Jack Ox is an artist who used research as the method behind her art works and is now taking the procedures developed as an artist to the scientific and engineering world of visualization. She is also a longtime member of Leonardo Journal’s editorial board, and has served as both a Research Assistant Professor in Art and Art History, and Research Associate Professor of Music at the University of New Mexico; also at UNM, she is a researcher at the Center for Advanced Computing (CARC). Ox just finished a PhD dissertation on “Manifestations of Conceptual Metaphor and Blending Theories” for Swinburne University of Technology in Melbourne. Her 30-year career of mapping musical scores to paintings such as Kurt Schwitters’s intermedia masterpiece, “Ursonate,” can be seen at http://www.jackox.net/pages/Ursonate/ur_MAINindex.html and virtual reality renditions, such as the “Gridjam” at http://www.jackox.net/pages/gridjamIndex.html. Recently, Ox presented a paper at the IEEE VIS 2014 conference in Paris on how knowledge representers can use analogy and conceptual blending in visualizations.
Jack Ox, together with Fluxus artist Ken Friedman, is leading the 3-year Leonardo symposium on the PhD in Art and Design. This project is documenting best methods and practices, as well as issues and challenges, that are emerging with the introduction of the PhD in Art and Design in universities internationally and in particular for hybrid professionals in theh art-science and art-technology fields.
Author: re_admin
The University of Texas at Dallas’ new Edith O’Donnell Institute of Art History (EODIAH) and the Leonardo Initiatives of ATEC at UTD are pleased to announce the Leonardo Generation 0 Project, an open and expanding archive of the foundational forces in art-and-technology.
After the Second World War, two major developments transformed the cultural landscape: the digital computer and discoveries in the realm of genetics. The Leonardo Generation 0 Project chronicles the multi-perspectival merger between technology and art from the 1950s through the 1980s. Generation 0 amplifies the voices of pioneering and influential artists, engineers, curators, and key organizations through a growing databank of written first-person accounts and podcast recordings. The project seeks to document the experiences of those most closely involved in the creation of digital art, the biological arts, new media art, and computer art using the tools of the digital humanities. Leonardo Generation 0 shares the unique perspectives in a style that is at once embracing and accessible, intellectually rigorous yet casual. This new project is aimed at uncovering a rich, if somewhat underappreciated, time in art history by recording the memories of the pioneers.
The Generation 0 Project is part of the Leonardo Pioneers and Pathbreakers project of the Observatoire Leonardo des Arts et Techno-Sciences in Paris, and in collaboration with its director, Annick Bureaud. Memoirs are being published both on the Pioneers and Pathbreakers website athttp://olats.org/pionniers/pionniers.php and in the Leonardo Journal art history section edited by Professor David Carrier: http://leonardo.info/leoinfo.html
The co-directors of the Generation 0 Project are Professor Roger Malina, an affiliate faculty member of the EODIAH and an ATEC Distinguished Chair at the University of Texas at Dallas, and Dr. Charissa Terranova, an Associate Professor of Art History in EODIAH. ATEC ArtSciLab Research Fellow, Poe Johnson, a University of Texas at Dallas PhD student, coordinates the project. Their varied perspectives and skill sets embody the hybridity of the memoirs project itself, and the philosophy of University of Texas at Dallas ATEC and Arts & Humanities programs.
Among the recent memoirs are an inside account of the workings of Bell Labs from A Michael Noll, Helen and Newton Harrison about their early work in art and environment, Frieder Nake views as a pioneering German computer artist, Trudy Reagan early days of the YLEM organization.
Submissions for the Pioneers and Pathbreakers memoir project are decided and peer reviewed by The Frieda Ackerman Committee: Marc Battier, Paul Brown, Annick Bureaud, David Carrier, Joel Chadabe, Anne Collins, Eduardo Kac, Roger Malina, Patrick McCray, Frieder Nake, Louise Poissant, Eddie Shanken, and Charissa Terranova. The call for memoirs is available at http://leonardo.info/isast/journal/calls/pioneers.html.
Tim Perkis is a researcher, engineer, musician and filmmaker, who has
been working primarily in the field of digital sound for decades. As a
musician, he is a founder of The Hub, a pioneering group in the field
of computer network music, as well as a internationally-known
performer of improvised music, having worked with many of the leading
figures in the field in North America, Europe and Japan. He has
taught at the California Institute of the Arts (CalArts) and the
California College of the Arts (CCA)and has been resident
artist/researcher at Mills College in Oakland California, Xerox
Corporation’s Palo Alto Research Center, Paul Allen’s legendary
thinktank, Interval Research, and at the Mediterranean Institute of
Advanced Research (IMéRA) of the University of Aix-Marseille in
France. As an engineer he has designed tools, toys and software for a
variety of corporate clients, including Mattel, Sony, and Sennheiser,
and consulted with the San Francisco Airport and Art Commission as an
expert on technology-based art. He is also producer and director of a
feature-length documentary on musicians and sound artists in the San
Francisco Bay area called NOISY PEOPLE (2007). His music is available
on over a dozen labels, including Tzadik(USA), EMANEM(UK), and
Creative Sources (Portugal).
Perkis is collaborating with ArtScilab on the Connectome Data
Dramatisation Project
Richard Wirth is a Master’s candidate in the Arts and Technology program at the University of Texas at Dallas. Richard’s fellowship will be designed around his research of MMORPGs (Massively Multiplayer Online Role Playing Games) as interactive storytelling environments, comparing the function of secondary oral media across different modes of social interaction through the lens of video game ethnography. During his fellowship, Richard will explore Leonardo publications for his writings and research and also will serve as a guest editor of the Leonardo On-Line blog, among other activities.
The Leonardo Fellowship program recognizes accomplished graduate students and junior faculty from Leonardo Senior Affiliate organizations. Selected Leonardo Fellows will have an opportunity to advance their selected research or project area through such activities as publishing in the internationally renowned Leonardo journal or creating a unique art-science project under the auspices of Leonardo, as well as to receive mentorship from senior Leonardo editors. The Leonardo Fellowship includes a cash stipend of $1,000 (U.S.).
Throughout its history, Leonardo has presented the work of renowned international theorists, artists, scientists, curators and other practitioners of contemporary art involving 20th- and 21st-century media. The Leonardo Archive, spanning nearly 50 years, provides a rich basis for exploration of the genesis of art-science work, from the introduction of pioneering applications in kinetic art, computer animation, net art, interactive, telematic, algorithmic and genetic art, environmental, bio and land art to more recent artistic applications in nano art, CAVE installation work, augmented reality, artificial intelligence, wearables, sound art, cloud-based art and beyond.
Fellowships may be realized in a variety of possible forms, such as (but not limited to):
- Guest-editing a themed special section in Leonardo journal
- Curating a Leonardo Gallery devoted to work in the field of art-science-technology
- Researching a topic area drawing on the 50-year Leonardo archive, leading to publication of an article in Leonardojournal or Leonardo On-Line
- Or another project that utilizes the content or other resources of the Leonardo Network.
The creativity of the proposal will be a factor in the selection of Leonardo Fellows. Leonardo Fellows will also have opportunities to interface with the Leonardo community:
- One month as a guest editor of the Leonardo On-Line Blog
- Opportunity to speak at a Leonardo Art Science Evening Rendezvous (LASER) event.
Note: Submitted writings and projects are subject to editorial review and are not guaranteed to be published.
Who is eligible? During the announced nomination period, Leonardo Senior Affiliate Members may nominate one (1) graduate student for the Fall Fellowship and one (1) junior faculty member for the Spring Fellowship.
What is a Senior Affiliate Member? A Senior Affiliate Member is a paying member institution, department, lab or organization that is creating work in the intersection of art, science and technology. For more information about the many benefits of joining the Leonardo Affliate Program, please see www.leonardo.info/affiliates.
The nomination process: We accept nominations twice a year for the two fellowships: an autumn fellowship for a graduate student and a spring fellowship for a junior faculty member.
Step 1 Nomination period opens and is announced by the Leonardo Affiliate Program. Senior Affiliates are invited submit a nomination.
Step 2 The Leonardo Senior Affiliate nominator sends a preliminary email to Leonardo/ISAST indicating the name and position of the organization’s nominee and his/her contact information and including the nominator’s letter of recommendation in support of the nominee.
Step 3 Upon acknowledgmentand request by Leonardo/ISAST, the nominee submits a project proposal as well as a resume and writing sample for consideration.
Where and when is the fellowship? The fellowships are conducted remotely, with periodic telephone or video contact with the Leonardo editors. The duration of each fellowship is either one academic quarter or semester. One fellowship takes place at a time, rotating between the graduate student and the junior faculty fellowship.
Does the fellowship offer a stipend? We offer a $1,000 stipend, awarded at the beginning of the fellowship project.
Have more questions? Contact Danielle Siembieda, Leonardo Affiliate Manager, dani…@leonardo.info
Timeline of Spring 2015 Fellowship (Junior Faculty Members)
October 15, 2014: Fellowship Nomination Period Announced (for Fall: Graduate Student Nominations Only)
November 15, 2014: Fellowship Nominations and supporting materials due
December 15, 2014: Materials From Nominee Due
January 15, 2015: Fall Fellowship Awardee announced
February 15, 2015: Fall Fellowship begins
April 30, 2015: Fall Fellowship ends
Sruthi Ayloo is our new Research Lab Assistant and is currently in pursuit of her Masters in Computer Science here at UT Dallas. She received her Bachelors in Computer Science at Birla Institute of Technology and Science (BITS) in Pilani India with Honors. She has previously interned at Matlab, Oracle, and Yashoda Group. She will be helping the ArtSciLab with projects such as Creative Disturbance.
Welcome Sruthi!
The UT Dallas ArtSci Lab is pleased to welcome Guy Edmonds as an affiliate
research fellow. Roger Malina is serving on Guy Edmonds’ PhD Committee
in the Cognovo
consortium on cognitive innovation ( www.cognovo.eu) at the University
of Plymouth. His PhD topic is on
Early Cinema and Cognitive Creativity. The committee is chaired by
Professor Michael Punt head of
the Transtechnology Research project: http://trans-techresearch.net/.
The ArtSciLab and the
Transtech program have a series of ongoing collaborations.
Guy Edmonds Project: Early cinema and Cognitive Creativity
An interdisciplinary investigation of the cognitive impact of analogue
and digital film projection technologies.
http://www.cognovo.eu/people/research-fellows/guy-edmonds.php
Background
Guy Edmonds is a film maker and professional film restorer and archivist who has
previously worked at The Cinema Museum in London, Christie’s Camera
and Photographic auctions, and the EYE Film Institute (formerly
Nederlands Filmmuseum).
His research interests in early cinema and home movies have led to two
unique programming events in which new contexts are proposed for found
films – The Séance du Cinema performances where spiritualistic mediums
attempt to divine further information about the unknown protagonists
of found home movies and the Saloon of Refuse in which a wide variety
of often fragmentary film forms are saved from landfill for last
chance saloon screenings.
His writings on the subject of Home Movies and Amateur film have
appeared in specialised edited volumes, the academic journal, Film
History, the monthly film magazine, Skrien, and the Stichting
Amateurfilm magazine and website.
He organised the first Home Movie Days in London and since 2008 has
been a co-organiser of the Home Movie Days at EYE in Amsterdam. He is
a member of the artist-run cooperative, Filmwerkplaats in Rotterdam,
and a performer with the Projector Orchestra.
We are pleased to introduce the new Research Assistant in the ArtScilab.
Anvit Srivastav is a master’s student in Computer Science at the University of Texas at Dallas. He received his bachelor’s in Information technology from Jaypee Institute of Information technology in India. He has worked extensively with web technologies and is skilled in Ruby on rails, Javascript and, PHP. His areas of interest are Game development, Cloud computing, Web design and, Network security. He is currently specializing in the field of Information assurance. In his spare time, he likes to work on music production, digital art and play the guitar. He is a huge metal head and is always up for concerts if you’re looking for someone to go with.
Anvit will be working on our DataRemix project with Connectome data and on the Creative Disturbance project.
Categories
Immersive Cinema
David Marlett is researching and developing technologies and artistic techniques necessary to produce live-action
‘feature films’ to be experienced entirely within a head-mounted display such as an Oculus Rift or Sony Morpheus.
As part of his PhD dissertation research at the Arts & Technology Program (ATEC) at The University of Texas (Dallas),Marlett is developing, and intends to then produce, his screenplay,BLUE HIGHWAY,as quite possibly the first feature length, live action Immersive Cinema 3D-360 film.
(This will be developed out of theArtSciLab in ATEC, where Marlett is a Research Fellow.) BLUE HIGHWAY has been in development as both a play and a film, due to its theatrical feel, limited sets and intimate dialogue. It is thus ideal for Immersive Cinema which is, production-wise,
akin to filming a play from the front row.
Colleagues
I will be teaching a new graduate course this fall 2014 on the arts,
sciences and humanities
with the idea of developing material for ATEC, EMAC and A and H
students who need
to master some area of current science for their research and
creative activity.
I hope you will consider enrolling if you are interested and bring it to the
attention of your fellow students.
I will be working with each student ahead of the semester to identify the fields
of science that we need to structure the seminar around.
The course is ATEC 6380
If you have any questions please contact me
http://www.utdallas.edu/atec/courses/graduate/
Categories
AHCN 2014 Abstracts Now Available!
The Abstracts for the Arts and Humanities Complex Networks E-book are now available for viewing! The articles below will take you to the E-book companion website http://ahcncompanion.info/
Colin Allen, Jaimie Murdock, Katy Borner, Robert Light
Using Visualizations to Deconstruct “The Two Cultures”
Anamaria Berea
The Network of the “Byzantium after Byzantium” Fresco Style in the UNESCO Monasteries of Moldova
Dan Edelstein, Giorgio Caviglia, Nicole Coleman
Idiographic Network Visualizations: Bringing the Construction and the Manipulation of Network Graphs Up Front
Claire Kovacs
Mapping Paris: Social and Artistic Networks, 1855-1889
Boris Müller, Kim Albrecht, Marian Dörk
Culturegraphy, Visualizing Cultural Network Dynamics
Heidi Boisvert
Echoing Narcissus: Bio-Adaptive Game-Based Networked Performance
Arram Bae, Doheum Park, Juyong Park, Yong-Yeol Ahn
Network Landscape of Western Classical Music