015, 17-18:30
Prof. Dr. Erkki HUHTAMO (UCLA / US): Media Archeology - Moving
Panorama

Monday, 07.09.2015, 17-18:30
Dr. Andreas BROECKMANN (Leuphana / GER): Re-Considering 'Les
Immatériaux'

Wednesday , 16.09.2015, 17-18:30
Dr. Christian BRACHT (Bildarchiv Foto Marburg / GER): Personenbezogene
Daten. Von grafischen Bildnissammlungen zum Digitalen Portraitindex

Montag, 05.10.2015, 17-18:30
Dr. Jorge WAGENSBERG (Barcelona University / ESP): The Total Museum

Tuesday, 13.10.2015, 17-18:30
Dr. habil. Dieter BOGNER (Universität Wien / AT): Museum in Bewegung

Tuesday, 17.11.2015, 17-18:30
Prof. Dr. Ryszard KLUSZCINSKI (University of Łódź / PL): Distributed,
Expanded or Rejected? New Media Arts and the Museum

Friday, 04.12.2015, 14-15:30 *
Prof. Dr. Lev MANOVICH (CUNY Graduate Center, US): Exhibiting Big Data

Friday, 04.12.2015, 17-18:30 *
Univ.-Prof. Dr. habil. Oliver GRAU (Danube University / AT): Media Arts
Challenge for our Democratic Societies

Saturday, 05.12.2015, 17-18:30
Prof. Dr. Christiane PAUL (The New School, NY): Art and the Conditions
of Digital Materiality

Monday, 07.12.2015, 17-18:30
Prof. Dr. Sean CUBITT (Goldsmiths, University London, UK): Light and
Screen


LOCATION
Danube University Krems, Dr.-Karl-Dorrek-Straße 30, 3500 Krems / *
marked lectures will be held at the museum of modern art mumok Vienna,
Museumsplatz 1, 1070 Vienna
17.00 18:30 | Free Entrance!

http://www.donau-uni.ac.at/dbw 

www.digitalartarchive.at 

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[rohrpost] Golden Nica for Jeffrey SHAW - His Oeuvre in the Archive of Digital Art (ADA)

[Image Science]

Golden Nica for Jeffrey SHAW - His Oeuvre in the Archive of Digital Art
(ADA)
Since more than 15 years Jeffrey SHAW is documented by ADA with more
than 100 Artworks! In a few days he receives the Golden Nica from Ars
Electronica. We Congratulate!
Check out Jeffrey Shaw in the Archive of Digital Art >
https://www.digitalartarchive.at/database/artists/general/artist/shaw.html

　
Jeffrey SHAW has been a pioneer and leading figure in new media art
since its emergence. In the context of the 1960’s paradigm of
installation he started with expanded cinema, performance and
participatory environments, aiming to change the traditional relation
between object and spectator from a passive examination and
contemplation to an interactive involvement and immersion. New
technologies such as the computer as well as new user interfaces allowed
Shaw a new approach to this aim and had been integrated and developed in
his art works very early. He is internationally renowned for pioneering
virtual and augmented reality, immersive visualization, navigable
cinematic systems and interactive narrative. SHAW’s works The Legible
City (1989), The Virtual Museum (1991), The Golden Calf (1994), Place-A
Users Manual (1995), conFiguring the CAVE (1997) or the Web of Life
(2002) coined the field in the 90’s and are still landmark works in New
Media Art. 
SHAW was founding director of the ZKM Institute for Visual Media
Karlsruhe (1991-2002), where he conceived and ran a seminal artistic
research program that included the ArtIntAct series of digital
publications, the MultiMediale series of international media art
exhibitions, and invented new creative platforms such as the EVE
Extended Virtual Environment (1993), PLACE (1995) and the Panoramic
Navigator (1997). In 1995 he was appointed Professor of Media Art at the
State University of Design, Media and Arts (HfG), Karlsruhe, Germany. As
founding Co-Director of the Center for Interactive Cinema Research
(iCinema) at the University of New South Wales in Sydney (2003-2009) he
led a theoretical, aesthetic and technological research program in
immersive interactive post-narrative systems, which produced pioneering
artistic and research works such as Place-Hampi and T_Visionarium, the
latter shown at the Biennale of Seville in 2008. In September 2009 he
joined City University in Hong Kong as Chair Professor of Media Art and
Dean of the School of Creative Media (SCM). Professor SHAW received
numerous awards and fellowships including the prestigious Australian
Research Council Federation Fellowship, Prix Ars Electronica, L’Immagine
Elettronica, the Oribe Prize, Gifu, Japan and an IDEA Gold Medal in
2009. In 2015 SHAW is honored with the Prix Ars Electronica for
Visionary Pioneers of Media Art.
　
Edward SHANKEN: "In SHAW's diverse work since the sixties, the audience
animates the art object, which, […], offers the viewer a transformative
experience of uncommon phenomena and alternate realities." 
Oliver GRAU: "Experimentation with immersive image spaces is a hallmark
of SHAW’s oeuvre, from his early work in the Expanded Cinema movement to
his Extended Virtual Environment and his installations like ‘Place Ruhr’
2000, which are utilizable in multicultural contexts. (2001)"
Jury comment PRIX ARS ELECTRONICA, 2015: "Jeffrey SHAW is recognized as
one of the most important pioneers of interactive art. He has powerfully
influenced the creation of virtual environments and new innovative user
interfaces. SHAW’s work spans a period of half a century and still
continues to do so." 
　
　
ADA: THOUSANDS OF ARTWORKS
Since its foundation in 1999, the ARCHIVE OF DIGITAL ART (former
Database of Virtual Art) has grown to be the most important online
archive for digital art. In cooperation with established media artists,
researchers and institutions it has been documenting the rapidly
evolving world of digital art and its related fields for more than a
decade and contains today a selection of thousands of artworks at the
intersection of art, science and technology. 
ARTISTS and SCHOLARS are invited to join the community and set up their
own archive pages. 
Please register here:
https://www.digitalartarchive.at/support/account-request.html
COLLABORATIVE ARCHIVING OF DIGITAL ART
The large assortment of information on Jeffrey SHAW and hundreds of
other leading artists and their artworks were carried out by the artists
themselves in assistance with members of the ADA community. The new ADA
web tool allows members to archive artist statements, works
descriptions, literature, information on exhibitions, high resolution
images, blueprints, videos etc. Artists and scholars are invited to
contribute actively to the archive and to work collaboratively on the
documentation and analysis of digital art. 
EXPANDED DOCUMENTATION FOR THE NEEDS OF DIGITAL ART
Due to the processual, ephemeral, interactive, technology-based and
fundamentally context-dependent character of digital art, it is at risk
for becoming extinct without an adequat

[rohrpost] Media Art Histories Conference : Re-CREATE 2015, MONTREAL, Canada - November 5 - 8, 2015

[Image Science]

*Media Art Histories : Re-CREATE 2015 *
The 6th International and 10th anniversary Conference on the Histories
of Media Art, Science and Technology
**MONTREAL, Canada - November 5 - 8, 2015**
The 6th International Conference on the Histories of Media Art, Science
and Technology - Re-CREATE, will be hosted by Hexagram - the
International Network for Research-Creation in Media Arts, Design,
Technology and Digital Culture, and held jointly at Concordia University
and Université du Québec à Montréal (UQAM). Following Banff 2005, Berlin
2007, Melbourne 2009, Liverpool 2011 and Riga 2013, the Media Art
History Boards and Re-Create Co-Chairs invite you to attend Re-Create
2015 in Montreal. Re-Create proposes the central question of what
theories, methodologies and techniques can be used to understand past,
present and indeed, future paradigms of creative material practice
involving technologies within research contexts, from a historical and
critical point of view. Given the quebec and canadian origin of
research-creation, Montreal offers a unique and vibrant context in which
to continue to discuss issues andpractices of research-creation from the
perspectives of different disciplines. Re-Create will host four days of
keynotes, panels, workshops and exhibitions on the histories of
networked digital, electronic and technological media arts.
 
**SESSIONS:* *
*:: Theoretical Currents : *How do the Senses, Animals and the
Apocalypse inform research-creation practices ?
*:: Sites : *How have sites of research and practice evolved in Latin
America, Eastern Europe, Japan, Sweden and Indigenous Cultures?
*:: Histories of the Studio Lab : *How have Australian, British,
Canadian and American artists historically worked in academia, industry
and generative art?
*:: New Methods : *What can the concept of co-production (STS), musique
concrète, intersectionality theory and critical race studies, as well as
the debates about the "practice turn" in higher education provide to the
historical and critical positioning of practice?
*:: Digital Humanities and Critical Practices : *What are the
challenges and the future of transdisciplinary collaboration? What can
media archeology do for the humanities and contemporary academic
culture? How has failure impacted practice-led research?
*:: Curatorial Actions and Practices : *How have philosophy, industrial
creation,  feminism, sound and "imageness" historically entered into
curatorial practices?
 
**KEYNOTES:* *
JOAN JONAS / United States
SKAWENNATI / Montreal, Canada
CHRISTINE VAN ASSCHE / France
**CONFERENCE CO-CHAIRS:** Chris SALTER and Gisèle TRUDEL
**Re-CREATE Local Organizing Committee :* *
Thierry BARDINI, Barbara CLAUSEN, Ricardo DAL FARRA, Jean DUBOIS, Jean
GAGNON,
Alice JIM, Jason LEWIS, Jonathan LESSARD, Louise POISSANT, Chris
SALTER,
Cheryl SIM, Jonathan STERNE, Alain THIBAULT, Gisele TRUDEL, Marcelo
WANDERLEY
 
**SPEAKERS:* *
BARDIOT Clarisse, BARKER Michele, BEIGUELMAN Giselle, BORN Georgina,
BUIANI, Roberta, BREULEUX Yan, BROECKMANN Andreas, BURBANO Andres,
CENTURY Michael, CHAPMAN, Owen, CHATTOPADHYAY Budhaditya, CLAUSEN
Barbara, COHEN Hart, DAL FARRA Ricardo, DARROCH Michael, DE FREN Alison,
DIAMOND Sara, EMERSON Lori, FERNANDEZ Maria, FRANCO Francesca, GAGNON
Monika Kin, GRAU Oliver, HALPERN Orit, HAMILTON Kevin, HAUSER Jens,
HAYWARD Mark, HEYER Paul, HOLTGEN Stefan, HOWES David, JIM Alice Ming
Wai, JOLLY Martyn, KAIKINI Srajana, KWASTEK Katja, LAPOINTE
François-Joseph, LEEKER Martina, LEHMANN, Annette, LEWIS Jason,
LICHTY Patrick, LOADER Alison, MA Jung-Yeon, MALINA Roger, MARIATEGUI,
José-Carlos, MARTINOVIC Jelena, McCRAY Patrick, MENOTTI G. Gabriel,
MORFIN Jo Ana, MUNSTERPARIKKA Jussi, PAUL Christiane, OLSSON Jesper,
ORRGHEN Anna, OZOG Maciej, PENNY Simon, MIYAZAKI, Shintaro, SIM Cheryl,
SøNDERGAARD, Morten, SEISER, Michaela, THIBAULT Ghislain, WERSHLER
Darren, WEST Ruth, ZARINA Solvita
 
**International Advisory Board:* *
Marie-Luise ANGERER, Monika BAKKE, Samuel BIANCHINI, Georgina BORN,
Andreas BROECKMANN, Annick BUREAUD, Michael CENTURY, Joel CHADABE,Dooeun
CHOI, Ian CLOTHIER, Sarah COOK, Nina CZEGLEDY, Sara DIAMOND, Diane
DOMINGUES, Jean Paul FOURMENTRAUX, Zhang GA, Sébastien GENVO, Orit
HALPERN, Jens HAUSER, Denisa KERA, Felipe César LONDONO, Natalie
LOVELESS, Glenn LOWRY, Rafael LOZANO-HEMMER, Roger MALINA, Sally Jane
NORMAN, Nicolas NOVA, Jussi PARIKKA, Christiane PAUL, Simon PENNY,
Andrew PICKERING, Sundar SARRUKAI, Yukiko SHIKATA, Michel VAN DARTEL,
Ionat ZURR
**MAH Honorary Board:**
Douglas DAVIS, Jasia REICHARDT, Itsuo SAKANE, Peter WEIBEL
 
**MAH Conference Series Board: * *
Sean CUBITT, Oliver GRAU, Linda HENDERSON, Erkki HUHTAMO, Douglas KAHN,
Martin KEMP, Machiko KUSAHARA, Tim LENOIR, Gunalan NADARAJAN, Paul
THOMAS
- - - -- - - - - - - - - - - - - -
MEDIA ART HISTORIES PLATTFORM: www.mediaarthistory.org 
(Partner Danube University)
LIVERPOOL DECLARATION: www.mediaarthistory.org/declaration 
CONFERENCE PUBLICATIONS
www.mediaarthistory.org/pub/mediaar

[rohrpost] Mnemosyne Scholarship in Exhibition Development

[Image Science]

Call for applications to share with friends and colleagues :: 

MNEMOSYNE SCHOLARSHIP in EXHIBITION DEVELOPMENT
(in the UNESCO World Cultural Landscape Wachau, international faculty,
low residency, parallel to employment) 

==> DEADLINE - September 2, 2015 
==> Course Start - October 3, 2015
(Please share ::: mediacultures.net/exhibitionstrategies)

==>EXHIBITION DEVELOPMENT - This modularized and low-residency
certified program offered in English imparts the core skills of
contemporary exhibition practice. In addition to individual study and
project work at your home location, students gather twice for intense
two-week seminars with internationally active practitioners in October
2015 and February 2016.  

==> BRAIN TRUST - Prof. Jorge WAGENSBERG (scientific director; Fundacio
la Caixa & Heritage Barcelona), Frank den OUDSTEN (designer, teacher,
writer, performer), Pat MUNRO (exhibition evaluator), Christiane PAUL
(curator; Whitney Museum of Art), Stefan IGLHAUT (exhibition designer &
museum planner), Oliver GRAU (research professor for Image Science;
Danube University), Brigitte FELDERER (freelance author and exhibition
developer) Dr. Dieter BOGNER (museum planner),  Christopher LINDINGER
(Director of Research & Innovation; Ars Electronica), Becky GILBERT
(board member; European Fundraising Association), Enrique GUITART
(freelance curator and exhibit developer); Wendy COONES (head of
teaching in Ex-Dev, MediaArtHistories and Media Arts Cultures at
DanubeU), and others.

==>PROGRAM As part of the post-graduate masters program at the
Department for Image Science, credits earned in Exhibition Development
can be combined with other programs like MediaArtHistories, Fotographie,
Image & Science, or Digital Collections Management to upgrade to an
academic expert or masters degree.

==> DANUBE UNIVERSITY - located 70km from Vienna in the UNESCO world
heritage Wachau region, DanubeU specializes in advanced low-residency
degree programs for working professionals and life-long learners.
Portions of the modules are held at DanubeUs Center for Image Science,
housed in the Göttweig Monastery, a 14th century building remodeled to
fit the needs of modern media arts research in singular surroundings.

Further information on the program: 
mediacultures.net/exhibitionstrategies/
www.donau-uni.ac.at/exhibit 
www.donau-uni.ac.at/exhibit-scholarship 

best regards,
Wendy Jo Coones, M.Ed.
Head of Teaching & Coordination : Exhibition Development /
MediaArtHistories / Media Arts Cultures ~ Leiterin Ex-Dev / MAH /
MediaAC
Department for Image Science ~ Department für Bildwissenschaften 
Danube University Krems ~ Donau-Universität Krems
Telefon +43 (0)2732 893-2543 ~ Mobile +43 (0)664 815 3588 ~ Fax +43
(0)2732 893-4551 ~ skype: wcoones
Dr.-Karl-Dorrek-Straße 30, 3500 Krems, Austria
wendy.coones(at)donau-uni.ac.at  ~ http://www.donau-uni.ac.at/dis 
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[rohrpost] The ARCHIVE OF DIGITAL ART features SEAN CUBITT and accepts new scholar applications

[Image Science]

The ARCHIVE OF DIGITAL ART features SEAN CUBITT
www.digitalartarchive.at 


Scholar, curator and writer SEAN CUBITT is currently Joint Head of
Department Media and Communications at Goldsmiths University of London.
His research focuses on the history of visual technologies, media art
history, and relationships between environmental and post-colonial
criticism of film and media. His last publications The practice of light
(2014) and Digital Light (2015, edited together with Daniel Palmer and
Nathaniel Tkacz) investigate light, as material and practice and its
manipulation through visual technologies. A new book Ecomediations
focusing on the environmental impacts of digital media is in
preparation.

His major publications include EcoMedia (2005), The Cinema Effect
(2004), Simulation and Social Theory (2001), Digital Aesthetics, Theory,
Culture & Society (1998), Videography: Video Media as Art and Culture
(1993) and Timeshift: On Video Culture (1991). 

CUBITT held talks and keynotes at conferences all over the world and
co-curated exhibitions such as Arte y Optica at Espacio Fundación
Telefónica in Lima, 2013 and The World is Everything That Is The
Case, the Australian Representation at ISEA2011 in Istanbul. He is on
the editorial boards of a number of journals including Screen, Cultural
Politics, Animation, International Journal of Cultural Politics, Visual
Communications, Futures, Time and Society, fibreculture, MIRAJ and The
New Review of Film and television Studies, moreover he is series editor
for Leonardo Books, MIT Press.  

Find out more about SEAN CUBITT >
https://www.digitalartarchive.at/database/scholar-detail/artist/cubitt.html


*** ARTISTS and SCHOLARS are invited to join the community and set up
their own archive pages and become a featured scholar ***
Please register here:
https://www.digitalartarchive.at/support/account-request.html 


ADA: THOUSANDS OF ARTWORKS
Since its foundation in 1999, the ARCHIVE OF DIGITAL ART (former
Database of Virtual Art) has grown to be the most important online
archive for digital art. In cooperation with established media artists,
researchers and institutions it has been documenting the rapidly
evolving world of digital art and its related fields for more than a
decade and contains today a selection of thousands of artworks at the
intersection of art, science and technology. 

COLLABORATIVE ARCHIVING OF DIGITAL ART
The large assortment of information on Sean CUBITT and hundreds of
other leading scholars and artists were carried out by the scholars and
artists themselves in assistance with members of the ADA community. The
new ADA web tool allows members to archive artist statements, works
descriptions, literature, information on exhibitions, high resolution
images, blueprints, videos etc. Artists and scholars are invited to
contribute actively to the archive and to work collaboratively on the
documentation and analysis of digital art. 

EXPANDED DOCUMENTATION FOR THE NEEDS OF DIGITAL ART
Due to the processual, ephemeral, interactive, technology-based and
fundamentally context-dependent character of digital art, it is at risk
for becoming extinct without an adequate documentation. Therefore, the
ADA is based on an expanded concept of documentation, which takes
account of the specific conditions of digital art. 

SHARE YOUR RESEARCH AND NEWS WITH PEERS AND THE COMMUNITY
The community can upload publications and PDFs, announce upcoming
events, post comments, document exhibitions, conferences and other
relevant news. 

ARTISTS represented, among many others: Rebecca ALLEN, Suzanne ANKER,
Cory ARCANGEL, Roy ASCOTT, Louis BEC, Maurice BENAYOUN, Paolo CIRIO,
Charlotte DAVIES, FLEISCHMANN & STRAUSS, Masaki FUJIHATA, Ken GOLDBERG,
Agnes HEGEDÜS, Lynn HERSHMAN LEESON, Ryoji IKEDA, Eduardo KAC, Ken
RINALDO, KNOWBOTIC RESEARCH, Lev MANOVICH, George LEGRADY, Golan LEVIN,
Rafael LOZANO-HEMMER, Joseph NECHVATAL, Michael NAIMARK, David ROKEBY,
Jeffrey SHAW, Julius v. BISMARCK, Paul SERMON, Karl SIMS, SOMMERER &
MIGNONNEAU, STANZA, Nicole STENGER, THOMSON & CRAIGHEAD, Peter WEIBEL,
et al.
Advisory board: Christiane PAUL, Roy ASCOTT, Erkki HUHTAMO, Gunalan
NADARAJAN, Martin ROTH, et. al.

ADVISORY BOARD: Christiane PAUL, Roy ASCOTT, Erkki HUHTAMO,  Gunalan
NADARAJAN, Martin ROTH, et. al.

ADA team:

Oliver GRAU
Michaela SEISER (Editor, Community Admin)
Sebastian HALLER, Janina HOTH, Valerie KUMMER, Viola RÜHSE, 
Wendy COONES, Ann-Christin RENN (Editorial Team)

digitalart.edi...@donau-uni.ac.at 

www.digitalartarchive.at 







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[rohrpost] The ARCHIVE OF DIGITAL ART features WARREN NEIDICH

[Image Science]

The ARCHIVE OF DIGITAL ART features WARREN NEIDICH

www.digitalartarchive.at 

Warren NEIDICH's interdisciplinary work as artist and writer focuses on
the technological and neuroscientific conditions of contemporary
society.  In his writings about cognitive capitalism and cultural
production, such as The Psychopathologies of Cognitive Capitalism: Part
One (2013), he examines the influence of technology on visual culture.

NEIDICH works with sound and light installations, photography and film
as well as internet downloads and software. His art works portray
history in its narrativity and question the meaning of subjectivity in
the new media, always analyzing the cognitive and ergonomic influence on
both, something NEIDICH refers to as 'Neurobiopolitics'.

Norman BRYSON: Crucial to Neidichs narrative is that, in modernity, the
technologies that have evolved in the sphere of visual communication
have come to operate on the subject with particular vehemence, not only
in the realm of meaning but in their determining influence on the
primary habits and dispositions of experience.

Sven-Olov WALLENSTEIN: Bringing together concepts from neurology and
the life sciences, political philosophy and aesthetic theory, theories
of immaterial labor and post-Fordist production, Neidich creates a maze
of concepts and connections […] exploring them not just as theoretical
concepts, […] but as physical and corporeal zones that we can and indeed
do inhabit, and that we traverse in the most minute of our everyday
activities.

"Departing from recent insights of brain research, the trained
biologist NEIDICH searches for strategies to manipulate the process of
ongoing cerebral reconstruction. Through artistic means as for instance
the performative gesture Warren Neidich attempts to re-conquer those
cognitive realms which are normally subjected to the effects and
mechanisms of the mass media in a globalised world defined by
neoliberalism. By joining scientific and aesthetic knowledge elegantly,
Neidichs work commences right there where reality is first of all
constructed: in the neuronal networks of the brain."  Villem Flusser
Award 2010: Jury-Statement (Oliver GRAU, Marcel MARBURGER, Sabeth
BUCHMANN) 

In 'The Search Drive' (2014), NEIDICH recreated his own identity in a
video work based on a software program utilized by the NSA. Google,
Facebook, Wikipedia, Instagram are hacked and ransacked to trace over
time an autobiographical sketch of activities and friendships. A fiction
based on unconfirmed facts is thus built and substitutes for any actual
portrait. A uncorroborated story of a fictitious life grows into a kind
of monstrosity the result of a program gone haywire.

Warren NEIDICHs work was internationally exhibited among others at
Transmediale, Whitney Museum, Kunsthaus Zürich, Manifesta and The Walker
Art Center.

Find out more about Warren NEIDICH >
https://www.digitalartarchive.at/database/artists/general/artist/neidich.html


ARTISTS and SCHOLARS are invited to join the community and set up their
own archive pages. 

Please register here:
https://www.digitalartarchive.at/support/account-request.html 

ADA: THOUSANDS OF ARTWORKS
Since its foundation in 1999, the ARCHIVE OF DIGITAL ART (former
Database of Virtual Art) has grown to be the most important online
archive for digital art. In cooperation with established media artists,
researchers and institutions it has been documenting the rapidly
evolving world of digital art and its related fields for more than a
decade and contains today a selection of thousands of artworks at the
intersection of art, science and technology. 

COLLABORATIVE ARCHIVING OF DIGITAL ART
The large assortment of information on Warren NEIDICH  and hundreds of
other leading artists and their artworks were carried out by the artists
themselves in assistance with members of the ADA community. The new ADA
web tool allows members to archive artist statements, works
descriptions, literature, information on exhibitions, high resolution
images, blueprints, videos etc. Artists and scholars are invited to
contribute actively to the archive and to work collaboratively on the
documentation and analysis of digital art. 

EXPANDED DOCUMENTATION FOR THE NEEDS OF DIGITAL ART
Due to the processual, ephemeral, interactive, technology-based and
fundamentally context-dependent character of digital art, it is at risk
for becoming extinct without an adequate documentation. Therefore, the
ADA is based on an expanded concept of documentation, which takes
account of the specific conditions of digital art. 

ARTISTS represented, among many others: Rebecca ALLEN, Suzanne ANKER,
Cory ARCANGEL, Roy ASCOTT, Louis BEC, Maurice BENAYOUN, Paolo CIRIO,
Charlotte DAVIES, FLEISCHMANN & STRAUSS, Masaki FUJIHATA, Ken GOLDBERG,
Agnes HEGEDÜS, Lynn HERSHMAN LEESON, Ryoji IKEDA, Eduardo KAC, Ken
RINALDO, KNOWBOTIC RESEARCH, Lev MANOVICH, George LEGRADY, Golan LEVIN,
Rafael LOZANO-HEMMER, Joseph NECHVATAL, Michael NAIMARK, David ROKEBY,
Je

[rohrpost] MediaArtHistories Master - DanubeU: International low residency program in New Media Arts

[Image Science]

The MediaArtHistories MA at Danube University is the only international
Master of Arts program focused on preparing art professionals and
researchers through a deep exploration of the diverse histories of Media
Art, Science and Technology.  The program is a two-year low-residency,
either 90 or 120 ECTS Masters degree offered in English.  In addition to
individual study and project work at your home location, students gather
2-3 times a year for intense ten-day seminars with internationally noted
media artists and scholars.  These enriching sessions take place at
Danube University or another European location relevant to the community
of media art, such as Linz, Austria, Karlsruhe and Berlin, Germany.

Since its beginnings in 2006, Danube Universitys prestigious
MediaArtHistories MA has offered its students both a deeper critical
comprehension and a practical orientation regarding the most important
developments of contemporary art, by building on its faculty network of
renowned international theorists, artists, and curators.  The
connections and community that are formed during the ten-day modules are
maintained with online networking and project collaboration throughout
the year. www.donau-uni.ac.at/mah


==> BRAIN TRUST Faculty of the MediaArtHistories program have included:
Lev MANOVICH, Christiane PAUL, Roger MALINA, Andreas BROECKMANN, Jens
HAUSER, Jeffrey SHAW, Jussi PARIKKA, Sean CUBITT, Paul SERMON, Oliver
GRAU, Christa SOMMERER, Edward SHANKEN,  Frieder NAKE, Machiko KUSAHARA,
Nat MULLER, Gunalan NADARAJAN, Monika FLEISCHMANN, Margit ROSEN, Martina
LEEKER, Christopher LINDINGER, Kathy Rae HUFFMAN, Knowbotic Research,
Wolf LIESER, Andreas LANGE, Christopher SALTER, Darko FRITZ, Morten
SONDERGAARD, Irina ARISTARKHOVA, and others. 

==> CONTENT - Courses cover subjects such as net art, interactive,
telematic and genetic art as well as the most recent reflections on nano
art, bio and transgenic art, video games, early computer graphics and
animation, VR, AR & Intelligent Environments, hacktivism and tactical
media, performance, glitch art and the art of interfaces and robotics.
Media Art History offers a basis for understanding evolutionary history
of audiovisual media, from historic examples such as the Laterna Magica
of the 17th century to the algorithmic art of recent decades. It
introduces to the main festivals and market. Key approaches and methods
from Image Science, Media Archaeology, Sound Studies and the History of
Science & Technology and Digital Gender Theory are explored in depth.  


==> DANUBE UNIVERSITY - located 70km from Vienna in the UNESCO world
heritage Wachau region, Danube University is the only public university
in Europe specializing in advanced continuing education by offering
low-residency degree programs for working professionals and life-long
learners.  The Universitys Center for Image Science is housed in the
Göttweig Monastery, a 14th century building remodeled to fit the needs
of modern media arts research in singular surroundings. The Department
for Image Science holds important resources of the field like the
largest international archive of digital art: www.digitalartarchive.at
and the MediaArtHistories Conference Archive
www.mediaarthistory.org/maharchive 

==> STUDENTS - MediaArtHistories coursework is held in English.
Acceptance into the program requires either a Bachelors degree (or
higher), or equivalent relevant work experience.  Students may travel to
Europe twice a year for ten-day blocks of study, or can be eligible for
student visas for year-round residency. Thus, working professionals can
maintain their usual employment, and students entering directly after a
Bachelors degree will have opportunity to gain valuable career
experience while they study.  International students to our program have
come from locations including Canada, Hong Kong, Ukraine, USA, Spain,
Japan, Brazil, Iceland, Russia, Egypt, Germany, Austria, Korea and
Mexico.
www.donau-uni.ac.at/mahstudents 

MODULES Aug 29-Sept 8, 2015 December 1-10, 2015 May 5-10, 2016 October
1-10, 2016. 

==> APPLICATION (digital) and FUNDING POSSIBILITIES - application form,
a letter of motivation, copies of previous degree(s), copy of passport
and a Europass CV. An application interview is required, which may be
conducted in person or through internet videoconferencing. Resources for
funding possibilities and estimated costs:
www.donau-uni.ac.at/mah/funding 

www.donau-uni.ac.at/mah
www.donau-uni.ac.at/dbw/referenzen
MediaArtHistories on Facebook:
www.facebook.com/groups/377264145713664/
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[rohrpost] CF Proposals to host the 7th Conf on MediaArtHistories 2017 - Extended deadline July 10, 2015

[Image Science]

CALL FOR PROPOSALS to host the 7th International Conference on the
Histories of Media Art, Science and Technology: Re:2017
Extended deadline to July 10, 2015

Due to numerous requests for extending the submission time, the Media
Art Histories Board extends the invitation to applicants to host the 7th
International Conference on the Histories of Media Art, Science and
Technology.

The international conference series, which was inaugurated in 2005 in
Banff, Canada, has since been held in several international venues
around the globe including Berlin in 2007, Melbourne 2009, Liverpool
2011, Riga 2013 and will be held this fall in Montreal. The conference
series aims to engage the growing community of scholars from a range of
disciplines including art history, contemporary art practice, art
theory, history of science, history of technology, science and
technology studies, media studies, image science, visual studies,
philosophy, cultural studies, anthropology, architecture theory, sound
studies, computer science among others to develop and share new research
and scholarship in the intersecting fields of the histories of media
art, science and technology. The host of the next conference in 2017
will have the opportunity to continue to build on the impressive history
of the conference series.
　
CONFERENCE SERIES MISSION
*Recognizing the increasing significance of media art for our culture,
the conference series on the Histories of Media Art will discuss the
history of media arts within the interdisciplinary and intercultural
contexts of the histories of the arts. Numerous individuals and
institutions collaborate to produce the international art history
conference series covering the media arts, the arts and technology,
art-science interaction, and the history of media as pertinent to the
contemporary arts.*

GUIDELINES, SELECTION CRITERIA AND DEADLINES
Proposals to host the conference will include the following
information:

1. Proposed Dates
2. Proposed Venues (including information on number, capacity and AV
and network capabilities of spaces)
3. Rationale for hosting the conference
4. Host Local Organizing Committee
5. Relevant previous experience (e.g., committee members* experience
in hosting conferences, events, etc.)
6. Publicity Plan
7. Funding / Sponsorship plan
8. Preliminary Budget

Those interested in making a bid to host the conference can download
GUIDELINES here
(http://www.mediaarthistory.org/wp-content/uploads/2013/03/MAH-conf-guidelines.pdf)

and are encouraged to write to Wendy Coones at
wendy.coones(at)donau-uni.ac.at with an expression of interest prior to
submitting a formal proposal. 
Deadline for final submission of proposals: July 10th, 2015 MAH
Advisory Boards final decision for the 2017 host:  early fall 2015.

***
Media Art History Board (Steering Committee)

Sean CUBITT Goldsmiths College, University of London
Jorge LAFERLA University of Buenos Aires
Oliver GRAU Danube University
Linda HENDERSON, University of Texas, Austin
Erkki HUHTAMO University of California Los Angeles
Douglas KAHN University of New South Wales
Martin KEMP Oxford University
Timothy LENIOR Duke University
Machiko KUSAHARA Waseda University, Tokyo
Gunalan NADARAJAN University of Michigan
Paul THOMAS UNSW Sydney
　
MEDIA ART HISTORIES PLATTFORM www.mediaarthistory.org 

ARCHIVE OF DIGITAL ART www.digitalartarchive.at 

LIVERPOOL DECLARATION: http://www.mediaarthistory.org/declaration 

CONFERENCE PUBLICATIONS
http://www.mediaarthistory.org/pub/mediaarthistories.html 
http://www.mediaarthistory.org/pub/place_studies.html 
http://mitpress.mit.edu/books/relive 


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[rohrpost] The ARCHIVE OF DIGITAL ART features Giselle BEIGUELMAN

[Image Science]

The ARCHIVE OF DIGITAL ART features Giselle BEIGUELMAN
www.digitalartarchive.at 

Giselle BEIGUELMAN, internationally renowned media artist, scholar and
curator is currently Professor at the School of Architecture and
Urbanism at the University of Sao Paulo (FAU-USP). Her research focuses
on contemporary nomadism and digital culture practices. Her recently
published book Possible Futures: Art, Museum and Digital Archives, is
dedicated to the discussion of preserving digital memory and culture.
She was the curator of Tecnofagias the 3rd 3M Digital Art Show and of
the on-line festivals HTTP_Video and HTTP_Pix.

Her art works reflect on urbanity and community as seen through digital
media and have been exhibited worldwide at festivals and museums such as
ZKM (Karlsruhe, Germany), Gallery @ Calit2 (UCSD, USA) and the Sao Paulo
Biennial. 

Her current work Unlooping Film | Cinema sem Volta 2014 is an endless
slideshow fed with Instagram pictures produced by conflicting groups,
which use the same hashtags. It performs a battle of language between
the multitude and the masses.

BEIGUELMANs interventions in public spaces, networked projects and
mobile art applications are often characterized by a strong
interactivity and incorporation of spectators. Multi-user applications
invite to participate in the art work by using mobile devices and
sharing music, texts and pictures.

She is also a pioneer in digital poetry, one of her most famous works
is The book after the book  1999, a hypertextual and visual essay that
states at the end of the page:  The Internet is no more than a big text.
On the front, at the screen, text reveals itself as image.

Stephen WILSON: "Giselle BEIGUELMAN attempts to explore the future of
reading and wirting in "The Book after the Book", a work focused on
nonlinear narrative"

Simone OSTHOFF: The Book after the Book, is a hypertextual and visual
essay where criticism and Web art melt into the context of the Nets
reading and writing condition

Find out more >
https://www.digitalartarchive.at/database/artists/general/artist/beiguelman.html


The ARCHIVE OF DIGITAL ART (ADA), the most advanced online archive for
digital art, invites ARTISTS and SCHOLARS to become members of the
online community and set up their ADA profile! 

Please register here: 
www.digitalartarchive.at/support/account-request.html 

COLLABORATIVE ANALYSIS AND PROACTIVE KNOWLEDGE TRANSFER
With the support of two large international grants, the archive has
been transferred into a Web 2.0 environment. The aim is to provide
community features and user-oriented applications to enable a collective
scientific exchange between artists, researchers, engineers and the
public to foster interdisciplinary and global collaborative analysis and
a proactive process of knowledge transfer.
To ensure a high academic standard, five published articles and/or
curated exhibitions are required to become a member of the ADA
community. 

SHARE YOUR RESEARCH WITH PEERS AND THE COMMUNITY
Members of the community can upload images, videos, publications and
PDFs, announce upcoming events, post comments, document exhibitions,
conferences and other relevant news. Community features allow active
exchange of professional information with peers. The new Light box tool
facilitates the examination and comparison of various image phenomena
for teaching and research purposes. 

ADA: THOUSANDS OF ARTWORKS
Since its foundation in 1999, the ARCHIVE OF DIGITAL ART (former
Database  of Virtual Art) has grown to be the most important online
archive for digital art. In cooperation with established media artists,
researchers and institutions it has been documenting the rapidly
evolving world of digital art and its related fields for more than a
decade and contains today a selection of thousands of artworks at the
intersection of art, science and technology. 

ARTISTS represented, among many others: Rebecca ALLEN, Suzanne  ANKER,
Cory ARCANGEL, Roy ASCOTT, Louis BEC, Maurice BENAYOUN, Paolo CIRIO,
Charlotte DAVIES, FLEISCHMANN & STRAUSS, Masaki  FUJIHATA, Ken GOLDBERG,
Agnes HEGEDÜS, Lynn HERSHMAN LEESON, Ryoji IKEDA, Eduardo KAC, Ken
RINALDO, KNOWBOTIC RESEARCH,  Lev MANOVICH, George LEGRADY, Golan LEVIN,
Rafael  LOZANO-HEMMER, Joseph NECHVATAL, Michael NAIMARK, David ROKEBY,
Jeffrey SHAW, Julius v. BISMARCK, Paul SERMON, Karl SIMS,  SOMMERER &
MIGNONNEAU, STANZA, Nicole STENGER, THOMSON &  CRAIGHEAD, Peter WEIBEL,
et al.

ADVISORY BOARD: Christiane PAUL, Roy ASCOTT, Erkki HUHTAMO,  Gunalan
NADARAJAN, Martin ROTH, et. al.

ADA team:
Oliver GRAU, Michaela SEISER (Editor, Community Admin)
Sebastian HALLER, Janina HOTH, Valerie KUMMER, Viola RÜHSE, 
Wendy COONES, Ann-Christin RENN (Editorial Team)

digitalart.edi...@donau-uni.ac.at  
www.digitalartarchive.at 










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[rohrpost] MediaArtHistories International Award: Call for Nominations

[Image Science]

MediaArtHistories International Award: Call for Nominations

On the occasion of its 10th anniversary, the Media Art Histories Conference 
Board is pleased to announce the inaugural Media Art Histories Award for 
Outstanding Achievement. This award will be presented to an individual scholar 
working in any language who has on a sustained basis and at a very high level 
contributed to the field. Presentation will occur at the Re-Create 2015 
Conference on the Histories of Media Art, Science and Technology in Montreal, 
5-8 November 2015, and individuals will be recognized the award at all future 
conferences.

www.mediaarthistory.org 

The Media Art Histories Board would now like to ask for nominations. Please 
submit proposals of approximately 500 words describing the nominee's merit and 
achievements in scholarship in the histories of the media arts, the arts and 
science and/or the arts and technology, and related fields.

The time for nominations will close on May 10, 2015.
Please submit your proposals to coordination(at)mediaarthistory.org 
A committee of board and non-board members will select the MediaArtHistories 
Award winner.


Initiated by the Media Art Histories Board:
Prof. Dr. Sean CUBITT (Deputy Head of Department & PhD Tutor / Media and 
Communications / Goldsmiths University of London / UK), Univ.-Prof. Dr. habil. 
Dr.h.c. Oliver GRAU (Head of Dept & Chair Professor in Image Science / Danube 
University / AT), Dr. Linda Dalrymple HENDERSON (David Bruton, Jr. Centennial 
Professor in Art History / Dept of Art + Art History / University of Texas at 
Austin / US), Prof. Dr. Erkki HUHTAMO (Departments of Design Media Arts, and 
Film, Television, and Digital Media / University of California Los Angeles / 
US), Prof. Dr. Douglas KAHN (Professor of Media and Innovation / National 
Institute of Experimental Arts (NIEA) / University of New South Wales, Sydney / 
AU), Prof. Dr. Martin KEMP (Emeritus Professor of the History of Art / Oxford 
University / UK), Prof. Dr. Machiko KUSAHARA (School of Letters, Arts and 
Sciences / Waseda University / Tokyo, Japan), Prof. Dr. Tim LENOIR (Kimberly J. 
Jenkins Chair for New Technologies in Society / Duke University / US), Prof. 
Dr. Gunalan NADARAJAN (Dean / Stamps School of Art & Design / University of 
Michigan / US), Prof. Dr. Paul THOMAS (Director / Fine Arts at College of Fine 
Art / University of New South Wales /AU)

MISSION
Recognizing the increasing significance of media art for our culture, this 
conference series for the Histories of Media Art discusses the history of media 
art within the interdisciplinary and intercultural contexts of the histories of 
art.



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[rohrpost] The Archive of Digital Art features Tamás WALICZKY

[Image Science]

www.digitalartarchive.at 

Tamás WALICZKY is a pioneer in animation art. He developed new poetic
and visionary computer-generated worlds. Through experimental techniques
such as the "waterdrop-perspective-system", which WALICZKY invented for
'The Garden' in 1992, he profoundly influenced the aesthetics in this
genre. 

Jeffrey SHAW: 'The Garden' represented the achievement of an artist […]
who had discovered  the radically new expressive possibilities of
computer-generated images and who was working at a level of creative
freedom and  inventiveness that was in marked contrast to the prescribed
clichés that were (and still are) the outcome of industrial computer
animation.  

Itsuo SAKAE: ['The Way'] stimulates our intellectual inquiry and
inspires a new type of sensibility towards visual expression.  

Steve FORE Waliczkys artworks require, in addition to a visual
encounter, a bodily engagement with perspectival universes deliberately
configured to contradict our normal understandings of space and time.

WALICZKY is renowned for exploring time, space and movement in virtual
worlds and combining it with narrative elements based on personal
experience. His recent video installation 'Micromovements in snapshots'
(2014) decodes the illusion of movement in animation using photographs
illustrating the special Hong Kong way of living and cityscape.

Currently WALICZKY is professor at the School of Creative Media at the
City University of Hong Kong. His works won numerous international
awards, including the Golden Nica of Prix Ars Electronica and were shown
in exhibitions worldwide, including the Biennial of Lyon, the ICC
Gallery Tokyo, the Multimediale Karlsruhe or the Biennial of Seville.

Find out more:
https://www.digitalartarchive.at/database/artists/general/artist/waliczky.html


ARTISTS and SCHOLARS are invited to join the community and set up their
own archive pages. Please register here:
https://www.digitalartarchive.at/support/account-request.html 

ADA: THOUSANDS OF ARTWORKS
Since its foundation in 1999, the ARCHIVE OF DIGITAL ART (former
Database of Virtual Art) has grown to be the most important online
archive for digital art. In cooperation with established media artists,
researchers and institutions it has been documenting the rapidly
evolving world of digital art and its related fields for more than a
decade and contains today a selection of thousands of artworks at the
intersection of art, science and technology. 

COLLABORATIVE ARCHIVING OF DIGITAL ART
The large assortment of information on Tamás WALICZKY  and hundreds of
other leading artists and their artworks were carried out by the artists
themselves in assistance with members of the ADA community. The new ADA
web tool allows members to archive artist statements, works
descriptions, literature, information on exhibitions, high resolution
images, blueprints, videos etc. Artists and scholars are invited to
contribute actively to the archive and to work collaboratively on the
documentation and analysis of digital art. 

EXPANDED DOCUMENTATION FOR THE NEEDS OF DIGITAL ART
Due to the processual, ephemeral, interactive, technology-based and
fundamentally context-dependent character of digital art, it is at risk
for becoming extinct without an adequate documentation. Therefore, the
ADA is based on an expanded concept of documentation, which takes
account of the specific conditions of digital art. 

ARTISTS represented, among many others: Rebecca ALLEN, Suzanne ANKER,
Cory ARCANGEL, Roy ASCOTT, Louis BEC, Maurice BENAYOUN, Paolo CIRIO,
Charlotte DAVIES, FLEISCHMANN & STRAUSS, Masaki FUJIHATA, Ken GOLDBERG,
Agnes HEGEDÜS, Lynn HERSHMAN LEESON, Ryoji IKEDA, Eduardo KAC, Ken
RINALDO, KNOWBOTIC RESEARCH, Lev MANOVICH, George LEGRADY, Golan LEVIN,
Rafael LOZANO-HEMMER, Joseph NECHVATAL, Michael NAIMARK, David ROKEBY,
Jeffrey SHAW, Julius v. BISMARCK, Paul SERMON, Karl SIMS, SOMMERER &
MIGNONNEAU, STANZA, Nicole STENGER, THOMSON & CRAIGHEAD, Peter WEIBEL,
et al.

Advisory board: Christiane PAUL, Roy ASCOTT, Erkki HUHTAMO, Gunalan
NADARAJAN, Martin ROTH, et. al.

ADA team:

Oliver GRAU, Michaela SEISER (Editor, Community Admin)
Sebastian HALLER, Janina HOTH, Valerie KUMMER, Viola RÜHSE, 
Wendy COONES, Ann-Christin RENN (Editorial Team)

digitalart.edi...@donau-uni.ac.at 

www.digitalartarchive.at 


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[rohrpost] DENISA KERA featured: ARCHIVE OF DIGITAL ART invites SCHOLARS to join the community!

[Image Science]

DENISA KERA featured: ARCHIVE OF DIGITAL ART invites SCHOLARS to join
the community!

Denisa Kera is a philosopher and designer based in Singapore and Prague
working on open science and citizen science issues. She is involved in
various open hardware projects with emphasis on supporting research
infrastructure in the Global South. 
She uses prototypes as critical probes and tools for mobilization,
deliberation, reflection and public participation in R&D. Her
ethnographic work on various community labs and alternative R&D
structures (Hackerspaces, Fablabs, DIYbio) is combined with genealogical
interest in the origins of science in the 16th century mechanical arts
and early visions of Academy of Sciences.
She has extensive experience as a curator of exhibitions and projects
related to art, technology and science, and previous career in internet
start-ups and journalism. Currently she works as an Assistant Professor
at the National University of Singapore, where she is also Asia Research
Institute and Tembusu college fellow.

Find out more about DENISA KERA, her publications, exhibitions and
recent lectures, or download free text pdfs on her ADA profile page. 
www.digitalartarchive.at/database/scholar-detail/artist/kera.html 

www.digitalartarchive.at 

The ARCHIVE OF DIGITAL ART (ADA), the most advanced online archive for
digital art, expands its scope of documentation by including scholars to
the database. 

SCHOLARS are invited to become members of the online community and set
up their ADA profile! 

To ensure a high academic standard, five published articles and/or
curated exhibitions are required for scholars to become members of the
ADA community. Interested scholars may apply for an account here:

www.digitalartarchive.at/support/account-request.html 


SHARE YOUR RESEARCH WITH PEERS AND THE COMMUNITY
Community can upload publications and PDFs, announce upcoming events,
post comments, document exhibitions, conferences and other relevant
news. 

COLLABORATIVE ANALYSIS AND PROACTIVE KNOWLEDGE TRANSFER
With the support of two large international grants, the archive has
been transferred into a Web 2.0 environment. The aim is to provide
community features and user-oriented applications to enable a collective
scientific exchange between artists, researchers, engineers and the
public to foster interdisciplinary and global collaborative analysis and
a proactive process of knowledge transfer.

Community features allow active exchange of professional information
with  peers. The new Light box tool facilitates the examination and
comparison of various image phenomena for teaching and research
purposes.


ADA: THOUSANDS OF ARTWORKS
Since its foundation in 1999, the ARCHIVE OF DIGITAL ART (former
Database  of Virtual Art) has grown to be the most important online
archive for digital art. In cooperation with established media artists,
researchers and institutions it has been documenting the rapidly
evolving world of digital art and its related fields for more than a
decade and contains today a selection of thousands of artworks at the
intersection of art, science and technology. 

ARTISTS represented, among many others: Rebecca ALLEN, Suzanne  ANKER,
Cory ARCANGEL, Roy ASCOTT, Louis BEC, Maurice BENAYOUN, Paolo CIRIO,
Charlotte DAVIES, FLEISCHMANN & STRAUSS, Masaki  FUJIHATA, Ken GOLDBERG,
Agnes HEGEDÜS, Lynn HERSHMAN LEESON, Ryoji IKEDA, Eduardo KAC, Ken
RINALDO, KNOWBOTIC RESEARCH,  Lev MANOVICH, George LEGRADY, Golan LEVIN,
Rafael  LOZANO-HEMMER, Joseph NECHVATAL, Michael NAIMARK, David ROKEBY,
Jeffrey SHAW, Julius v. BISMARCK, Paul SERMON, Karl SIMS,  SOMMERER &
MIGNONNEAU, STANZA, Nicole STENGER, THOMSON &  CRAIGHEAD, Peter WEIBEL,
et al.

ADVISORY BOARD: Christiane PAUL, Roy ASCOTT, Erkki HUHTAMO,  Gunalan
NADARAJAN, Martin ROTH, et. al.


ADA team:

Oliver GRAU, Michaela SEISER (Editor, Community Admin)
Sebastian HALLER, Janina HOTH, Valerie KUMMER, Viola RÜHSE, 
Wendy COONES, Ann-Christin RENN (Editorial Team)

digitalart.edi...@donau-uni.ac.at 

www.digitalartarchive.at 

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[rohrpost] RYSZARD W. KLUSZCZYNSKI featured: ADA opens up for SCHOLARS

[Image Science]

RYSZARD W. KLUSZCZYNSKI featured: ADA opens up for SCHOLARS

The renowned scholar, writer and curator RYSZARD W. KLUSZCZYNSKI  is
one of the pioneers in the field of new media arts. Coming from 
experimental cinema, video art and media theory, in the 1990s his
studies  focused on the development of the art of moving pictures in the
era of electronics.

As Chief Curator of Film, Video and Multimedia Arts in the Centre for 
Contemporary Art Ujazdowski Castle in Warsaw (1990 2001) he  exhibited
contemporary new media art by Vera Frenkel, Lynn Hershman,  Miroslaw
Rogala, Jeffrey Shaw, Grahame Weinbren and many more.

For many years professor of cultural and media studies at Lodz 
University where he is now Chair of School of Media and Audiovisual 
Culture. He is also Professor at the Academy of Fine Arts in Lodz. 

His recent studies focus on new media art, cyberculture and information
 society, with a special interest in relationships between art and
science. Furthermore he still works as a curator. Together with Tsutomu
Mizusawa  he was responsible for the main part of "Mediation Biennale"
in Poznan in 2010 and he was in the curatorial team of the traveling
exhibition  "United States of Europe" 2011-2013. Since 2011 he is
artistic director of  the Art & Science Meeting Project in the Centre
for Contemporary Art in  Gdansk, where he curated exhibitions of Oron
Catts and Ionat Zurr,  Monika Fleischmann and Wolfgang Strauss, Ken
Feingold,  Christa Sommerer & Laurent Mignonneau, Stelarc, Victoria
Vesna and  James Gimzewski, and Bill Vorn. 

Find out more about RYSZARD W. KLUSZCZYNSKI, his publications, 
exhibitions and recent lectures, or download free text pdfs on his ADA
profile page. 
https://www.digitalartarchive.at/database/scholar-detail/artist/kluszczynski.html


www.digitalartarchive.at 

The ARCHIVE OF DIGITAL ART (ADA), the most advanced online archive for 
digital art, expands its scope of documentation by including scholars to
the  database. 

SCHOLARS are invited to become members of the online community and set
up their ADA profile! 

https://www.digitalartarchive.at/support/account-request.html 

SHARE YOUR RESEARCH WITH PEERS AND THE COMMUNITY
Community can upload publications and PDFs, announce upcoming events,
post comments, document exhibitions, conferences and other relevant
news. 

COLLABORATIVE ANALYSIS AND PROACTIVE KNOWLEDGE TRANSFER
With the support of two large international grants, the archive has
been  transferred into a Web 2.0 environment. The aim is to provide
community  features and user-oriented applications to enable a
collective scientific exchange between artists, researchers, engineers
and the public to foster  interdisciplinary and global collaborative
analysis and a proactive process  of knowledge transfer.

Community features allow active exchange of professional information
with  peers. The new Light box tool facilitates the examination and
comparison of various image phenomena for teaching and research
purposes.

To ensure a high academic standard, five published articles and/or
curated exhibitions are required for scholars to become members of  the
ADA community. Interested scholars may apply for an account here:
https://www.digitalartarchive.at/support/account-request.html 


THOUSANDS OF ARTWORKS
Since its foundation in 1999, the ARCHIVE OF DIGITAL ART (former
Database  of Virtual Art) has grown to be the most important online
archive for digital art. In cooperation with established media artists,
researchers and institutions it has been documenting the rapidly
evolving world of digital art and its related fields for more than a
decade and contains today a selection of  thousands of artworks at the
intersection of art, science and technology. 

ARTISTS represented, among many others: Rebecca ALLEN, Suzanne  ANKER,
Cory ARCANGEL, Roy ASCOTT, Louis BEC, Maurice BENAYOUN, Paolo CIRIO,
Charlotte DAVIES, FLEISCHMANN & STRAUSS, Masaki  FUJIHATA, Ken GOLDBERG,
Agnes HEGEDÜS, Lynn HERSHMAN LEESON, Ryoji IKEDA, Eduardo KAC, Ken
RINALDO, KNOWBOTIC RESEARCH,  Lev MANOVICH, George LEGRADY, Golan LEVIN,
Rafael  LOZANO-HEMMER, Joseph NECHVATAL, Michael NAIMARK, David ROKEBY,
Jeffrey SHAW, Julius v. BISMARCK, Paul SERMON, Karl SIMS,  SOMMERER &
MIGNONNEAU, STANZA, Nicole STENGER, THOMSON &  CRAIGHEAD, Peter WEIBEL,
et al.

ADVISORY BOARD: Christiane PAUL, Roy ASCOTT, Erkki HUHTAMO,  Gunalan
NADARAJAN, Martin ROTH, et. al.


ADA team:
Prof. Dr. habil. Oliver GRAU 
Michaela SEISER (Editor, Community Admin)
Sebastian HALLER, Janina HOTH, Valerie KUMMER, Viola RÜHSE, 
Wendy COONES, Ann-Christin RENN (Editorial Team)

digitalart.edi...@donau-uni.ac.at 

www.digitalartarchive.at 


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[rohrpost] CALL FOR PROPOSALS to host the 7th International Conference on the Histories of Media Art, Science and Technology

[Image Science]

CALL FOR PROPOSALS to host the 7th International Conference on the
Histories of Media Art, Science and Technology: Re:2017

The Media Art Histories Board invites applications to host the 7th
International Conference on the Histories of Media Art, Science and
Technology.

The international conference series, which was inaugurated in 2005 in
Banff, Canada, has since been held in several international venues
around the globe including Berlin in 2007, Melbourne 2009, Liverpool
2011, Riga 2013 and will be held this fall in Montreal. The conference
series aims to engage the growing community of scholars from a range of
disciplines including art history, contemporary art practice, art
theory, history of science, history of technology, science and
technology studies, media studies, image science, visual studies,
philosophy, cultural studies, anthropology, architecture theory, sound
studies, computer science among others to develop and share new research
and scholarship in the intersecting fields of the histories of media
art, science and technology. The host of the next conference in 2017
will have the opportunity to continue to build on the impressive history
of the conference series.
　
CONFERENCE SERIES MISSION
*Recognizing the increasing significance of media art for our culture,
the conference series on the Histories of Media Art will discuss the
history of media arts within the interdisciplinary and intercultural
contexts of the histories of the arts. Numerous individuals and
institutions collaborate to produce the international art history
conference series covering the media arts, the arts and technology,
art-science interaction, and the history of media as pertinent to the
contemporary arts.*

GUIDELINES, SELECTION CRITERIA AND DEADLINES
Proposals to host the conference will include the following
information:

1. Proposed Dates
2. Proposed Venues (including information on number, capacity and AV
and network capabilities of spaces)
3. Rationale for hosting the conference
4. Host Local Organizing Committee
5. Relevant previous experience (e.g., committee members* experience
in hosting conferences, events, etc.)
6. Publicity Plan
7. Funding / Sponsorship plan
8. Preliminary Budget

Those interested in making a bid to host the conference can download
GUIDELINES here
(http://www.mediaarthistory.org/wp-content/uploads/2013/03/MAH-conf-guidelines.pdf)

and are encouraged to write to Wendy Coones at
wendy.coones(at)donau-uni.ac.at with an expression of interest prior to
submitting a formal proposal. 
Deadline for final submission of proposals: April 29th, 2015 MAH
Advisory Boards final decision for the 2015 host: July 31, 2015.

***
MediaArtHistory Board (Steering Committee)

Sean CUBITT Goldsmiths College, University of London
Jorge LAFERLA University of Buenos Aires
Oliver GRAU Danube University
Linda HENDERSON, University of Texas, Austin
Erkki HUHTAMO University of California Los Angeles
Douglas KAHN University of New South Wales
Martin KEMP Oxford University
Timothy LENIOR Duke University
Machiko KUSAHARA Waseda University, Tokyo
Gunalan NADARAJAN University of Michigan
Paul THOMAS UNSW Sydney
　
MEDIA ART HISTORIES PLATTFORM www.mediaarthistory.org 

ARCHIVE OF DIGITAL ART www.digitalartarchive.at 

LIVERPOOL DECLARATION: http://www.mediaarthistory.org/declaration 

CONFERENCE PUBLICATIONS
http://www.mediaarthistory.org/pub/mediaarthistories.html 
http://www.mediaarthistory.org/pub/place_studies.html 
http://mitpress.mit.edu/books/relive
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[rohrpost] THE ARCHIVE OF DIGITAL ART (ADA) FEATURES TAMIKO THIEL

[Image Science]

THE ARCHIVE OF DIGITAL ART (ADA) FEATURES TAMIKO THIEL

Check it out: www.digitalartarchive.at 

Tamiko Thiel is internationally renowned for her impressive and
politically-engaged virtual and augmented reality installations. 
She visualizes thoughts and concepts with digital means in a sensitive
way and combines it with real world places, objects and settings. 
This approach allows her to provide a non-western perspective on
western
culture, to reminds us of historical events right in the places where
they 
happened or shows us how our neighborhoods could look like in the
future.

MATTHEW WILSON SMITH
>Like her creation Mariko Horo,[...] Tamiko Thiel is a border-crosser 
and an explorer of virtual space. […] It recalls Thiel’s work in
showing
how the concrete and the virtual, the bounded and the streaming, the
grid and the fold are now not only inseparable, but mutually
reinforcing<

OLIVER GRAU
>Art, that connects innovatively and playfully contemporary digital
culture
with social, societal and ecological issues, was developed by Tamiko
Thiel
in the last 20 years. Particularly  internationally renowned is her 
Memorial Art, that impressively recalls the Berlin Wall or the
Californian 
internment camps in an unprecedented way.<

CHRISTIANE PAUL
>Beyond Manzanar (2000)  [...] illustrates a chasm of cultural
identity, 
contrasting a dream world of cultural heritage with a reality of
political
injustice.<

The Archive of Digital art provides the most extensive documentation on

Thiels Oeuvre containing works like >Shades of Absence: Outside
Inside<
(2011), which gave a voice to artists who have been threatened with
arrest 
or physical violence by visualizing their  silhouettes and names with
AR
technology at Venice Biennale, or >Invisible Istanbul< (2011) using
smartphone 
augmented reality to overlay virtual artworks onto physical spaces of
specific 
sites in Istanbul, creating surrealistic and poetic juxtapositions
between real 
and virtual within the context of the hidden urban dynamics of the
places.

Some of her most acclaimed works documented in ADA recall historical
incidents by the means of immersive 3-D Virtual Reality installations:

>Beyond Manzanar< (2000) recollects the suffering of Japanese Americans
in
 the internment camps during World War II and >ReConstructing the
Wall<
(2008) gives people, who did not experience the Berlin Wall, an idea of
the 
political, sociological and territorial division in former East and
West Germany.

www.digitalartarchive.at 

COLLABORTIVE ARCHIVING OF DIGITAL ART
The large assortment of information on Tamiko Thiel and hundreds
of other leading artists and their artworks were carried out by the 
artists themselves with members of the ADA community. 
The new ADA web tool allows members to archive artist statements, 
works descriptions, literature, information on exhibitions, high
Resolution images, blueprints, videos etc.

SCHOLARS also contribute to the archive by uploading their
publications, 
information on conferences, exhibitions and teaching. 
Artists and scholars  work collaboratively  on the documentation and
analysis of digital art.

https://www.digitalartarchive.at/support/account-request.html 

THE ARCHIVE OF DIGITAL ART – PIONEER IN THE FIELD
Since its foundation in 1999, the Archive of Digital Art (former
Database of Virtual Art) has become the most important scholarly
online
Archive for media art. In cooperation with established media
artists, researchers, and institutions, it has been documenting
the rapidly evolving world of digital art and its related fields
for more than a decade and contains today a selection of thousands
of artworks at the intersection of art, science, and technology.

ARTISTS represented, among many others: Rebecca ALLEN,
Suzanne  ANKER, Cory ARCANGEL, Roy ASCOTT, Louis BEC, 
Maurice BENAYOUN, Paolo CIRIO, Charlotte DAVIES, FLEISCHMANN &
STRAUSS, Masaki FUJIHATA, Ken GOLDBERG
, Agnes HEGEDÜS, Lynn
HERSHMAN LEESON, Ryoji IKEDA, Eduardo KAC, Ken RINALDO, 
KNOWBOTICRESEARCH, Lev MANOVICH, George LEGRADY, Golan LEVIN, 
Rafael LOZANO-HEMMER, Joseph NECHVATAL, Michael NAIMARK, David
ROKEBY, Jeffrey SHAW, Julius v. BISMARCK, Paul SERMON, Karl SIMS, 
SOMMERER & MIGNONNEAU, STANZA, Nicole STENGER, THOMSON & 
CRAIGHEAD, Peter WEIBEL, et al.

Advisory board: Christiane PAUL, Roy ASCOTT, Erkki HUHTAMO, Gunalan
NADARAJAN, Martin ROTH, et.al.

ADA team:
Prof. Dr. habil. Oliver GRAU 
Michaela SEISER (Editor, Community Admin)
Sebastian HALLER, Viola RÜHSE,
Wendy COONES, Ann-Christin RENN
(Editorial Team)
digitalart.edi...@donau-uni.ac.at 
www.digitalartarchive.at 

 
 
 

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[rohrpost] [NEW-MEDIA-CURATING] THE ARCHIVE OF DIGITAL ART (ADA) FEATURES SCENOCOSME

[Image Science]

THE ARCHIVE OF DIGITAL ART (ADA) FEATURES SCENOCOSME

Check it out: www.digitalartarchive.at 

The ARCHIVE OF DIGITAL ART (ADA) features the artist duo SCENOCOSME
(Gregory LASSERRE & Anais MET DEN ANCXT), known for their inimitable
poetic language of visualization and sonification of interrelations
between humans and nature. The collective explores (invisible) energy
flows between living beings and/or between humans and their
environments by means of technology and make them perceptible for
spectators. Their interactive artworks and choreographic collective
performances make attendees share extraordinary sensory experiences.

“Lights Contacts” (2010), “Akousmaflore” (2007), “Alsos*”
(2006) or
“SphèrAléas” (2004) are remarkable immersive environments and
acousmatic soundscapes reflecting on connectivity and alternative ways
of communication. At the intersection of art and science the artists
explore sensor technologies and develop complex software transforming
“natural energy” like static, heat or breath into sound and light
installations.


Evelyn TSITAS: “Lights Contacts invites people to touch another to
create sound and light according to the intensity of their
electrostatic
energy. The work perfectly illustrates […] connectivity in the age of
technology.”

Peter WEIBEL: “Technology is nature made by humans. Scenocosme
makes the man-made voice of nature visible and audible.”
[Technik ist vom Menschen gemachte Natur. Scenocosme macht
sichtbar und hörbar, wie die vom Menschen gemachte Stimme der
Natur klingt.]

Catherine MASON: “Scenocosme have been exploring ‘energetic
coherence between living beings and their environment’ in their art
for the last few years. By contrasting the relationship between the
natural
world and the man-made Scenocosme’s art highlights the challenges
facing our planet and our human responses to it”


COLLABORTIVE ARCHIVING OF DIGITAL ART
The large assortment of information on SCENOCOSME and hundreds
of other leading artists and their artworks were carried out by the
artists themselves in assistance with members of the ADA community.
The new ADA web tool allows members to archive artist statements,
works descriptions, literature, information on exhibitions, high
resolution
 images, blueprints, videos etc. Artists and scholars are invited to
contribute actively to the archive and to work collaboratively on the
documentation and analysis of digital art.

EXPANDED DOCUMENTATION FOR THE NEEDS OF DIGITAL ART
Due to the processual, ephemeral, interactive, technology-based and
fundamentally context-dependent character of digital art, it is at
risk for becoming extinct without an adequate documentation.
Therefore,
the ADA is based on an expanded concept of documentation, which takes
account of the specific conditions of digital art.

THE ARCHIVE OF DIGITAL ART – PIONEER IN THE FIELD
Since its foundation in 1999, the Archive of Digital Art (former
Database of Virtual Art) has become the most important scholarly
online archive for media art. In cooperation with established media
artists,
researchers, and institutions, it has been documenting the rapidly
evolving world of digital art and its related fields for more than a
decade and contains today a selection of thousands of artworks at the
intersection of art, science, and technology.

ARTISTS represented, among many others: Rebecca ALLEN, Suzanne
ANKER, Cory ARCANGEL, Roy ASCOTT, Louis BEC, Maurice BENAYOUN,
Paolo CIRIO, Charlotte DAVIES, FLEISCHMANN & STRAUSS, Masaki
FUJIHATA, Ken GOLDBERG, Agnes HEGEDÜS, Lynn HERSHMAN LEESON,
Ryoji IKEDA, Eduardo KAC, Ken RINALDO, KNOWBOTIC RESEARCH,
Lev MANOVICH, George LEGRADY, Golan LEVIN, Rafael LOZANO-HEMMER,
 Joseph NECHVATAL, Michael NAIMARK, David ROKEBY, Jeffrey SHAW, 
Julius v. BISMARCK, Paul SERMON, Karl SIMS,SOMMERER & MIGNONNEAU,
STANZA, Nicole STENGER, THOMSON & CRAIGHEAD, Peter WEIBEL, et al.

Advisory board: Christiane PAUL, Roy ASCOTT, Erkki HUHTAMO, Gunalan
NADARAJAN, Martin ROTH, et. al.

ADA team:
Prof. Dr. habil. Oliver GRAU
Michaela SEISER (Editor, Community Admin)
Sebastian HALLER, Viola RÜHSE, Wendy COONES, Ann-Christin RENN
(Editorial Team)
digitalart.edi...@donau-uni.ac.at 
www.digitalartarchive.at 





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[rohrpost] [NEW-MEDIA-CURATING] THE ARCHIVE OF DIGITAL ART (ADA) FEATURES SCENOCOSME

[Image Science]

THE ARCHIVE OF DIGITAL ART (ADA) FEATURES SCENOCOSME

Check it out: www.digitalartarchive.at 

The ARCHIVE OF DIGITAL ART (ADA) features the artist duo SCENOCOSME
(Gregory LASSERRE & Anais MET DEN ANCXT), known for their inimitable
poetic language of visualization and sonification of interrelations
between humans and nature. The collective explores (invisible) energy
flows between living beings and/or between humans and their
environments by means of technology and make them perceptible for
spectators. Their interactive artworks and choreographic collective
performances make attendees share extraordinary sensory experiences.

“Lights Contacts” (2010), “Akousmaflore” (2007), “Alsos*”
(2006) or
“SphèrAléas” (2004) are remarkable immersive environments and
acousmatic soundscapes reflecting on connectivity and alternative ways
of communication. At the intersection of art and science the artists
explore sensor technologies and develop complex software transforming
“natural energy” like static, heat or breath into sound and light
installations.


Evelyn TSITAS: “Lights Contacts invites people to touch another to
create sound and light according to the intensity of their
electrostatic
energy. The work perfectly illustrates […] connectivity in the age of
technology.”

Peter WEIBEL: “Technology is nature made by humans. Scenocosme
makes the man-made voice of nature visible and audible.”
[Technik ist vom Menschen gemachte Natur. Scenocosme macht
sichtbar und hörbar, wie die vom Menschen gemachte Stimme der
Natur klingt.]

Catherine MASON: “Scenocosme have been exploring ‘energetic
coherence between living beings and their environment’ in their art
for the last few years. By contrasting the relationship between the
natural
world and the man-made Scenocosme’s art highlights the challenges
facing our planet and our human responses to it”


COLLABORTIVE ARCHIVING OF DIGITAL ART
The large assortment of information on SCENOCOSME and hundreds
of other leading artists and their artworks were carried out by the
artists themselves in assistance with members of the ADA community.
The new ADA web tool allows members to archive artist statements,
works descriptions, literature, information on exhibitions, high
resolution
 images, blueprints, videos etc. Artists and scholars are invited to
contribute actively to the archive and to work collaboratively on the
documentation and analysis of digital art.

EXPANDED DOCUMENTATION FOR THE NEEDS OF DIGITAL ART
Due to the processual, ephemeral, interactive, technology-based and
fundamentally context-dependent character of digital art, it is at
risk for becoming extinct without an adequate documentation.
Therefore,
the ADA is based on an expanded concept of documentation, which takes
account of the specific conditions of digital art.

THE ARCHIVE OF DIGITAL ART – PIONEER IN THE FIELD
Since its foundation in 1999, the Archive of Digital Art (former
Database of Virtual Art) has become the most important scholarly
online archive for media art. In cooperation with established media
artists,
researchers, and institutions, it has been documenting the rapidly
evolving world of digital art and its related fields for more than a
decade and contains today a selection of thousands of artworks at the
intersection of art, science, and technology.

ARTISTS represented, among many others: Rebecca ALLEN, Suzanne
ANKER, Cory ARCANGEL, Roy ASCOTT, Louis BEC, Maurice BENAYOUN,
Paolo CIRIO, Charlotte DAVIES, FLEISCHMANN & STRAUSS, Masaki
FUJIHATA, Ken GOLDBERG, Agnes HEGEDÜS, Lynn HERSHMAN LEESON,
Ryoji IKEDA, Eduardo KAC, Ken RINALDO, KNOWBOTIC RESEARCH,
Lev MANOVICH, George LEGRADY, Golan LEVIN, Rafael LOZANO-HEMMER,
 Joseph NECHVATAL, Michael NAIMARK, David ROKEBY, Jeffrey SHAW, 
Julius v. BISMARCK, Paul SERMON, Karl SIMS,SOMMERER & MIGNONNEAU,
STANZA, Nicole STENGER, THOMSON & CRAIGHEAD, Peter WEIBEL, et al.

Advisory board: Christiane PAUL, Roy ASCOTT, Erkki HUHTAMO, Gunalan
NADARAJAN, Martin ROTH, et. al.

ADA team:
Prof. Dr. habil. Oliver GRAU
Michaela SEISER (Editor, Community Admin)
Sebastian HALLER, Viola RÜHSE, Wendy COONES, Ann-Christin RENN
(Editorial Team)
digitalart.edi...@donau-uni.ac.at 
www.digitalartarchive.at 



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[rohrpost] THE ARCHIVE OF DIGITAL ART (ADA) FEATURES PAOLO CIRIO

[Image Science]

THE ARCHIVE OF DIGITAL ART (ADA) FEATURES PAOLO CIRIO


Check it out: www.digitalartarchive.at 


The Archive of Digital Art (ADA) features the hacktivist and acclaimed
artist, Paolo CIRIO. The new artist feature of the ADA introduces
selected artists who are represented in the online archive. It will
offer insights into current developments of digital art and the
importance of its documentation. 


In recent years, CIRIO has caused commotion among global companies like
Google, Amazon and Facebook by exploiting their technical and economic
practices and their strategic exploitation of private data. At the
intersection of artistic intervention, social commitment and
technological expertise, Cirio was able to unveil the vulnerabilities of
international enterprises and politics. Distinguished artworks like
“Street Ghosts” (2012), “Persecuting US” (2012), and “P2P
Gift Credit Card – Gift Finance” (2010) dealt with issues like
privacy and personal data, the international finance markets, copyright
and intellectual property, democracy and political participation, and
the contemporary surveillance society. In a genuine and highly creative
way, Cirio constantly raises awareness for breaking boundaries between
personal and corporate spaces and the ethics of contemporary image
cultures.


Lanfranco ACETI:  “Cirio’s realm of artistic activities is based on
a critique of contemporary society that touches and rattles, as much as
an artwork can, the smooth operations of international corporations.” 

  


Christiane PAUL:   “As a leading force in ‘hacktivist’ art, Paolo
Cirio has shed light on the ways in which today’s networked platforms
of data aggregation and social media, from Facebook to e-commerce sites,
are shaping the public and private realms.”   
 


CIRIO also will receive this years “Prix Ars Electronica” for his
hacktivist project “Loophole for all”, which exposed the identities
of over 200,000 companies that took advantage of the tax system on the
Cayman Islands. For a small amount of money, “Loophole for all”
offers these real identities to anyone in order to ‘democratize’ the
tax and legal restrictions and to intervene in the global, yet crooked,
practices of the financial market.


MOST EXTENSIVE DOCUMENTATION OF DIGITAL ART
The Archive of Digital Art provides an extensive, constantly evolving
documentation of Cirio’s and hundreds of leading artists’ oeuvre.
ADA archives artist statements, work descriptions, literature and
information on exhibitions and offers high resolution images, blueprints
and videos. The large assortment of information on Cirio and his
artworks was carried out by the artist in assistance with members of the
ADA community. The new ADA web tool allows artists, scholars and
scientists to actively contribute to the archive and to work
collaboratively on the documentation and analysis of digital art. 


EXPANDED DOCUMENTATION FOR THE NEEDS OF DIGITAL ART
Due to the processual, ephemeral, interactive, technology-based and
fundamentally context-dependent character of digital art, it is at risk
for becoming extinct without an adequate documentation. Therefore, the
ADA is based on an expanded concept of documentation, which takes
account of the specific conditions of digital art. 


THE ARCHIVE OF DIGITAL ART – PIONEER IN THE FIELD
Since its foundation in 1999, the Archive of Digital Art (former
Database of Virtual Art) has become the most important scholarly online
archive for media art. In cooperation with established media artists,
researchers, and institutions, it has been documenting the rapidly
evolving world of digital art and its related fields for more than a
decade and contains today a selection of thousands of artworks at the
intersection of art, science, and technology. 


ARTISTS represented, among many others: Rebecca ALLEN, Suzanne ANKER,
Cory ARCANGEL, Roy ASCOTT, Louis BEC, Maurice BENAYOUN, Paolo CIRIO,
Charlotte DAVIES, FLEISCHMANN & STRAUSS, Masaki FUJIHATA, Ken GOLDBERG,
Agnes HEGEDÜS, Lynn HERSHMAN LEESON, Ryoji IKEDA, Eduardo KAC, Ken
RINALDO, KNOWBOTIC RESEARCH, Lev MANOVICH, George LEGRADY, Golan LEVIN,
Rafael LOZANO-HEMMER, Joseph NECHVATAL, Michael NAIMARK, David ROKEBY,
Jeffrey SHAW, Julius v. BISMARCK, Paul SERMON, Karl SIMS, SOMMERER &
MIGNONNEAU, STANZA, Nicole STENGER, THOMSON & CRAIGHEAD, Peter WEIBEL,
et al.


Advisory board: Christiane PAUL, Roy ASCOTT, Erkki HUHTAMO, Gunalan
NADARAJAN, Martin ROTH, et. al.


ADA is hosted by Danube University and is partner of the World
Conference Series on MediaArtHistories. www.mediaarthistory.org 




ADA team:
Prof. Dr. habil. Oliver GRAU 
Michaela SEISER (Editor, Community Admin)
Sebastian HALLER, Viola RÜHSE, Wendy COONES, Ann-Christin RENN
(Editorial Team)
digitalart.edi...@donau-uni.ac.at 
www.digitalartarchive.at 




-- 
rohrpost - deutschsprachige Liste

[rohrpost] Announcing > DATA STUDIES - New low-residency MSc program

[Image Science]

Dear Colleagues, 

With great enthusiasm we share our most currently developed excellence,
low-residency, master’s program answering the continual evolving needs
of the field.

--

DATA STUDIES Masters of Science focuses on the critical juncture
between the birth of new research paradigms, methods & tools, and the
increasingly complex politics of social media as contested global
platforms and data repositories.

==> POST-GRADUATE - (Masters of Science, 120 ECTS, 5-semester)
(Academic Expert, 60 ECTS, 3-semester (Certified Program, 30 ECTS, 2-3
semester)

==> MODULARIZED – Created to accommodate the needs of working
professionals, the modularized and low-residency program "Data Studies"
conveys the core skills of contemporary digital science over seven
intensive 4-6 day modules held in Austria.   

==> START – 18. November 2014



==> BRAIN TRUST - Data Studies brings together the best experts in the
field - excerpt from the international faculty: David M. BERRY (London),
Axel BRUNS (Sidney), Carolin GERLITZ (Amsterdam), Lev MANOVICH (New
York), Warren SACK (Santa Cruz), Regine BUSCHAUER (Basel), Theo Röhle
(Braunschweig), Annika RICHTERICH (Maastricht), Shintaro MIYAZAKI
(BASEL), Ramón REICHERT (Vienna) and Oliver GRAU (DanubeU).

==> WHY - There has been a data rush in the past decade – one brought
about by companies producing big amounts of data, another by the
ubiquity of online communication, social media in particular (YouTube,
Google Earth, Tumblr, Twitter, Pinterest, FeedBurner and Facebook), and
by the adoption within the social sciences and digital humanities of
analytical software-based tools. Big Data is the big challenge of our
time in computing and humanities. It generates value from very large
data sets, which cannot be analyzed with traditional computing
techniques.

==> CONTENT - The new post-graduate course DATA STUDIES starting this
November responds to the increasing demand for competencies bridged
between cultural and computer sciences. It conveys to students
comprehensive theoretical and practical knowledge about the systematic
application of computer-assisted and data-based processes with digital
resources. The transdisciplinary aligned spectrum of the curriculum
brings various methodological approaches together and offers an overview
of knowledge fields in DIGITAL HUMANITIES, DIGITAL LITERACY, DIGITAL
METHODS, COMPUTER PHILOLOGY, VISUAL CULTURE, DATA CRITICISM, HISTORICAL
COMPUTER SCIENCE, COMPUTER LINGUISTICS, CULTURE & MEDIA HISTORY,
POPULARIZATION & VISUALIZATION OF COMPLEX DATA STRUCTURES, DATA PRIVACY
LAWS, INFORMATION MANAGEMENT and THEORIES OF DIGITAL MEDIA IN THE
HUMANITIES & CULTURAL SCIENCES. In the fields of intermediation,
collections and marketing of data, the LEGAL and ECONOMIC aspects are
specifically tailored to play important roles. 

-

==> DANUBE UNIVERSITY - located 70km from Vienna in the UNESCO world
heritage Wachau region, Danube University is the only public university
in Europe specializing in advanced continuing education by developing
low-residency degree programs for working professionals and life-long
learners.  The University’s Center for Image Science is housed in the
Göttweig Monastery, a 14th century building remodeled to fit the needs
of modern media arts research in singular surroundings and in the newly
designed Campus Krems.   

www.donau-uni.ac.at 
www.donau-uni.ac.at/datastudies 
www.donau-uni.ac.at/datastudies/infotag 
www.facebook.com/datastudies 


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[rohrpost] Österreichische Nationalbibliothek – Stipendium Bildwissenschaft

[Image Science]

Österreichische Nationalbibliothek – Stipendium Bildwissenschaft 

Informationsveranstaltung zum berufsbegleitenden Studium mit
internationaler Faculty im UNESCO Weltkulturerbe Wachau am 23. 05.2014
in Wien.

In Zusammenarbeit mit der Österreichischen Nationalbibliothek vergibt
das Department für Bildwissenschaften der Donau-Universität Krems ein
Halbstipendium für den Masterstudiengang „Bildwissenschaften, MA“. Das
renommierte Programm startet am 18. Oktober 2014 bereits zum achten Mal,
seine aktuelle Form wird am 23.05.2014 im Wiener Museumsquartier
vorgestellt.
Bewerbungen zum Halbstipendium werden bis 10. Juni 2014 angenommen,
eine aus beiden Institutionen zusammengesetzte Jury entscheidet über die
Vergabe. 
Master of Arts in Bildwissenschaft
Die digitale Medienrevolution stärkt das Medium Bild als
Wissensspeicher und Kommunikationsinstrument unserer globalisierten
Gesellschaft - eine Dynamik, die professionellen Umgang mit Bildern
fordert. Von der Bildanalyse komplexer kultureller, ökonomischer und
politischer Dimensionen über die Sammlung und digitale Archivierung von
Bildmaterial bis hin zur Vermittlung im Ausstellungskontext reicht das
Anforderungsprofil an Menschen die mit Bildern arbeiten.

Das Zentrum für Bildwissenschaften ist eine internationale Plattform
für Forschung und innovative Lehre zu allen Formen von Bildern. Der
Master in Bildwissenschaften bietet, mit einer Faculty von über 100
international ausgewiesenen Fachexperten, ein spezialisiertes
Studienprogramm in den Bereichen VISUELLE KOMPETENZEN, Fotografie,
Exhibition Development und Digitales Sammlungsmanagement. 
Learning Outcomes
Studierende erwerben Kernkompetenzen und Schlüsselqualifikationen für
den zeitgenössischen Kunst-, Bild- und Medienmarkt. Didaktisch innovativ
werden in Kleingruppen neueste Forschungserkenntnisse genauso
vermittelt, wie praktisches Know-how durch Hands-On-Experiences oder
soziales Lernen. Zudem profitieren die Studierenden vom praktischen
Austausch mit ProjektpartnerInnen aus der Kulturwissenschaft. 

AbsolventInnen des Studiums der Bildwissenschaften arbeiten in
renommierten Einrichtungen aus dem gesamten deutschsprachigen Raum und
darüber hinaus - wie Albertina Wien, Österreichische Nationalbibliothek,
Süddeutsche Zeitung, Chicago Art Institute, Deutsche Kinemathek,
Deutsches Filmmuseum, Hochschule für angewandte Wissenschaften Augsburg,
ETH Zürich, Schweizerisches Bundesarchiv u.v.m. 
Internationale Faculty
Eine internationale Faculty, für die Namen wie Christian BRACHT (Foto
Marburg), Martin DEPPNER (Fachhochschule Bielefeld), Oliver GRAU
(Donau-Universität Krems), Anton HOLZER (Fotogeschichte), Harald KRAEMER
(City University Hong Kong), Christiane PAUL (Whitney Museum of American
Art), Klaus SACHS-HOMBACH (Universität Tübingen), Martin WARNKE
(Universität Lüneburg), Lev MANOVICH (City University New York), Sean
Cubitt (Goldsmiths University London), Jeffrey SHAW (City University
Hong Kong) oder Beat WYSS (HfG Karlsruhe) stehen, vermittelt am
Department für Bildwissenschaften ein in Europa einzigartiges modulares
Weiterbildungsprogramm mit individueller Schwerpunktsetzung.

Informationen zu Inhalten und Aufbau des Studiengangs: 
www.donau-uni.ac.at/bildwissenschaft/ 

Information und Bewerbung zum Stipendium:
www.donau-uni.ac.at/bw-stipendium 

Anmeldung zur Informationsveranstaltung am 23. Mai 2014 im Wiener MQ:
www.donau-uni.ac.at/bildwissenschaft/infotag 



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[rohrpost] LAST REMINDER: WESTLICHT HALBSTIPENDIUM FÜR FOTOGRAFIE

[Image Science]

LAST REMINDER:
Wir erlauben uns, nochmals an die Ausschreibung zu unserem
Halbstipendium zu erinnern.


Fotomuseum Westlicht-Halbstipendium für Fotografie, CP

In Zusammenarbeit mit dem Fotomuseum Westlicht vergibt das Zentrum für
Bildwissenschaften, Donau-Universität, ein Halbstipendium für die
Teilnahme am Certified Programm "Fotografie". Das renommierte Programm
startet am 12. April 2014 bereits zum siebenten Mal. Schicken Sie Ihre
Bewerbung mit Motivationsschreiben und Bewerbungsbogen bis 03. Februar
2014. Eine aus beiden Institutionen zusammengesetzte Jury entscheidet
über die Vergabe.

Informationen und Bewerbung zum Teilstipendium Fotografie: 
www.donau-uni.ac.at/fotografie-stipendium 

Lehrgangsstart FOTOGRAFIE: 12.04.2014
www.donau-uni.ac.at/fotografie 


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[rohrpost] REMINDER: WESTLICHT HALBSTIPENDIUM FÜR FOTOGRAFIE

[Image Science]

REMINDER:
Wir erlauben uns, an die Ausschreibung zu unserem Halbstipendium zu
erinnern und wünschen frohe Weihnachten sowie alle Gute für 2014!


Fotomuseum Westlicht-Halbstipendium für Fotografie, CP

In Zusammenarbeit mit dem Fotomuseum Westlicht vergibt das Zentrum für
Bildwissenschaften, Donau-Universität, ein Halbstipendium für die
Teilnahme am Certified Programm "Fotografie". Das renommierte Programm
startet am 12. April 2014 bereits zum siebenten Mal. Schicken Sie Ihre
Bewerbung mit Motivationsschreiben und Bewerbungsbogen bis 03. Februar
2014. Eine aus beiden Institutionen zusammengesetzte Jury entscheidet
über die Vergabe.

Informationen und Bewerbung zum Teilstipendium Fotografie: 
www.donau-uni.ac.at/fotografie-stipendium 

Lehrgangsstart FOTOGRAFIE: 12.04.2014
www.donau-uni.ac.at/fotografie 


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[rohrpost] WESTLICHT HALBSTIPENDIUM FÜR FOTOGRAFIE

[Image Science]

Fotomuseum Westlicht-Halbstipendium für Fotografie, CP

In Zusammenarbeit mit dem Fotomuseum Westlicht vergibt das Zentrum für
Bildwissenschaften, Donau-Universität, ein Halbstipendium für die
Teilnahme am Certified Programm "Fotografie". Das renommierte Programm
startet am 12. April 2014 bereits zum siebenten Mal. Schicken Sie Ihre
Bewerbung mit Motivationsschreiben und Bewerbungsbogen bis 03. Februar
2014. Eine aus beiden Institutionen zusammengesetzte Jury entscheidet
über die Vergabe.

Informationen und Bewerbung zum Teilstipendium Fotografie: 
www.donau-uni.ac.at/fotografie-stipendium 

Lehrgangsstart FOTOGRAFIE: 12.04.2014
www.donau-uni.ac.at/fotografie 


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[rohrpost] RENEW: Intl. Conf. on the Histories of Media Art, Science and Technology : Oct 8-11, RIGA

[Image Science]

(please excuse cross-postings)

Media Art Histories 2013: RENEW 
The 5th International Conference on the Histories of Media Art, Science
and Technology  

RIGA, Latvia - October 8 - 11, 2013  

The 5th International Conference on the Histories of Media Art, Science
and Technology - RENEW, will be hosted by RIXC in partnership with the
Latvian Academy of Arts, Stockholm School of Economics and Danube
University’s Center for Image Science. Following Banff 2005, Berlin
2007, Melbourne 2009 and Liverpool 2011, the Media Art History Boards
and Renew Co-chairs invite you to attend Renew in Riga 2013.  

Renew will host three days of keynotes, panels and poster sessions on
the histories of networked digital, electronic and technological media
arts.  

SESSIONS: 
:: Histories of networked art and media technologies, 
:: Archiving, preserving and representing new media art, 
:: Multifarious potential of expression in media art - 'new imagery' of
our times, 
:: Media archaeology, 
:: Paradigm shift - from new media to post-media conditions in art, 
:: Writing histories of media art across Eastern Europe and the
Baltics, 
:: Revising the geospatial aspects - for writing comparative media art
histories, 
:: Resilient networks and emerging 'techno-ecological' art practices, 
:: Art and Science, 
:: and Paradigm shifts - in media art education. 
With special emphasis being given to current tendencies in
sustainability, discussing approaches in the issues of producing,
preserving and representing media artworks - how to 'renew' them through
both - tools and histories.   

KEYNOTES: 
Prof. Errki HUHTAMO / University of California, Los Angeles 
Prof. Lev MANOVICH / The City University of New York 
Prof. Edward A. SHANKEN / University of Washington 

CONFERENCE CO-CHAIRS:  Rasa SMITE and Raitis SMITS  

SPEAKERS (selection): Kuai SHEN AUSON, Vanni BRUSADIN, Richard
BARBROOK, Dusan BAROK, Giselle BEIGUELMAN, Erich BERGER, Ilze BLACK,
Roberta BUIANI, Brogan BUNT, Annick BUREAUD, Charlotte BYDLER, Michael
CENTURY, Venzha CHRIST, Damien CHARRIERAS, Ana Carolina DA CUNHA, Nina
CZEGLEDY, Tjarda DE HAAN, David Maulen DE LOS REYES, Mario DE VEGA,
Brian DEGGER, Annet DEKKER, Sophia DRAKOPOULOU, Alejo DUQUE, Ernest
EDMONDS, Branislav EGIC, Patrick ELLIS, Jonatan Habib ENGQVIST, Patrícia
FALCO, Ksenia FEDOROVA, Paul FEIGELFELD, Lauren FENTON, Bronac FERRAN,
Alberto FRIGO Darko FRITZ, Marialaura GHIDINI, Gabriel MENOTTI GONRING,
Oliver GRAU, Yara GUASQUE, Kevin Chris HALES, HAMILTON, Marta HEBERLE,
Jay HETRICK, Vanina HOFMAN, Nanette HOOGSLAG, John HOPKINS, Hanna
Barbara HÖLLING, Kathy Rae HUFFMAN, Roddy HUNTER, Agathe JARCZYK,
Agnieszka JELEWSKA, Timo KAHLEN, Douglas KAHN , Silva KALCIC, Eva KEKOU,
Raivo KELOMEES, Olga KISSELEVA, Ryszard W. KLUSZCZYNSKI, Rudi KNOOPS,
Saskia KORSTEN, Bartek KORZENIOWSKI, Mirjana KOVACEVIC, Slavo KREKOVIC,
Katja KWASTEK, Guilherme KUJAWSKI, Anne LAFORET, Paul LANDON, William
LOCKETT, Richard LOWENBERG, Alessandro LUDOVICO Kristian LUKIA, Jungyeon
MA, Gavin MACDONALD, Damián PERALTA MARELARENA, Victor MAZON, Armin
MEDOSCH, Vytautas MICHELKEVICIUS, Frieder NAKE, Magdalena NOWAK, Rachel
O'DWYER, Margret Elisabet OLAFSDOTTIR, Maciej OZOG, Aneta PANEK, Jussi
PARIKKA, Martina PFENNINGER, Christiane PAUL, Eva PASCOE, Andrew
PATERSON, Valentina MONTERO, Joanna PHILLIPS, Julian PRIEST, Andrew
PRIOR, Mikhel PROULX, Perttu RASTAS, Adair ROUNTHWAITE, Ashley SCARLETT,
Ilva SKULTE, Andrey SMIRNOV, Brian Reffin SMITH, Emit SNAKE-BEINGS,
Morten SONDERGAARD, Josephine STARRS, Stahl STENSLIE, Daniel TEMKIN,
David THOMAS, Paul THOMAS, Leila TOPIC, Marc TUTERS, Pau WAELDER, Clea
T. WAITE, James WERNER, Florian WIENCEK, Artemis WILLIS, Wessel VAN
RENSBURG, Gabriel VANEGAS, Erandy VERGARA, Helene VON OLDENBURG, &
Dietmar UNTERKOFLER   

SESSION CHAIRS: Inke ARNS, Tatiana BAZZICHELLI, Shu Lea CHEANG, Wendy
COONES, Nina CZEGLEDY, Dieter DANIELS, Darko FRITZ, Oliver GRAU, Douglas
KAHN, Raivo KELOMEES, Machiko KUSAHARA, Armin MEDOSCH, Frieder NAKE,
Andrew PATERSON, Christiane PAUL, Nishant SHAH, Gediminas URBONAS
-
Registration is open now – EARLY BIRD AVAILABLE until August 1, 2013:
www.mediaarthistory.org/renew/registration 
-
Preliminary program: www.mediaarthistory.org/renew 
-
The RENEW conference will be complemented by a variety of affiliated
events, including the ART+COMMUNICATION festival, with SAVE AS - a
thematically related media art exhibition, receptions, workshops, live
performances and concerts. 


Special thanks to MAH boards for their expertise and support.  

:: Honorary Board: Jasia REICHARDT, Itsuo SAKANE, Peter WEIBEL, Douglas
DAVIS, Robert ADRIAN  

:: Renew Conference Advisory Board: Erik KLUITENBERG, Armin MEDOSCH,
Inke ARNS, Andrey SMIRNOV, Jussi PARIKKA, Edwin van der HEIDE, Mark
TRIBE, Gediminas
URBONAS, Marko PELJHAN, Nishant SHAH, Edward SHANKEN, Darko FRITZ,
Tatiana BAZZICHELLI, Frieder NAKE  

:: MAH Conference Series Steering Committee: Erkk

[rohrpost] Openings in New Media Research Project :: Stellenausschreibung, Forschungsprojekt Neue Medien :: Graduates and Students

[Image Science]

(Please excuse cross-postings. Reposting in appropriate locations is
appreciated.)



:: Research Associate Position
:: Student Research Assistant Positions
:: Description of AT-MAR Research Project



:: Open Media Art Research Position - Research Associate (Scientific
Staff) ::

The AT-MAR project is accepting applications for upper level scientific
staff. A graduate degree e.g. a masters degree, its equivalent, or
higher is required. Previous experience in art historical or archiving
research projects is a plus. S/he will assist the principal
investigator, Chair Professor for Image Science, Prof. Dr. Oliver Grau,
and work on building of the meta- thesaurus together with the other team
members. S/he should be responsible, self-motivated, and have a strong
interest in media art, image science and/or art historian archives. In
addition to excellent writing and organization skills, s/he should be a
team player and have knowledge of database and archive work. Fluency in
English and German is expected. Understanding of information and
communication technologies will be an additional plus.

The position is part-time and will be based on a renewable, fixed-term,
1-year contract. (Employment according to the FWF-PEK
termshttp://www.fwf.ac.at/de/projects/PDF/pek-2012.pdf) Residence in
commuting distance to Krems, Austria will be required if appointed.
Applications should include a cover letter, CV and copies of
certificates and diplomas. Please send your application documents
(copies only) by February 20, 2013 to Astrid Adam, Dr.-Karl-Dorrek Str.
30, 3500 Krems, Austria or per E-Mail: astrid.a...@donau-uni.ac.at 


:: Open Media Art Research Position - Student Research Assistants ::

The Center for Image Science is pleased to announce the opening of 7
research assistance positions on the AT.MAR and AMAH research projects
under the supervision of the Chair Professor for Image Science, Prof.
Dr. Oliver Grau. These assistantships are on a free-lance basis and made
available to augment half the tuition of the MediaArtHistories Master of
Arts program. The students will gain invaluable experience working on
internationally leading research projects in the field of Media Arts. 

Positions are available at averaged 5 or 10 hours per week and can be
completed alongside another part-time job and in conjunction with the
low-residency MediaArtHistories program. Austrian residence not
required. Application deadline for the first positions Feb, 30, 2013.
Applications will continue to be accepted throughout 2013.
www.donau-uni.ac.at/mah-scholar 



:: INNOVATIVE TOOLS FOR MEDIA ART RESEARCH ::

New Project Funded by the Austrian Science Fund (FWF)

Innovative tools for the image sciences are being developed by
“Interactive Archive and Meta-Thesaurus for Media Art Research
(AT-MAR),” a project led by Professor Oliver GRAU, Chair of Image
Science. It is the first large FWF project of this category at the
Danube University. A “Thesaurus Bridge” will be developed, which will
enable comparative study of image phenomena from the Renaissance to the
present day. www.donau-uni.ac.at/at-mar/en 

Goal of the FWF project, which commences in February 2013 at the
Department of Image Sciences, is to develop an interactive and globally
networked online tool to support theoretical analysis of the image
revolution that is underway and to improve the precarious situation of
Media Art Research. The project will develop an entirely new kind of
thesaurus, which will function as a bridge between Media Art and
historical image genres, from the Renaissance to contemporary art. By
linking the DATABASE OF VIRTUAL ART (DVA) with the GRAPHISCHE SAMMLUNG
GÖTTWEIG (GSSG) using this meta-thesaurus it will be possible to
analyse systematically the afterlife of art historical themes in
contemporary Media Art. Further, it will be possible to identify not
only developments, but also discontinuities.

www.virtualart.at
www.gssg.at
www.mediaarthistory.org/maharchive

Current research aThe project is funded until 2016.

In advance of the project a declaration was adopted in Liverpool, which
in the meantime has been signed by over 400 international scholars,
academics, gallery and museum people, and artists.
www.mediaarthistory.org/decalaration 





sent by:
Wendy Jo Coones, M.Ed.
Head of Center for Image Science ~ Leiterin Zentrum für
Bildwissenschaften
Department for Arts and Image Science ~ Department für Kunst- und
Bildwissenschaften 
Danube University Krems ~ Donau-Universität Krems
Telefon +43 (0)2732 893-2543 ~ Fax +43 (0)2732 893-4551
Dr.-Karl-Dorrek-Straße 30, 3500 Krems, Austria
wendy.coo...@donau-uni.ac.at  ~ http://www.donau-uni.ac.at/cis 


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[rohrpost] MediaArtHistories INFO SESSION at DAM in Berlin - 25.October.2012 - 4pm

[Image Science]

>> BERLIN INFORMATION SESSION  "MediaArtHistories, Master of Arts" <<

The team of the Center for Image Science (CIS) discusses its Advanced
Masters Program in MediaArtHistories which starts this fall for the
seventh time. The program's structure, it's procedures, objectives and
methods will be presented.

Host: [DAM] Digital Art Museum Berlin
Neue Jakobstraße 6, 10179 Berlin, Germany 

When: 25.October.2012  :: 4pm- 6pm


>> COURSE DESCRIPTION <<
The MediaArtHistories masters program conveys the most important
developments of contemporary art through a network of renowned
international theorists, artists and curators like Erkki HUHTAMO, Lev
MANOVICH, Christiane PAUL, Kathy Rae HUFFMAN, Frieder NAKE, Jens HAUSER,
Andreas LANGE, Christa SOMMERER, knowbotic research, Jeffrey SHAW,
Oliver GRAU, and many others. Historical derivations that go far back
into art and media history are tied in intriguing ways to digital art.
Key approaches and methods from Image Science, Media Archaeology and the
History of Science & Technology will be discussed. Media Art History
offers a basis for understanding evolutionary history of audiovisual
media, from the Laterna Magica to the Panorama, Phantasmagoria, Film,
and the Digital Art of recent decades. Using the latest online archives,
knowledge of computer animation, interactive, telematic and genetic art
as well as the most recent reflections on net art, CAVE installations,
augmented reality and locative media are introduced. Artists and
programmers give new insights into the latest software and interface
developments. The MediaArtHistories learning environment at the Center
for Image Science integrates world-wide leading scholars from the field
into a faculty working intensely with the students in seminars and
workshops.


>>CONFIRMED for the MediaArtHistories Module in November 2012<<
Erkki HUHTAMO (FI/US) presents the most recent research from his new
publication "Illusions in Motion“. Oliver GRAU (DE/AT) introduces the
backgrounds in MediaArtHistories. Kathy Rae HUFFMAN (US) discusses the
History of Video Art as well as the feminist reading of Media Art.
Thomas DREHER (DE) introduces important transitions of Intermedia Arts
from the 50s and 60s, and Virtual Architecture is presented by Or
ETTLINGER (IS/SL). Nat MULLER (NL) goes in-depth on her upcoming book
"Media Art in the Middle East“. Jacob WAMBERG (DK) goes deep into the
Art History of Evolution of Imagery. The Module will round off with a
three-day excursion to ZKM in Karlsruhe, Germany with teaching by Margit
ROSEN (DE) and Morten SONDERGAARD (DK) and behind the scenes / into the
studios with Bernd LINTERMANN (DE), RobotLab and the Laboratory for
Antiquated Video Systems.


MediaArtHistories course
www.donau-uni.ac.at/mah 

Info Session 
http://www.donau-uni.ac.at/de/department/artsmanagement/veranstaltungen/id/18606/index.php


Facebook group 
https://www.facebook.com/groups/mediaarthistories/ 

Event
https://www.facebook.com/events/517632354930987/ 


We look forward to seeing you there! 


For additional information:

(de) Verena Hauer
verena.ha...@donau-uni.ac.at 
+43 (0)2732 893-2569

(en) Wendy Coones
wendy.coo...@donau-uni.ac.at 
+43 (0)2732 893-2543

Center for Image Science
Department of Arts and Image Science
Danube University Krems



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[rohrpost] Reminder "Österreichische Nationalbibliothek"- Teilstipendium für Bildwissenschaft, MA"

[Image Science]

"ÖSTERREICHISCHE NATIONALBIBLIOTHEK - TEILSTIPENDIUM FÜR
BILDWISSENSCHAFT, MA"
Berufsbegleitendes Studium mit internationaler Faculty im UNESCO
Weltkulturerbe Wachau

BEWERBUNGSFRIST: 10. JUNI 2012

In Zusammenarbeit mit der Österreichischen Nationalbibliothek vergibt
das Zentrum für Bildwissenschaften, Donau-Universität, ein
Halbstipendium für die Teilnahme am Masterstudiengang
„Bildwissenschaften, MA“. Das renommierte Programm startet am 13.
Oktober 2012 bereits zum siebenten Mal. 

Das berufsbegleitende Masterprogramm brachte bisher Teilnehmer
renommierter Einrichtungen aus dem gesamten deutschsprachigen Raum und
darüber hinaus - wie Albertina Wien, Österreichische Nationalbibliothek,
Chicago Art Institut, Süddeutschen Zeitung, Deutsche Kinemathek, ETH
Zürich oder Schweizerisches Bundesarchiv – working professionals -
zum gemeinsamen Studium an das Zentrum für Bildwissenschaften. 

Eine internationale Faculty, für die Namen wie Christian BRACHT, Martin
Roman DEPPNER, Monika FABER, Oliver GRAU, Anton HOLZER, Harald KRAEMER,
Herbert LACHMAYER, Christiane PAUL oder Klaus SACHS-HOMBACH stehen,
vermittelt am Zentrum für Bildwissenschaften ein in Europa einzigartig
und individuell kombinierbares Ausbildungsprogramm. Studierende erwerben
Kernkompetenzen und Schlüsselqualifikationen für den zeitgenössischen
Kunst-, Bild- und Medienmarkt. Didaktisch innovativ werden in
Kleingruppen neueste Forschungserkenntnisse genauso vermittelt, wie
praktisches Know-How durch Hands-On-Experiences, soziales Lernen und
praktischen Austausch mit ProjektpartnerInnen aus der
Kulturwissenschaft.

Bewerbungen müssen aus einem Bewerbungsbogen (download unter:
www.donau-uni.ac.at/bw-stipendium) und einem Letter of Motivation
(ca. 2 Seiten) bestehen. Diesen schicken Sie bitte, bis spätestens
10.06.2012, entweder per Mail an: andrea.haber...@donau-uni.ac.at, oder
postalisch an: Donau-Universität Krems, zH Frau Andrea Haberson,
Dr.-Karl-Dorrekstraße 30, 3500 Krems/Donau, AUSTRIA

Eine aus beiden Institutionen zusammengesetzte Jury entscheidet über
die Vergabe des Teilstipendiums. 

Termine:
Studieneingang: VISUELLE KOMPETENZEN Start: 13.10.2012 
www.donau-uni.ac.at/visuellekompetenzen 
Wahlprogramm: DIGITALES SAMMLUNGSMANAGEMENT Start: 06.04.2013
www.donau-uni.ac.at/digimanagement 
Wahlprogramm: AUSSTELLUNGSDESIGN UND -MANAGEMENT Start: 02.11.2013
www.donau-uni.ac.at/ausstellungsdesign 
Fachvertiefung: FOTOGRAFIE Start: 12.04.2014
www.donau-uni.ac.at/fotografie 

Weitere Information zum Studium und zur Bewerbung:
www.donau-uni.ac.at/bildwissenschaft und
www.donau-uni.ac.at/bw-stipendium 

Information und Anmeldung 
Andrea Haberson 
Tel. +43 (0)2732 893-2569 
Fax. +43 (0)2732 893-4551 
E-Mail: andrea.haber...@donau-uni.ac.at 

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[rohrpost] Reminder Infoveranstaltung Bildwissenschaft, MA 21.04.2012, Wien

[Image Science]

INFORMATIONSVERANSTALTUNG „BILDWISSENSCHAFT, MASTER OF ARTS“ AM 21.
APRIL IN WIEN
 
Das Team des Zentrums für Bildwissenschaften der Donau-Universität
Krems informiert Sie am 21. April 2012 im Wiener Museumsquartier zu
Aufbau und Ablauf des Studiums, Zielsetzungen und Methoden des
Programms. InteressentInnen des Masterstudiums wie auch der separat
belegbaren Programme Visuelle Kompetenzen, Exhibition Development,
Digitales Sammlungsmanagement und Fotografie sind gleichermaßen
angesprochen. 
 
Um Anmeldung wird gebeten:
http://www.donau-uni.ac.at/de/department/artsmanagement/veranstaltungen/id/17712/index.php

 
21.04.2012, 16:00-18:00
Museums Quartier Wien | quartier 21 | Raum D
1070 Wien
 
Das renommierte Programm „Bildwissenschaften, MA“ startet am 13.
Oktober 2012 bereits zum siebenten Mal. Für die Teilnahme am aktuellen
Studiengang vergibt das Zentrum für Bildwissenschaften, in
Zusammenarbeit mit der Österreichischen Nationalbibliothek, ein
Teilstipendium. Bewerbungen werden bis 10. Juni 2012 angenommen. 
 
Weitere Informationen zu Studium, Stipendium und Anmeldung zur
Informationsveranstaltung unter: www.donau-uni.ac.at/bildwissenschaft 
 
Auf Ihr Kommen freut sich 
das Team des Zentrums für Bildwissenschaften.
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[rohrpost] REZENSION: Oliver GRAU (Hg.) Imagery in the 21st Century, von Pamela C. Scorzin

[Image Science]

IMAGERY IN THE 21st CENTURY, hrsg. v. Oliver GRAU unter Mitarbeit von
Thomas VEIGL 

Mit Beiträgen von: Sean CUBITT, Martin SCHULZ, Eduardo KAC, Thomas
VEIGL, Stefan HEIDENREICH, Olaf BREIDBACH, 
Dolores & David STEINMAN, James ELKINS, Wendy CHUNG, Christa SOMMERER &
Laurent MIGNONNEAU, Marie Luise ANGERER, 
Peter WEIBEL, Adrian CHEOK, Tim Otto ROTH, Harald KRÄMER, Lev MANOVICH,
Martin WARNKE, Oliver GRAU und Martin KEMP

MIT Press, Cambridge, Mass. 2011; 410 S., 132 Farb- und SW-Abb.; ISBN
978-0-262-01572-1; € 29,99


Nach "Virtual Art. From Illusion to Immersion" (2003) und
"MediaArtHistories" (2007) hat Oliver Grau, Inhaber des ersten
Lehrstuhls für Bildwissenschaften im deutschen Sprachraum am Department
für Bildwissenschaften der Donau-Universität Krems (Niederösterreich),
unter Mitarbeit von Thomas Veigl, in der MIT Press ein reiches
Sammelwerk zum entgrenzten Bildbegriff der Gegenwart vorgelegt. Neue
technische Produktionsweisen, vielfältige digitale
Visualisierungsmöglichkeiten und neue technische Distributionswege
wie die Social Media Plattformen des World Wide Web oder internetfähige
Smart Phones haben in den letzten Jahren auch unseren Bildbegriff
tiefgehend verändert und erweitert. Unter dem Globaltitel "Imagery in
the 21st Century" werden neuartige Formen und spezifische Funktionen von
Bildlichkeit in der zeitgenössischen Kultur der neuen digitalen Medien
untersucht. Es geht dabei nicht allein nur um die aktuellen
Herausforderungen durch die neuen Bilder und ihren inflationären
Gebrauch in unserer globalisierten Kultur, die für Alle eine neue
Bildkritik als (soziale) Schlüsselkompetenz einfordern. Fortgeführt wird
unter diesen aktuellen Bedingungen und rasanten Entwicklungen der
Digitalen Kulturen auch die von W. J. T. Mitchell bereits in den
Neunziger Jahren angestoßene Debatte, was denn Bilder überhaupt
ausmachen und was sie in Gesellschaften bewirken wollen, bzw. wie sie
funktionieren und was sie auslösen können. Die zahlreichen Beiträge des
in englischer Sprache verfassten Bandes von Oliver Grau diskutieren
dafür exemplarisch unterschiedliche virtuelle, mitunter interaktive
Bildphänomene in Kunst, Populärkultur und Wissenschaft zu Beginn des 21.
Jahrhunderts.

Im Mittelpunkt der verschiedenen kritischen Diskussionen stehen dabei
besonders all jene komplexen Bildprozesse, die Unsichtbares in
Sichtbarkeit überführen und dabei Verständnis oder Wissen über ein
intuitives Erfassen durch die körperlichen Sinne generieren. Denn
augenscheinlich beginnen moderne Gesellschaften heute wieder stärker und
neu "in Bildern zu denken": "The iconic turn is definitely capable of
holding its own in the face of the overpowering fixation on language and
text – by conferring on the image its own cognitive capability. The
image is not just some new theme; rather it concerns a different way of
thinking. This entails thinking with images: images as an independent
means of cognizance. Yet even here we see that the iconic turn remains
reliant on language." (S. 16)

Eine international renommierte Beiträgerschaft aus Kunst, Natur- und
Geisteswissenschaften widmet sich daher transdisziplinär dieser jüngsten
"Revolution des Bildes" und ihrer Auswirkungen auf eine globalisierte
Mediengesellschaft der Gegenwart. Prämisse für alle Einzelstudien ist
gleichzeitig die Beobachtung, dass wohl niemals zuvor in der
Kulturgeschichte sich die Methoden und Techniken der Bilderzeugung und
-verbreitung so rasant und fundamental verändert haben wie in unserer
jüngsten Gegenwart: "Never before has the world of images changed so
fast; never before have we been exposed to so many different image
forms; and never before has the way images are produced transformed so
drastically. Images are advancing into new domains: private platforms,
like Flickr with its billions of uploads or Facebook with several
hundred million members, have become very powerful tools. Second Life,
micro movies, or vj-ing are keywords for a ubiquitous use of images.
Television is now a global field of thousands of channels; projection
screens have entered our cities; a hundred thousand and one new video
are published every day, in video communities like YouTube and the
interactive three-dimensional world of images: a virtual and seemingly
authentic parallel universe is expanding" (S.1)

Was zunächst wohl für viele als eine reine Binsenweisheit daher kommen
mag, erschöpft sich aber weniger in einer plakativen
"Buchbindersynthese", sondern dient tatsächlich im Band als eine
fruchtbare Ausgangsdiagnose, die im Weiteren zu differenzierten und
spezifischen Auslegungen in den verschiedenen ausgewählten Beiträgen
führt. Gleichzeitig sind die internationalen Beiträger dabei
bestrebt, vor diesem Hintergrund traditionelle theoretische Grundlagen
neuer kritischer Reflexion zu unterziehen und dem Leser ein facettiertes
Spektrum aktueller Techniken und Technologien der Bildproduktion,
-distribution und -archivierung sowie des wissenschaftlichen Einsatzes
vorzustellen. Angestrengt 

[rohrpost] "ÖSTERREICHISCHE NATIONALBIBLIOTHEK - TEILSTIPENDIUM FÜR BILDWISSENSCHAFT, MA"

[Image Science]

"ÖSTERREICHISCHE NATIONALBIBLIOTHEK - TEILSTIPENDIUM FÜR
BILDWISSENSCHAFT, MA"
Berufsbegleitendes Studium mit internationaler Faculty im UNESCO
Weltkulturerbe Wachau
>Einreichefrist: 10.06.2012
 
In Zusammenarbeit mit der Österreichischen Nationalbibliothek vergibt
das Zentrum für Bildwissenschaften, Donau-Universität, ein
Halbstipendium für die Teilnahme am Masterstudiengang
„Bildwissenschaften, MA“. Das renommierte Programm startet am 13.
Oktober 2012 bereits zum siebenten Mal. 
 
Schicken Sie uns Ihre Bewerbung mit Motivationsschreiben und
Bewerbungsbogen bis 10.06.2012. Eine aus beiden Institutionen
zusammengesetzte Jury entscheidet über die Vergabe. 
 
MASTER OF ARTS IN BILDWISSENSCHAFT
Die digitale Medienrevolution stärkt das Medium Bild als
Wissensspeicher und Kommunikationsinstrument unserer globalisierten
Gesellschaft - eine Dynamik die professionellen Umgang mit Bildern
fordert. Von der Bildanalyse komplexer kultureller, ökonomischer und
politischer Dimensionen über die Sammlung und digitale Archivierung von
Bildmaterial bis hin zur Vermittlung im Ausstellungskontext reicht das
Anforderungsprofil an Menschen die mit Bildern arbeiten.
 
Eine internationale Faculty, für die Namen wie Christian BRACHT, Martin
Roman DEPPNER, Monika FABER, Oliver GRAU, Harald KRAEMER, Herbert
LACHMAYER, Christiane PAUL, Klaus SACHS-HOMBACH, Martin WARNKE oder Beat
WYSS (Auszug) stehen, vermittelt am Zentrum für Bildwissenschaften ein
in Europa einzigartig und individuell kombinierbares
Ausbildungsprogramm. Studierende erwerben Kernkompetenzen und
Schlüsselqualifikationen für den zeitgenössischen Kunst-, Bild- und
Medienmarkt. Didaktisch innovativ werden in Kleingruppen neueste
Forschungserkenntnisse genauso vermittelt, wie praktisches Know-how
durch Hands-On-Experiences, soziales Lernen und praktischen Austausch
mit ProjektpartnerInnen aus der Kulturwissenschaft.
 
AbsolventInnen des Studiums der Bildwissenschaft arbeiten in
renommierten Einrichtungen aus dem gesamten deutschsprachigen Raum und
darüber hinaus - wie Albertina Wien, Österreichische Nationalbibliothek,
Chicago Art Institute, Süddeutsche Zeitung, Deutsche Kinemathek,
Deutsches Filmmuseum, Hochschule für angewandte Wissenschaften Augsburg,
ETH Zürich, Schweizerisches Bundesarchiv u.v.m. 
 
Die Veranstaltungen finden an der Donau-Universität, sowie am Zentrum
für Bildwissenschaften im Stift Göttweig statt. Die sogenannte "Alte
Burg" aus dem 14. Jahrhundert steht unter Denkmalschutz. In der Alten
Burg ist zugleich die Graphische Sammlung des Stifts untergebracht,
Österreichs größte Privatsammlung historischer Graphiken. Die
digitale Erschließung der Graphischen Sammlung ist ein Projekt des
Zentrums für Bildwissenschaften in Kooperation mit dem Stift Göttweig
www.gssg.at. Ferner ist die international umfassendste Dokumentation
zeitgenössischer Medienkunst am Zentrum angesiedelt www.virtualart.at.
 
Die Donau-Universität Krems, im UNESCO-Weltkulturerbe Wachau gelegen,
bietet als erste staatliche Universität Europas postgraduale
Weiterbildung von internationalem Zuschnitt.
 
Weitere Informationen zu Studiengang und Bewerbung
www.donau-uni.ac.at//bw-stipendium 
 
TERMINE
Studieneingang: VISUELLE KOMPETENZEN >> Start: 13.10.2012 
www.donau-uni.ac.at/visuellekompetenzen 
Wahlprogramm: DIGITALES SAMMLUNGSMANAGEMENT >> Start: 06.04.2013
www.donau-uni.ac.at/digimanagement 
Wahlprogramm: EXHIBITION DEVELOPMENT >> Start: 02.11.2013
www.donau-uni.ac.at/ausstellungsdesign 
Fachvertiefung: FOTOGRAFIE >> Start: 12.04.2014
www.donau-uni.ac.at/fotografie 
 
INFORMATION UND ANMELDUNG
Andrea Haberson 
Tel. +43 (0)2732 893-2569 
E-Mail: andrea.haber...@donau-uni.ac.at 
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[rohrpost] Reminder::WESTLICHT HALBSTIPENDIUM FÜR FOTOGRAFIE

[Image Science]

>WESTLICHT HALBSTIPENDIUM FÜR FOTOGRAFIE<

Bewerbungen für das WESTLICHT HALBSTIPENDIUM FÜR FOTOGRAFIE sind noch
bis 11. SEPTEMBER 2011 möglich.

Das Teilstipendium soll Personen, die beruflich intensiv mit Fotografie
beschäftigt sind, sowie MitarbeiterInnen in Kultur- und
Wissenschaftseinrichtungen, die an der Weiterbildung im Bereich
Fotografie interessiert sind, unterstützen.

Bewerbungen müssen aus einem Bewerbungsbogen (download unter:
www.donau-uni.ac.at/fotografie-stipendium) und einem Letter of
Motivation (ca. 2 Seiten) bestehen.
Diesen schicken Sie bitte, bis spätestens 11.09.2011, entweder per Mail
an: andrea.haber...@donau-uni.ac.at, oder postalisch an:
Donau-Universität Krems, zH Frau Andrea Haberson,
Dr.-Karl-Dorrekstraße 30, 3500 Krems/Donau, AUSTRIA

Eine Jury wird die Bewerbungen sichten und über die Vergabe des
Halbstipendiums entscheiden. 

Modul 1: 15.10.-21.10.2011
FOTOGESCHICHTE UND –TECHNIK

Modul 2: 21.01.-27.01.2012
FOTOGESCHICHTE UND THEORIE

Modul 3: 10.03.-16.03.2012
BILDMÄRKTE

Faculty: Carl AIGNER, Hubertus von AMELUNXEN, Gerry BADGER, Simon
BAUER, Alfred BÜLLESBACH, Peter COELN, Martin Roman DEPPNER, Monika
FABER, Jens GOLD, Oliver GRAU, Andreas GRUBER, Wolfgang HESSE, Otto
HOCHREITER (Koordination/Leitung), Anton HOLZER, Ruth HORAK, Jens JÄGER,
Wiebke RATZEBURG, Ulrich RÜTER, Christian SKREIN BUMBALA, Timm STARL,
Friedrich TIETJEN, Eva TROPPER

Weitere Information zum Lehrgang und zur Bewerbung:
www.donau-uni.ac.at/fotografie 

Information und Anmeldung 
Andrea Haberson 
Tel. +43 (0)2732 893-2569 
Fax. +43 (0)2732 893-4551 
E-Mail: andrea.haber...@donau-uni.ac.at 


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[rohrpost] WESTLICHT HALBSTIPENDIUM FÜR FOTOGRAFIE

[Image Science]

>>>WESTLICHT HALBSTIPENDIUM FÜR FOTOGRAFIE <<<
 
Das Department für Bildwissenschaften der Donau-Universität Krems freut
sich gemeinsam mit der Fotogalerie WestLicht ein Halbstipendium für das
Certified Programm "Fotografie" auszuschreiben. 
 
Bewerbungen sollen aus einem Bewerbungsbogen und einem Letter of
Motivation bestehen. 
Eine Jury wird die Bewerbungen sichten und über die Vergabe der
Stipendien entscheiden. 
Deadline für Einreichungen: 11. September 2011
 
FOTOGRAFIE (1 Semester, berufsbegleitend, Internationale Faculty)
 
Das Certified Programm Fotografie bietet Theorie und Geschichte der
Fotografie als zentrales Medium bildwissenschaftlicher Diskurse an. Die,
dem Exzellenzprinzip verpflichte, Lehre wird von sorgfältig ausgewählten
und wissenschaftlich ausgewiesenen, internationalen ExpertInnen der
Spezialbereiche (wie Modefotografie, Bildjournalismus, Soziale
Gebrauchsweisen, Fotomärkte, historische Fototechnik, Digitalfotografie
etc.) ausgeübt. 
 
In lebendigen Seminaren, Übungen und Vorlesungen können in der
konzentrierten Studienatmosphäre des Zentrums für Bildwissenschaften im
Stift Göttweig zentrale Kompetenzen für Positionen in Foto-Institutionen
und fotobezogenen (Ausstellungs-)Projekten, in kunst-,
technikgeschichtlichen sowie kulturwissenschaftlichen Museen, Archiven
und Bibliotheken erworben werden.
 
Das Programm richtet sich insbesondere an MitarbeiterInnen in Kultur-
und Wissenschaftseinrichtungen wie z.B. Sammlungen, Archiven, Museen,
Bibliotheken sowie Personen, die sich beruflich intensiv mit Fotografie
befassen wie z.B. FotografInnen, JournalistInnen, FotoredakteurInnen und
MitarbeiterInnen in Werbeagenturen und Pressestellen. 
 
Modul 1: 15.10.-21.10.2011
FOTOGESCHICHTE UND –TECHNIK
 
Modul 2: 21.01.-27.01.2012
FOTOGESCHICHTE UND THEORIE
 
Modul 3: 10.03.-16.03.2012
BILDMÄRKTE
 
Faculty: Carl AIGNER, Hubertus von AMELUNXEN, Simon BAUER, Alfred
BÜLLESBACH, Peter COELN, Martin Roman DEPPNER, Monika FABER, Jens
GOLD, Oliver GRAU, Andreas GRUBER, Wolfgang HESSE, Otto HOCHREITER
(Koordination/Leitung), Anton HOLZER, Ruth HORAK, Jens JÄGER, Wiebke
RATZEBURG, Ulrich RÜTER, Christian SKREIN BUMBALA, Timm STARL, Friedrich
TIETJEN, Eva TROPPER
 
Die Lehrveranstaltungen finden im Zentrum für Bildwissenschaften im
Stift Göttweig statt. Die sogenannte "Alte Burg" aus dem 14. Jahrhundert
steht unter Denkmalschutz, für seine neue Bestimmung wurde das Gebäude
anspruchsvoll renoviert und mit Seminarraumtechnik ausgestattet. In der
Alten Burg ist zugleich die Graphische Sammlung des Stifts
untergebracht, Österreichs größte Privatsammlung historischer Graphiken.
Die digitale Erschließung der Graphischen Sammlung ist ein Projekt des
Departments für Bildwissenschaften in Kooperation mit dem Stift
Göttweig. www.gssg.at. Das internationale umfassendste Archiv der
Digitalen Kunst www.virtualart.at ist gleichfalls am Department für
Bildwissenschaften angesiedelt.
 
Die Donau-Universität Krems, im UNESCO-Weltkulturerbe Wachau gelegen,
bietet als erste staatliche Universität Europas postgraduale
Weiterbildung von internationalem Zuschnitt.
 
Das Department für Bildwissenschaften ist eine international
vergleichslose Plattform für Forschung und bildet innovative Lehre zu
allen Formen von Bildern. In den Studiengängen des Departments lehren in
der internationalen Faculty derzeit über 100 führende Experten. Das
Studium am DBW umfasst die gesamte Bandbreite der Kunst- und
Bildgeschichte vor Originalen. Studierende erwerben
Schlüsselqualifikationen für den zeitgenössischen Kunst- und
Bildmarkt. In Kleingruppen werden neueste Forschungserkenntnisse genauso
vermittelt, wie praktisches Know-How durch Hands-On-Experiences,
soziales Lernen und praktischen Austausch mit ProjektpartnerInnen aus
der Kulturwissenschaft und -wirtschaft.
 
Weitere Information zum Lehrgang und zur Bewerbung:
www.donau-uni.ac.at/fotografie 
 
Information und Anmeldung 
Andrea Haberson 
Tel. +43 (0)2732 893-2569 
Fax. +43 (0)2732 893-4551 
E-Mail: andrea.haber...@donau-uni.ac.at 
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[rohrpost] Reminder Halbstipendien *Digitales Sammlungsmanagement* und *Exhibition Design*

[Image Science]

Reminder

Aufgrund vieler Nachfragen zu den HALBSTIPENDIEN DEUTSCHER UND
ÖSTERREICHISCHER MUSEUMSBUND für die im April 2011 startenden
Studiengänge *Digitales Sammlungsmanagement* und *Exhibition Design*
des Departments für Bildwissenschaften, möchten wir an die EINREICHFRIST
mit 13. MÄRZ 2011 erinnern. Die Bewerbung steht allen Nationalitäten
offen.

**
Halbstipendium Deutscher Museumsbund für digitale Sammlungen

In einer globalen Gesellschaft, die Bildinformationen wie einen
Rohstoff handelt, besitzen professionell aufgearbeitete, digitale
Bildsammlungen beachtlichen kulturwissenschaftlichen und ökonomischen
Wert. Die Donau-Universität Krems startete daher zum fünften Mal in
enger Abstimmung mit dem Internationalen Wissensnetzwerk Digitale
Langzeitarchivierung ein berufsbegleitendes, einsemestriges "low
residency" Programm mit internationaler Faculty. 

Experten, für die Namen wie Harald KRAEMER, Michael FREITTER, Axel
ERMERT, Max KAISER, Monika HAGEDORN-SAUPE, Holger SIMON, Rudolf GSCHWIND
oder Christian BRACHT stehen, vermitteln den aktuellen Stand des Wissens
zur digitalen Erfassung, Erschließung und Langzeitarchivierung von
Bildern.
 
Modultermine:
Modul 1: 09. - 15. April 2011
Digitalisierung und Archivierung

Modul 2: 11. - 17. Juni 2011
Digitalisierungskonzepte und Projektmanagement

Modul 3: 10. - 16. September 2011
Umsetzung und Präsentation

Weitere Informationen zum Lehrgang und zur Bewerbung:
www.donau-uni.ac.at/digimanagement 

**
Half-tuition scholarship Museum Association Austria for Exhibition
Design and Management 

International experts like Dieter BOGNER, Christiane PAUL, Jorge
WAGENSBERG, Audrey O'CONNELL, Dieter RONTE, Lutz ENGELKE, Frank den
OUDSTEN, Becky GILBERT or Gerfried STOCKER are brought together through
this singular program - a network that combines historic vision with the
latest knowledge about current developments and trends on a high level.

The certified program is a part of the post-graduate masters program at
the Department for Image Science, under the direction of the American
exhibition developer Wendy Jo Coones, M.Ed., who has been a part of the
realization of 60 international exhibitions. Based on the needs and
schedules of the students, the credits earned in Exhibition Design and
Management can be combined with other programs to upgrade to an academic
expert or masters degree.

Modules:
Module 1: From Theory to Practice: competent planning and organization
of exhibitions 
April 16-24, 2011

Module 2: From the Practice to Preparation: professional realization of
exhibitions
November 5-17, 2011

Further information on the program: 
www.donau-uni.ac.at/exhibit 

**
Kontakt:
Andrea Haberson
Department for Image Science 
Danube-University Krems
Dr.-Karl-Dorrek-Str. 30, A-3500 Krems
Tel: +43(0)2732 893-2569
andrea.haber...@donau-uni.ac.at 
www.donau-uni.ac.at/dbw 


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[rohrpost] Crossmedia vor Neustart an der Donau- Universität Krems

[Image Science]

Donau-Universität: Crossmedia Design & Development (M.Sc.) -- 
Berufsbegleitend Studieren im UNESCO Kulturerbe, internationale Faculty


Aufgrund der guten Response und des hohen Interesses startet ab
November 2010 das Departments für Bildwissenschaften einen 2ten
Durchgang des berufsbegleitenden Programms CROSSMEDIA DESIGN &
DEVELOPMENT (M.Sc.) über 4 Semester sowie ein Certified Programm über
zwei Semester. 

CROSSMEDIA bietet eine umfassende berufliche Weiterbildung für Personen
aus dem Kultur- und Medienbereich, die sich mit praxisorientierten
Ansätzen und dem Verständnis und der Entwicklung von crossmedialen
Strategien auseinander setzen wollen. 

Führende internationale ExpertInnen demonstrieren und analysieren
gemeinsam mit den Studierenden crossmediale Projektformate und
User-orientierte Plattformen. Eingebettet sind die Praxismodule in
Überblicksveranstaltungen zu neuen und neuesten Entwicklungen im
Bereich Social Media, für die Schlagworte wie Web 2.0, Virtual Reality,
Branded Entertainment, Viral Media, Videoplattformen, Visual Music,
Scientific Visualisation und Mashup stehen und die eine Vielzahl von
neuen Möglichkeiten umfassen, Inhalte zu planen, zu produzieren und
distribuieren. 

Crossmedia verbindet medienübergreifend Inhalte, Produkte und
technologische Anwendungen im Bereich Social und Visual Media und deren
Vertrieb über unterschiedliche Kanäle. Insbesondere im Kultur- und
Medienbereich setzt der Einsatz von Crossmedia Strategien im Kultur-
oder Medienbereich zunehmend ein Verständnis für die gesellschaftliche
Bedeutung der visuellen und partizipativen Mediennutzung voraus. Kern
von Crossmedia Design & Development (M.Sc.) ist daher die Vermittlung
von Digital Media Literacy in Theorie und Praxis, die zudem aus den
aktuellsten Entwicklungen und Best Practice schöpft aus Bereichen wie
Social Media und Konvergenzkultur, medienkonvergente Strategien,
Transmedia Storytelling, Medienrecht und Cyberlaw und Crossmedia
Management. 

Wichtig ist die Befähigung, Potentiale und Veränderungen neuer
Entwicklungen einschätzen und diese für die eigenen Ziele auch produktiv
nutzen zu können. Studierende prüfen Social Media Tools und Web
2.0.-Modelle auf ihren Impact und Praxistauglichkeit. In ihrer
Master-Thesis entwickeln die TeilnehmerInnen zum Beispiel eigene
Crossmedia-Strategie und deren mediengerechte Umsetzung in Konzeption,
Gestaltung und Vertrieb in einem Abschlussprojekt. 

VORTRAGENDE/REFERENTINNEN : 
Geoffrey LONG (MIT), Ramón REICHERT (Kunstuniversität Linz), Eberhard
DÜRRSCHMID (Greentube I.E.S. AG), Monika FLEISCHMANN, Prof. Oliver
GRAU (DUK) Stefan HEIDENREICH (Humboldt-Universität Berlin), Jana HERWIG
(Uni Wien), Prof. Lev MANOVICH (University of California, San Diego),
Dodo ROSCIC (ORF, Wien), Prof. Hendrik SPECK (New York u.a.), Konstanze
WAGENHOFER (ORF, Styria Verlag, Wien), Prof. Michael WAGNER (DUK),
Andreas WOCHENALT und viele andere. 

Ein Teil des Programms findet im Zentrum für Bildwissenschaften / Stift
Göttweig (UNESCO Kulturerbe) statt. Das Bauwerk aus dem 14. Jahrhundert
steht unter Denkmalschutz und wurde für seine neue Bestimmung
anspruchsvoll renoviert und mit moderner Technik ausgestattet. 

Crossmedia Design & Development (M.Sc.) ist berufsbegleitend ausgelegt
und nutzt einen Blended-Learning-Ansatz, um die Anzahl der Präsenzzeiten
auf insgesamt 30 Tage - verteilt über einen Zeitraum von zwei Jahren -
zu reduzieren. Jedes der 8 Lehrmodule besteht zudem i.d.R. aus einer
Vor- und Nachbereitungsphase mit abschließender Leistungsfeststellung. 

Weitere Informationen und studentische Testimonials:
www.donau-uni.ac.at/crossmedia 

Kontakt: Andrea Haberson 
Telefon: +43 (0)2732 893-2569, Fax: +43 (0)2732 893-4551 
E-Mail: andrea.haber...@donau-uni.ac.at 


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[rohrpost] Crossmedia vor Neustart an der Donau- Universität Krems

[Image Science]

Donau-Universität: Crossmedia Design & Development (M.Sc.) -- 
Berufsbegleitend Studieren im UNESCO Kulturerbe, internationale Faculty


Aufgrund der guten Response und des hohen Interesses startet ab
November 2010 das Departments für Bildwissenschaften einen 2ten
Durchgang des berufsbegleitenden Programms CROSSMEDIA DESIGN &
DEVELOPMENT (M.Sc.) über 4 Semester sowie ein Certified Programm über
zwei Semester. 

CROSSMEDIA bietet eine umfassende berufliche Weiterbildung für Personen
aus dem Kultur- und Medienbereich, die sich mit praxisorientierten
Ansätzen und dem Verständnis und der Entwicklung von crossmedialen
Strategien auseinander setzen wollen. 

Führende internationale ExpertInnen demonstrieren und analysieren
gemeinsam mit den Studierenden crossmediale Projektformate und
User-orientierte Plattformen. Eingebettet sind die Praxismodule in
Überblicksveranstaltungen zu neuen und neuesten Entwicklungen im
Bereich Social Media, für die Schlagworte wie Web 2.0, Virtual Reality,
Branded Entertainment, Viral Media, Videoplattformen, Visual Music,
Scientific Visualisation und Mashup stehen und die eine Vielzahl von
neuen Möglichkeiten umfassen, Inhalte zu planen, zu produzieren und
distribuieren. 

Crossmedia verbindet medienübergreifend Inhalte, Produkte und
technologische Anwendungen im Bereich Social und Visual Media und deren
Vertrieb über unterschiedliche Kanäle. Insbesondere im Kultur- und
Medienbereich setzt der Einsatz von Crossmedia Strategien im Kultur-
oder Medienbereich zunehmend ein Verständnis für die gesellschaftliche
Bedeutung der visuellen und partizipativen Mediennutzung voraus. Kern
von Crossmedia Design & Development (M.Sc.) ist daher die Vermittlung
von Digital Media Literacy in Theorie und Praxis, die zudem aus den
aktuellsten Entwicklungen und Best Practice schöpft aus Bereichen wie
Social Media und Konvergenzkultur, medienkonvergente Strategien,
Transmedia Storytelling, Medienrecht und Cyberlaw und Crossmedia
Management. 

Wichtig ist die Befähigung, Potentiale und Veränderungen neuer
Entwicklungen einschätzen und diese für die eigenen Ziele auch produktiv
nutzen zu können. Studierende prüfen Social Media Tools und Web
2.0.-Modelle auf ihren Impact und Praxistauglichkeit. In ihrer
Master-Thesis entwickeln die TeilnehmerInnen zum Beispiel eigene
Crossmedia-Strategie und deren mediengerechte Umsetzung in Konzeption,
Gestaltung und Vertrieb in einem Abschlussprojekt. 

VORTRAGENDE/REFERENTINNEN : 
Geoffrey LONG (MIT), Ramón REICHERT (Kunstuniversität Linz), Eberhard
DÜRRSCHMID (Greentube I.E.S. AG), Monika FLEISCHMANN, Prof. Oliver
GRAU (DUK) Stefan HEIDENREICH (Humboldt-Universität Berlin), Jana HERWIG
(Uni Wien), Prof. Lev MANOVICH (University of California, San Diego),
Dodo ROSCIC (ORF, Wien), Prof. Hendrik SPECK (New York u.a.), Konstanze
WAGENHOFER (ORF, Styria Verlag, Wien), Prof. Michael WAGNER (DUK),
Andreas WOCHENALT und viele andere. 

Ein Teil des Programms findet im Zentrum für Bildwissenschaften / Stift
Göttweig (UNESCO Kulturerbe) statt. Das Bauwerk aus dem 14. Jahrhundert
steht unter Denkmalschutz und wurde für seine neue Bestimmung
anspruchsvoll renoviert und mit moderner Technik ausgestattet. 

Crossmedia Design & Development (M.Sc.) ist berufsbegleitend ausgelegt
und nutzt einen Blended-Learning-Ansatz, um die Anzahl der Präsenzzeiten
auf insgesamt 30 Tage - verteilt über einen Zeitraum von zwei Jahren -
zu reduzieren. Jedes der 8 Lehrmodule besteht zudem i.d.R. aus einer
Vor- und Nachbereitungsphase mit abschließender Leistungsfeststellung. 

Weitere Informationen und studentische Testimonials:
www.donau-uni.ac.at/crossmedia 

Kontakt: Andrea Haberson 
Telefon: +43 (0)2732 893-2569, Fax: +43 (0)2732 893-4551 
E-Mail: andrea.haber...@donau-uni.ac.at 


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[rohrpost] STIPENDIEN für Ausstellungsdesign & Digitales Sammlungsmanagement am DBW

[Image Science]

e ein HALBSTIPENDIUM DEUTSCHER MUSEUMSBUND für Digitales
Sammlungsmanagement
sowie
HALBSTIPENDIUM MUSEUMSBUND ÖSTERREICH für Ausstellungsdesign am
Department für Bildwissenschaften zu vergeben

Deadline für Einreichung: 21. März 2010 (Bewerbungen sollen aus einem
Bewerbungsbogen und einem Letter of Motivation bestehen.)


DIGITALES SAMMLUNGSMANAGEMENT

In einer globalen Gesellschaft, die Bildinformationen wie einen
Rohstoff handelt, besitzen professionell aufgearbeitete, digitale
Bildsammlungen beachtlichen kulturwissenschaftlichen und ökonomischen
Wert. Die Donau-Universität Krems startete daher zum vierten Mal in
enger Abstimmung mit dem Internationalen Wissensnetzwerk Digitale
Langzeitarchivierung ein berufsbegleitendes, einsemestriges "low
residency" Programm mit internationaler Faculty. 

Der berufsbegleitende Universitätslehrgang brachte bisher Teilnehmer
renommierter Einrichtungen aus dem gesamten deutschsprachigen Raum, wie
Süddeutschen Zeitung Photo, Profil oder UNIDO (United Nations Industrial
Development Organisation) - working professionals - zum gemeinsamen
Studium an das Zentrum für Bildwissenschaften. Experten, für die Namen
wie Harald KRAEMER, Michael FREITTER, Axel ERMERT, Max KAISER, Monika
HAGEDORN-SAUPE, Holger SIMON, Rudolf GSCHWIND oder Christian BRACHT
stehen, vermitteln den aktuellen Stand des Wissens in der inspirierenden
Umgebung im Stift Göttweig in der UNESCO Kulturlandschaft Wachau. Die
internationale Faculty repräsentiert Institutionen wie das MUMOK Wien,
APA-Austria Presse Agentur, Foto Marburg, Österreichische
Nationalbibliothek und Bundeskanzleramt, Prometheus, Humboldt
Universität oder das Institut für Museumskunde Berlin. 

Der einsemestrige Universitätslehrgang Digitales Sammlungsmanagement
bietet einen umfassenden Einstieg in die Welt der digitalen Erfassung,
Erschließung und Langzeitarchivierung von Bildern. Ziel der Ausbildung
ist die Vermittlung von fundierten Kenntnissen für innovative
Projektentwicklung sowie Führungskompetenz in Projekten zur
professionellen Erschließung, Bewahrung und Vermarktung von digitalen
Bildern. 

Hauptsäulen unserer Forschung sind das Digitale Sammlungsmanagement und
die Langzeitarchivierung. So sind mit der Datenbank der Graphischen
Sammlung Göttweig www.gssg.at und der Datenbank für Virtuelle Kunst
www.virtualart.at zwei Pionierprojekte zur Archivierung von Graphik
und Digitaler Kunst an der Donau Universität angesiedelt, die von der
mittelalterlichen Buchillumination bis zur Medienkunst alles an einem
Ort zusammenführen. 

Module - zeitlicher Rahmen:
Modul 1: 10. - 16. April 2010
Digitalisierung und Archivierung

Modul 2: 12. - 18. Juni 2010
Digitalisierungskonzepte und Projektmanagement

Modul 3: 11. - 17. September 2010
Umsetzung und Präsentation

Weitere Informationen zum Lehrgang und zur Bewerbung:
www.donau-uni.ac.at/digimanagement 


AUSSTELLUNGSDESIGN UND -MANAGEMENT

Dieses Stipendium soll KünstlerInnen und WissenschafterInnen für eine
Weiterbildung im Bereich Ausstellungsdesign und -management
unterstützen.
Besonders willkommen sind BewerberInnen, die sich mit der Konzeption
und dem Management von Ausstellungen, Erlebniswelten und immersiven
Umgebungen befassen wollen.

Das modular aufgebaute und berufsbegleitend angelegte Certfied Program:
*Ausstellungsdesign und -management* stellt Konzeption und Management
von Ausstellungen, von Erlebniswelten und immersiven Umgebungen in den
Mittelpunkt und vermittelt in drei Modulen bis November 2010 alle
wesentlichen Kernkompetenzen zeitgenössischer Ausstellungspraxis.

Aufgrund des großen Interesses wird das Programm dieses Jahr zum 4 mal
gestartet.

Eine Faculty internationaler Experten Herbert LACHMAYER, Gerfried
STOCKER, PeterASSMANN, Frank den OUDSTEN, Stefan IGLHAUT, Brigitte
FELDERER, Lutz ENGELKE, MartinFRITZ, Harald GRÜNDL, Pat MUNRO, Dieter
BOGNER u.a. zeigen in Case Studies und Best Practice-Beispielen
Ausstellungspraxis von heute und morgen und geben tief greifenden
Einblick in die zeitgenössische Vielfalt des Ausstellens.

Das Certified Program ist Teil des modularen Gesamtprogramms des
Departments für Bildwissen-schaften und wird von der amerikanischen
Ausstellungsmacherin Wendy Jo Coones M. Ed. geleitet, die durch
Realisation von 60 internationalen Ausstellungen ausgewiesen ist. Auf
die eigenen Bedürfnisse und Zeitressourcen abgestimmt kann
Ausstellungsdesign und -management mit anderen Programmen des
Departments zu einem Experten- oder Masterlehrgang ausgebaut werden.

Module - zeitlicher Rahmen:
Modul 1: 17.04.-23.04.2010
Theorie: Ausstellungen kompetent planen

Modul 2: 03.07.-09.07.2010
Praxis: Ausstellungen kompetent organisieren

Modul 3: 06.11.-12.11.2010
Vorbereitung: Ausstellungen kompetent umsetzen

Lehrinhalte
Ausstellungen sind in der heutigen Wissensgesellschaft mehr als
einfache Präsentationen von Exponaten: sie schaffen Erlebnisse in
speziell inszenierten Räumen mit ganz unterschiedlicher Zielsetzung.
Ausstellungen informieren, kommunizieren, unterhalten und

[rohrpost] HALBSTIPENDIUM für das Programm DIG ITALES SAMMLUNGSMANAGEMENT

[Image Science]

HALBSTIPENDIEN für das Programm DIGITALES SAMMLUNGSMANAGEMENT
(UNESCO Weltkulturerbe Wachau, internationale Faculty,
berufsbegleitend)
> Einreichfrist 07. März 2010

Das Department für Bildwissenschaften freut sich ein Halbstipendien für
das im April 2010 startende Certified Program "Digitales
Sammlungsmanagement" ausschreiben zu können!

> DEUTSCHER MUSEUMSBUND STIPENDIUM für Digitales Sammlungsmanagement -
1 Halbstipendium 

In Rahmen einer Zusammenarbeit mit dem Deutschen Museumsbund schreibt
das Department für Bildwissenschaften 1 Halbstipendium für das Programm
"Digitales Sammlungsmanagement" aus. Eine Jury wird die Bewerbungen
sichten und über die Vergabe des Stipendiums entscheiden.

Deadline für Einreichung: 07. März 2010 (Bewerbungen sollen aus einem
Bewerbungsbogen und einem Letter of Motivation bestehen.)

DIGITALES SAMMLUNGSMANAGEMENT

In einer globalen Gesellschaft, die Bildinformationen wie einen
Rohstoff handelt, besitzen professionell aufgearbeitete, digitale
Bildsammlungen beachtlichen kulturwissenschaftlichen und ökonomischen
Wert. Die Donau-Universität Krems startete daher zum vierten Mal in
enger Abstimmung mit dem Internationalen Wissensnetzwerk Digitale
Langzeitarchivierung ein berufsbegleitendes, einsemestriges "low
residency" Programm mit internationaler Faculty. 

Der berufsbegleitende Universitätslehrgang brachte bisher Teilnehmer
renommierter Einrichtungen aus dem gesamten deutschsprachigen Raum, wie
Süddeutschen Zeitung Photo, Profil oder UNIDO (United Nations Industrial
Development Organisation) - working professionals - zum gemeinsamen
Studium an das Zentrum für Bildwissenschaften. Experten, für die Namen
wie Harald KRAEMER, Michael FREITTER, Axel ERMERT, Max KAISER, Monika
HAGEDORN-SAUPE, Holger SIMON, Rudolf GSCHWIND oder Christian BRACHT
stehen, vermitteln den aktuellen Stand des Wissens in der inspirierenden
Umgebung im Stift Göttweig in der UNESCO Kulturlandschaft Wachau. Die
internationale Faculty repräsentiert Institutionen wie das MUMOK Wien,
APA-Austria Presse Agentur, Foto Marburg, Österreichische
Nationalbibliothek und Bundeskanzleramt, Prometheus, Humboldt
Universität oder das Institut für Museumskunde Berlin. 

Der einsemestrige Universitätslehrgang Digitales Sammlungsmanagement
bietet einen umfassenden Einstieg in die Welt der digitalen Erfassung,
Erschließung und Langzeitarchivierung von Bildern. Ziel der Ausbildung
ist die Vermittlung von fundierten Kenntnissen für innovative
Projektentwicklung sowie Führungskompetenz in Projekten zur
professionellen Erschließung, Bewahrung und Vermarktung von digitalen
Bildern. 

Hauptsäulen unserer Forschung sind das Digitale Sammlungsmanagement und
die Langzeitarchivierung. So sind mit der Datenbank der Graphischen
Sammlung Göttweig www.gssg.at und der Datenbank für Virtuelle Kunst
www.virtualart.at zwei Pionierprojekte zur Archivierung von Graphik
und Digitaler Kunst an der Donau Universität angesiedelt, die von der
mittelalterlichen Buchillumination bis zur Medienkunst alles an einem
Ort zusammenführen. 

Module - zeitlicher Rahmen:
Modul 1: 10. - 16. April 2010
Digitalisierung und Archivierung

Modul 2: 12. - 18. Juni 2010
Digitalisierungskonzepte und Projektmanagement

Modul 3: 11. - 17. September 2010
Umsetzung und Präsentation


Weitere Informationen zum Lehrgang und zur Bewerbung:
www.donau-uni.ac.at/digimanagement 


=> DONAU UNIVERSITÄT KREMS - im UNESCO-Weltkulturerbe Wachau gelegen,
bietet als erste staatliche Universität Europas postgraduale
Weiterbildung von internationalem Zuschnitt. Das universitäre Programm
ist spezialisiert auf berufsbegleitendes  Lernen mit internationalen
Abschlüssen wie MA, MSC und MBA.

Eine internationale Faculty vermittelt am DEPARTMENT FÜR
BILDWISSENSCHAFTEN ein in Europa einzigartig und individuell
kombinierbares Ausbildungsprogramm. Studierende erwerben Kernkompetenzen
und Schlüsselqualifikationen für den zeitgenössischen Kunst- , Bild- und
Medienmarkt. Didaktisch innovativ werden in Kleingruppen neueste
Forschungserkenntnisse genauso vermittelt, wie praktisches Know-How
durch Hands-On-Experiences, soziales Lernen und praktischen Austausch
mit ProjektpartnerInnen aus der Kulturwissenschaft.

Das Department für Bildwissenschaften ist eine international
einzigartige Plattform für Forschung und innovative Lehre zu allen
Formen von Bildern. Es bietet Studienprogramme für neue Berufsfelder und
gibt einen breiten theoretischen und praktischen Überblick über
historische und aktuellste Bildformen und -verfahren. Von der
Druckgraphik bis zum Micromovie, von Film und Fotografie bis zur
Medienkunst umfasst das Studium am Department für Bildwissenschaften die
gesamte Bandbreite der Kunst- und Bildgeschichte vor Originalen.
www.donau-uni.ac.at/dbw 

Kontakt:
Andrea Haberson
Department für Bildwissenschaften
Donau-Universität Krems
Dr.-Karl-Dorrek-Str. 30, A-3500 Krems
Tel: +43(0)2732 893-2569
andrea.haber...@donau-uni.ac.at 
www.donau-uni.ac.at/dbw 


-- 
rohrpost - deutschsprachige Liste zur Ku

[rohrpost] HALBSTIPENDIEN für das Programm AUS STELLUNGSDESIGN UND MANAGEMENT

[Image Science]

HALBSTIPENDIUM für das Programm AUSSTELLUNGSDESIGN UND MANAGEMENT
(UNESCO Weltkulturerbe Wachau, internationale Faculty,
berufsbegleitend)
> Einreichfrist 07. März 2010 

Das Department für Bildwissenschaften freut sich ein Halbstipendium für
das im April 2010 startende Certified Program "Ausstellungsdesign und
-management" ausschreiben zu können!

> MUSEUMSBUND ÖSTERREICH STIPENDIUM für Ausstellungsdesign und
-management - 1 Halbstipendium 

In Rahmen einer Zusammenarbeit mit dem Museumsbund Österreich schreibt
das Department für Bildwissenschaften 1 Halbstipendium für das Programm
"Ausstellungsdesign und -managment" aus. Eine Jury wird die Bewerbungen
sichten und über die Vergabe des Stipendiums entscheiden.

Deadline für die Einreichung: 07. März 2010 (Bewerbungen sollen aus
einem Bewerbungsbogen und einem Letter of Motivation bestehen.)

AUSSTELLUNGSDESIGN UND -MANAGEMENT

Dieses Stipendium soll KünstlerInnen und WissenschafterInnen für eine
Weiterbildung im Bereich Ausstellungsdesign und -management
unterstützen.
Besonders willkommen sind BewerberInnen, die sich mit der Konzeption
und dem Management von Ausstellungen, Erlebniswelten und immersiven
Umgebungen befassen wollen.

Das modular aufgebaute und berufsbegleitend angelegte Certfied Program:
*Ausstellungsdesign und -management* stellt Konzeption und Management
von Ausstellungen, von Erlebniswelten und immersiven Umgebungen in den
Mittelpunkt und vermittelt in drei Modulen bis November 2010 alle
wesentlichen Kernkompetenzen zeitgenössischer Ausstellungspraxis.

Aufgrund des großen Interesses wird das Programm dieses Jahr zum 4 mal
gestartet.

Eine Faculty internationaler Experten Herbert LACHMAYER, Gerfried
STOCKER, PeterASSMANN, Frank den OUDSTEN, Stefan IGLHAUT, Brigitte
FELDERER, Lutz ENGELKE, MartinFRITZ, Harald GRÜNDL, Pat MUNRO, Dieter
BOGNER u.a. zeigen in Case Studies und Best Practice-Beispielen
Ausstellungspraxis von heute und morgen und geben tief greifenden
Einblick in die zeitgenössische Vielfalt des Ausstellens.

Das Certified Program ist Teil des modularen Gesamtprogramms des
Departments für Bildwissen-schaften und wird von der amerikanischen
Ausstellungsmacherin Wendy Jo Coones M. Ed. geleitet, die durch
Realisation von 60 internationalen Ausstellungen ausgewiesen ist. Auf
die eigenen Bedürfnisse und Zeitressourcen abgestimmt kann
Ausstellungsdesign und -management mit anderen Programmen des
Departments zu einem Experten- oder Masterlehrgang ausgebaut werden.

Module - zeitlicher Rahmen:
Modul 1: 17.04.-23.04.2010
Theorie: Ausstellungen kompetent planen

Modul 2: 03.07.-09.07.2010
Praxis: Ausstellungen kompetent organisieren

Modul 3: 06.11.-12.11.2010
Vorbereitung: Ausstellungen kompetent umsetzen

Lehrinhalte
Ausstellungen sind in der heutigen Wissensgesellschaft mehr als
einfache Präsentationen von Exponaten: sie schaffen Erlebnisse in
speziell inszenierten Räumen mit ganz unterschiedlicher Zielsetzung.
Ausstellungen informieren, kommunizieren, unterhalten und animieren. Ob
für Museum oder Freizeitpark, Science Center, Ausstellungshalle oder
Erlebniswelt konzipiert - ein stimmiges Besuchserlebnis kann nur durch
den sinnvollen Einsatz von gestaltendem und organisatorischem Wissen
erreicht werden.

Facts
Das Programm richtet sich an alle, die sich für aktuelles Fachwissen
und Kompetenz für die Umsetzung von Ausstellungsprojekten interessieren,
wie z.B. MitarbeiterInnen von Museen, Sammlungen und ähnlichen
Ausstellungseinrichtungen, VermittlerInnen von Wissenschaft, Kunst und
Kultur, MitarbeiterInnen von Tourismuseinrichtungen, Messeveranstaltern
und Erlebniswelten.

Weitere Informatinonen zum Lehrgang:
www.donau-uni.ac.at/ausstellungsdesign 

=> DONAU UNIVERSITÄT KREMS - im UNESCO-Weltkulturerbe Wachau gelegen,
bietet als erste staatliche Universität Europas postgraduale
Weiterbildung von internationalem Zuschnitt. Das universitäre Programm
ist spezialisiert auf berufsbegleitendes  Lernen mit internationalen
Abschlüssen wie MA, MSC und MBA.

Eine internationale Faculty vermittelt am DEPARTMENT FÜR
BILDWISSENSCHAFTEN ein in Europa einzigartig und individuell
kombinierbares Ausbildungsprogramm. Studierende erwerben Kernkompetenzen
und Schlüsselqualifikationen für den zeitgenössischen Kunst- , Bild- und
Medienmarkt. Didaktisch innovativ werden in Kleingruppen neueste
Forschungserkenntnisse genauso vermittelt, wie praktisches Know-How
durch Hands-On-Experiences, soziales Lernen und praktischen Austausch
mit ProjektpartnerInnen aus der Kulturwissenschaft.

Das Department für Bildwissenschaften ist eine international
einzigartige Plattform für Forschung und innovative Lehre zu allen
Formen von Bildern. Es bietet Studienprogramme für neue Berufsfelder und
gibt einen breiten theoretischen und praktischen Überblick über
historische und aktuellste Bildformen und -verfahren. Von der
Druckgraphik bis zum Micromovie, von Film und Fotografie bis zur
Medienkunst umfasst das Studium am Department für Bildwissenschaften die
gesamte Bandbreite der 

[rohrpost] Start Lehrgang: Ausstellungsdesign und -management 17.04.2010

[Image Science]

AUSSTELLUNGSDESIGN- UND MANAGEMENT (Certified Program) - Start
17.04.2010

Das modular aufgebaute und berufsbegleitend angelegte Certfied Program:
*Ausstellungsdesign und -management* stellt Konzeption und Management
von Ausstellungen, von Erlebniswelten und immersiven Umgebungen in den
Mittelpunkt und vermittelt in drei Modulen bis November 2010 alle
wesentlichen Kernkompetenzen zeitgenössischer Ausstellungspraxis.

Aufgrund des großen Interesses wird das Programm dieses Jahr zum 4 mal
gestartet.

Eine Faculty internationaler Experten Herbert LACHMAYER, Gerfried
STOCKER, PeterASSMANN, Frank den OUDSTEN, Stefan IGLHAUT, Brigitte
FELDERER, Lutz ENGELKE, MartinFRITZ, Harald GRÜNDL, Pat MUNRO, Dieter
BOGNER u.a. zeigen in Case Studies und Best Practice-Beispielen
Ausstellungspraxis von heute und morgen und geben tief greifenden
Einblick in die zeitgenössische Vielfalt des Ausstellens.

Das Certified Program ist Teil des modularen Gesamtprogramms des
Departments für Bildwissen-schaften und wird von der amerikanischen
Ausstellungsmacherin Wendy Jo Coones M. Ed. geleitet, die durch
Realisation von 60 internationalen Ausstellungen ausgewiesen ist. Auf
die eigenen Bedürfnisse und Zeitressourcen abgestimmt kann
Ausstellungsdesign und -management mit anderen Programmen des
Departments zu einem Experten- oder Masterlehrgang ausgebaut werden.

Module - zeitlicher Rahmen:
Modul 1: 17.04.-23.04.2010
Theorie: Ausstellungen kompetent planen

Modul 2: 03.07.-09.07.2010
Praxis: Ausstellungen kompetent organisieren

Modul 3: 06.11.-12.11.2010
Vorbereitung: Ausstellungen kompetent umsetzen

Lehrinhalte
Ausstellungen sind in der heutigen Wissensgesellschaft mehr als
einfache Präsentationen von Exponaten: sie schaffen Erlebnisse in
speziell inszenierten Räumen mit ganz unterschiedlicher Zielsetzung.
Ausstellungen informieren, kommunizieren, unterhalten und animieren. Ob
für Museum oder Freizeitpark, Science Center, Ausstellungshalle oder
Erlebniswelt konzipiert - ein stimmiges Besuchserlebnis kann nur durch
den sinnvollen Einsatz von gestaltendem und organisatorischem Wissen
erreicht werden.

Facts
Das Programm richtet sich an alle, die sich für aktuelles Fachwissen
und Kompetenz für die Umsetzung von Ausstellungsprojekten interessieren,
wie z.B. MitarbeiterInnen von Museen, Sammlungen und ähnlichen
Ausstellungseinrichtungen, VermittlerInnen von Wissenschaft, Kunst und
Kultur, MitarbeiterInnen von Tourismuseinrichtungen, Messeveranstaltern
und Erlebniswelten.

Weitere Information zum Programm und zur Bewerbung:
www.donau-uni.ac.at/ausstellungsdesign 

Kontaktperson:
Andrea Haberson
Donau-Universität Krems
Department für Bildwissenschaften
Dr.-Karl-Dorrek-Straße 30
A-3500 Krems, Austria
Tel. +43 (0)2732 893-2569
Tel. +43 (0)2732 893-4551
andrea.haber...@donau-uni.ac.at 



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[rohrpost] Start Lehrgang: Digitales Sammlungsmanagement 10.04.2010

[Image Science]

DIGITALES SAMMLUNGSMANAGEMENT (Certified Program / Langzeitarchivierung)
- Berufsbegleitende Studium, 3 Module à 1 Woche, Start 10. April 2010

In einer globalen Gesellschaft, die Bildinformationen wie einen
Rohstoff handelt, besitzen professionell aufgearbeitete, digitale
Bildsammlungen beachtlichen kulturwissenschaftlichen und ökonomischen
Wert. Die Donau-Universität Krems startete daher zum vierten Mal in
enger Abstimmung mit dem Internationalen Wissensnetzwerk Digitale
Langzeitarchivierung ein berufsbegleitendes, einsemestriges "low
residency" Programm mit internationaler Faculty. 

Der berufsbegleitende Universitätslehrgang brachte bisher Teilnehmer
renommierter Einrichtungen aus dem gesamten deutschsprachigen Raum, wie
Süddeutschen Zeitung Photo, Profil oder UNIDO (United Nations Industrial
Development Organisation) - working professionals - zum gemeinsamen
Studium an das Zentrum für Bildwissenschaften. Experten, für die Namen
wie Harald KRAEMER, Michael FREITTER, Axel ERMERT, Max KAISER, Monika
HAGEDORN-SAUPE, Holger SIMON, Rudolf GSCHWIND oder Christian BRACHT
stehen, vermitteln den aktuellen Stand des Wissens in der inspirierenden
Umgebung im Stift Göttweig in der UNESCO Kulturlandschaft Wachau. Die
internationale Faculty repräsentiert Institutionen wie das MUMOK Wien,
APA-Austria Presse Agentur, Foto Marburg, Österreichische
Nationalbibliothek und Bundeskanzleramt, Prometheus, Humboldt
Universität oder das Institut für Museumskunde Berlin. 

Der einsemestrige Universitätslehrgang Digitales Sammlungsmanagement
bietet einen umfassenden Einstieg in die Welt der digitalen Erfassung,
Erschließung und Langzeitarchivierung von Bildern. Ziel der Ausbildung
ist die Vermittlung von fundierten Kenntnissen für innovative
Projektentwicklung sowie Führungskompetenz in Projekten zur
professionellen Erschließung, Bewahrung und Vermarktung von digitalen
Bildern. 

Hauptsäulen unserer Forschung sind das Digitale Sammlungsmanagement und
die Langzeitarchivierung. So sind mit der Datenbank der Graphischen
Sammlung Göttweig www.gssg.at und der Datenbank für Virtuelle Kunst
www.virtualart.at zwei Pionierprojekte zur Archivierung von Graphik
und Digitaler Kunst an der Donau Universität angesiedelt, die von der
mittelalterlichen Buchillumination bis zur Medienkunst alles an einem
Ort zusammenführen. 

Das Department für Bildwissenschaften bietet seinen Studierenden mit
dem Zentrum in Stift Göttweig, inmitten des UNESCO Weltkulturerbes,
einen einzigartigen Ort der Bildung. Untergebracht in der alten Burg,
einem separaten Gebäudeteil des Stiftes aus dem 14. Jahrhundert, welcher
2002 aufwändig restauriert wurde, stehen den Studierenden umfangreiche
Ressourcen für ein zielgerichtetes Studium zur Verfügung.


Modultermine:
Modul 1: 10.-16. April 2010 (Digitalisierung und Archivierung)
Modul 2: 12.-18. Juni 2010 (Digitalisierungskonzepte und
Projektmanagement)
Modul 3: 11.-17. September 2010 (Umsetzung und Präsentation)


Weitere Informationen zum Studium und zur Bewerbung:
www.donau-uni.ac.at/digimanagement 


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