The Archive of Digital Art expands its field and includes scholars in its documentation. Scholars are invited to become members of the online community and set up their own ADA entry!
Scholars have the possibility to upload publications and text pdfs, announce upcoming events, post comments, document exhibitions, conferences and other relevant events and be represented in the Archive.
The community features also allow the active exchange of professional information with peers and the new “Light box” tool facilitates the examination and comparison of images for research and teaching.
To ensure a high academic standard 5 published articles and/or curated exhibitions are requisite for scholars to become members of the ADA community. Interested scholars may apply for an account here.
"Marta de Menezes is a Portuguese artist (b. Lisbon, 1975) with a degree in Fine Arts by the University in Lisbon, a MSt in History of Art and Visual Culture by the University of Oxford, and a PhD candidate at the University of Leiden.
Budhaditya Chattopadhyay 24.02.2017 It was a pleasure taking part in the last Media Art History conference Re-CREATE 2015 in Montréal. Following this experience, I was looking forward to the new call for the upcoming conference RE:TRACE. However, while going through the published call, I found a bullet point conjoining “(Post-)Colonial experiences” with “non-Western histories of media art, science and technology” in a singular thematic line of enquiry.
This equation of non-Western histories of media art, science and technology with the so-called (post)colonial experiences is highly problematic. The non-West, such as India, has a rich and diverse history of knowledge production far beyond this traumatic “(post)colonial” paradigm of writing history. Putting them in a singular formulation would not only delimit the capacity of an underrepresented and often misrepresented area of research, but also risk repressing the very research Media Art History here may try to encourage.
Media Art History will therefore be well-served by recalibrating this thematic bullet point. By doing so, the call will become much more encouraging and inviting for researchers with a non-Western background like me. http://www.mediaarthistory.org/retrace
Oliver Grau 24.02.2017 R.I.P. Armin MEDOSCH
"Armin was based in Vienna and was initiator of the Technopolitics working group, who at the Transmediale in Berlin earlier this month released their Timeline of Information Society. Not long ago in October, he spoke in New York with Rhizome about this new book New Tendencies – Art at the Threshold of the Information Revolution (1961‑1978), published in June 2016, at MIT Press. This book was based on his doctoral thesis at Goldsmiths (2012), a case study of the international movement New Tendencies. Armin was an artist, curator and scholar whose work since the 1980s addressed art and technology as well as art and science practices. His essay “Shockwaves” is in the Companion to Digital Art (2016), edited by Christiane Paul. I remember well his longtime support of the London media art scene through our affiliation with the University of Openess.
The fine folk at Monoskop have got a page up with links to his work and writings: https://monoskop.org/Armin_Medosch
I'd urge you all to read his work and remember this kind and generous man with fondness and respect.
He described himself as a dinosaur of media art. Perhaps this is right and people will remember him for a long time to come. I paste below one of his messages to CRUMB from about a decade ago, in which he describes some of his early projects in open source culture."
Words by Sarah COOK https://www.facebook.com/photo.php?fbid=10154606895654682&set=gm.1037052983068107&type=3
Hugo Martínez-Tormo 20.02.2017 I would like to share with you my last work "Artificial Membrane", an audiovisual installation, actually exhibited at Punto Gallery, Valencia - Spain. I hope you like it!!
Aquí os comparto mi último trabajo "Artificial Membrane", una instalación audiovisual que actualmente está expuesta en la Galería Punto de Valencia, España. Espero que os guste!! https://vimeo.com/203726739
Jaime Lavagne 17.02.2017 En conexión con la feria JustMad Art Fair se desarrollará la exposición "EX, Arte electrónico experimental" en MINI hub.
La muestra incluye trabajos de Citlali Hernández y Nicolás Villa, Abelardo Gil Fournier, Arturo Moya Villén, Carlos Coronas y Pedro Veneroso. Citali, Abelardo y Arturo tendrán ocasión de explicar en primera persona sus respectivos proyectos a los asistentes a la inauguración, el jueves 23 de febrero a las 20:00h en MINI Hub (C/ Palma 10).
Tabea Hamperl 14.02.2017 What happens when we reach a point of failure in emancipatory politics? How can we create new territories for reflection and resistance? This Saturday transmediale - festival for art and digital culture berlin heads off to ver.di to find answers to these questions in workshops and panels including participants such as Ubermorgen, Telekommunisten, and others.
Free admission. https://www.facebook.com/events/145290722641197/
Fred Forest 15.02.2017 Fred Forest a initié ses expériences de presse en précurseur dans le journal Le Monde en 1972 puis lors de la Biennale de Sao Paulo en 1973 avec dix publications nationales. En 1976 il a introduit sa pratique artistique au sein du collectif d’art sociologique
Denilson LOpes 14.02.2017 Call for papers
XXI SOCINE ANNUAL MEETING – THE STATE OF THE CRITIQUE
OCTOBER 17-20, 2017
UFPB – João Pessoa, PB, Brazil
SOCINE (Brazilian Society for Cinema and Audiovisual Studies) announces its call for proposals for the XXI SOCINE 2017 Annual Meeting, which is to be held at the Fedreal University of Paraíba (UFPB) – João Pessoa, PB, Brazil. The theme of the 2017 edition will be The state of the critique.
Beyond aesthetical evaluation, film critique has played the lead, in many countries, in the construction of a new model of curatorship, which confuses itself with the effort to preserve the memory of cinematic production. In Brazil, the work of Paulo Emílio Salles Gomes and Francisco Luís de Almeida Salles in the press of São Paulo concurs with their endeavor to create the Brazilian Cinematheque, which is a pivotal institution to the development of studies on films, filmmakers, and regional film cycles.
In Rio de Janeiro, the influential figure of Antonio Moniz Vianna partakes in the creation of the Cinematheque of the São Paulo Museum of Modern Art (MAM). Thanks to his curatorial effort, the generation that later on initiated the Cinema Novo had access to the classics of world cinema in the retrospectives of American, French and Italian cinema. Moniz Vianna also took part in the foundation of the Nacional Institute of Cinema (INC), which was the genesis of Embrafilme, and in the International Film Festival, which was a momentous event in the second half of the 1960’s.
Inspired by the São Paulo model of institutionalizing film production, Linduarte Noronha managed to launch the University Film Services (Serviço do Cinema Universitário) at the Federal University of Paraíba, but the project was aborted by the dictatorship of 1964. His importance as critic and filmmaker (he directed the classic Aruanda) contributed to reshaping the role of Northeastern Brazil in the national cinema: both as film scenery and as the cradle of socially engaged filmmakers.
This evident exchange between critique and filmmaking, which even produces the critic-filmmaker synthesis (there are countless examples in the history of cinema), constitutes a crucial subject for inquiry in film and audiovisual studies. To think, thus, of the critique activity as a major lever for curatorial and institutional movements that promote film production and film studies is an extremely relevant challenge, especially in times of political obscurantism, when the critical endeavor is fundamental to explore new aesthetical and cultural horizons.
Having all that in mind, the XXI SOCINE Annual Meeting calls for papers concerned with, but not limited to, the following topics: How can we think of the state of film critique in conjunction with the contemporary political, economic and aesthetical crises? What is the influence, to the academic formation in Brazil, of film critics in the intersection between journalism and academia? How do critique and curatorship concoct together strategies for preserving the memory of Brazilian cinema? In times of proliferation of information and of opinions forged in the internet and social networks, what is the role of critique regarding the discussion of the deep questions of current film culture? How can comparative research of texts and films, in the case of a critic-filmmaker, shed light on her aesthetical choices and preferences? Considered as a form of reception, what are the theoretical and methodological challenges of thinking about the relationship between work and critique?
We hereby elucidate that this is a non-exclusive suggestive theme; the 2017 Conference Program Committee welcomes quality proposals on any topic related to film and media studies.
Applications should be chosen among the four categories below, according to the following requirements:
1. Oral Papers: Proposals from MA holders, PhD students/candidates, or PhD holders, containing title (up to 70 characters), extended summary (of up to 4000 characters with space), abstract (up to 500 characters), bibliography (up to 1000 characters), and author bio (up to 500 characters). Oral presentations should last up to 20 minutes each.
2. Thematic Seminars: Proposals from MA students, MA holders, PhD students/candidates or PhD holders must be made with the direct indication of the chosen seminar (the list of seminars is available on the website), and must contain title (up to 70 characters), extended summary (of up to 4000 characters with space), abstract (up to 500 characters), bibliography (up to 1000 characters), and author bio (up to 500 characters). Oral presentations should last up to 20 minutes each. Important notice: given that each seminar includes up to 18 presentations, seminar proposals might be approved and yet not included in any seminar session due to this limitation. In this case, all approved proposals not allocated in the seminar sessions will be automatically moved to other categories according to the proponent’s academic degree: MA students will be moved to discussion panels, while MA holders, PhD students/candidates and PhD holders will be moved to oral paper sessions.
3. Pre-organized Roundtables: Each roundtable should have 3 participants, of which at least two PhD holders from different institutions and a third member that might be a MA holder, a PhD holder, or a PhD student/candidate who does not have a supervisor/supervisee relationship with any other member of the roundtable. Proposals for roundtables must contain: title (up to 70 characters) and summary of the table’s proposal (up to 1000 characters), which the coordinator of the table is responsible for, as well as title (up to 70 characters), extended summary (of up to 4000 characters with space), abstract (up to 500 characters), bibliography (up to 1000 characters), and author bio (up to 500 characters) for each individual proposal composing the table. Presentations should last up to 20 minutes each. Proposals for Pre-organized Roundtables should be submitted individually (following the model above established for Oral Papers) by each one of the three participants of the table (including the coordinator), at a moment subsequent to the table’s submission.
4. Panels: an exclusive category for MA students, consisting of 10-minute presentations for each participant. Proposals should contain title (up to 70 characters), extended summary (of up to 4000 characters with space), abstract (up to 500 characters), bibliography (up to 1000 characters), and author bio (up to 500 characters).
To apply and register for the XXI SOCINE Annual Conference, one should take the following steps:
STEP 1 – Register or update your profile at the SOCINE website (starting March 1st). Foreigners must contact us by email for further information about the payment of the annual fee.
STEP 2 – Electronic submission of proposals; only through the website (www.socine.org.br) and only one application per author, including cases of coauthoring.
Application submission period: March 5 – March 31.
STEP 3 – Register in the event, in case your paper was admitted. Foreigners must contact us by email for further information about the payment of the admission fee.
Registration period: June 5 – August 7.
Should you have any question, please write to firstname.lastname@example.org
Board of Directors
Oliver Grau 14.02.2017 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 Krems&Vienna. 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
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
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 UNSW Sydney
Andreas BROECKMANN Leuphana Universität
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
Hugo Martínez-Tormo 13.02.2017 I would like to share with you my last work "3DsoundPrinter_Plastic Bag" actually exhibited at Punto Gallery, Valencia - Spain. I hope you like it!!
Me gustaría compartir contigo mi último trabajo "3DsoundPrinter_Plastic Bag" actualmente expuesto en al Galería Punto de Valencia, España. Espero que te guste!! https://vimeo.com/203353196