Truth, Beauty, Freedom, and Money: Technology-Based Art and the Dynamics of Sustainability

Proposes innovative new approaches and models for art and technology institutions, and provides details for an "Arts Lab," a unique hybrid art center and research lab

New Media Art/ New Funding Models

Investigates the current state of funding for new media artists, with an emphasis on the support structures for innovative creative work that utilizes advanced technologies as the main vehicle for artistic practice

ALEA III, The Low C's, April 23, 2014

This is the concert program of the ALEA III, The Low C's performance on Wednesday, April 23, 2014 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue, Boston, Massachusetts. Works performed were Suite for Two Cellos by Samuel Zyman, Sonata for Solo Violoncello by George Crumb, Ai limiti della notte by Salvatore Sciarrino, Pression for solo cello by Helmut Lachenmann, Parisonatina Al'Dodecafonia by Donald Martino, A Restless Octet by Theodore Antoniou, Neiges (Snow) by Kaija Saariaho, and Bachianas Brasileiras No. I by Heitor Villa-Lobos. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Memento Mori : Memento Maori – moko and memory

Moko patterns, mau moko, “wearing ink” is often explained as an act of remembrance, a symbol of honour or success, of grieving or loss. Memento mori, remembering the dead and remembrance of death, pervades the Maori world, and is profoundly expressed in customary practice – haehae, upoko tuhi, and ta moko. These embodied and visceral experiences are described in waiata tangi, in whai korero, in moteatea, in the traditional context, and graphically recorded on the living flesh in our contemporary world. Mau moko celebrates identity, so modern memorial ornamentation mourns and reflects on this in ‘memento mori’; and also reinforces and engages reality in the correspondent notion of ‘memento Maori’; an assertion that claims dominion and understanding across generations, across time, across space

Northern Sparks

An “episode of light” in Canada sparked by Expo 67 when new art forms, innovative technologies, and novel institutional and policy frameworks emerged together. Understanding how experimental art catalyzes technological innovation is often prized yet typically reduced to the magic formula of “creativity.” In Northern Sparks, Michael Century emphasizes the role of policy and institutions by showing how novel art forms and media technologies in Canada emerged during a period of political and social reinvention, starting in the 1960s with the energies unleashed by Expo 67. Debunking conventional wisdom, Century reclaims innovation from both its present-day devotees and detractors by revealing how experimental artists critically challenge as well as discover and extend the capacities of new technologies. Century offers a series of detailed cross-media case studies that illustrate the cross-fertilization of art, technology, and policy. These cases span animation, music, sound art and acoustic ecology, cybernetic cinema, interactive installation art, virtual reality, telecommunications art, software applications, and the emergent metadiscipline of human-computer interaction. They include Norman McLaren's “proto-computational” film animations; projects in which the computer itself became an agent, as in computer-aided musical composition and choreography; an ill-fated government foray into interactive networking, the videotext system Telidon; and the beginnings of virtual reality at the Banff Centre. Century shows how Canadian artists approached new media technologies as malleable creative materials, while Canada undertook a political reinvention alongside its centennial celebrations. Northern Sparks offers a uniquely nuanced account of innovation in art and technology illuminated by critical policy analysis

“A câmera é minha arma de caça” A poética dos filmes de Réal J. Leblanc, cineasta innu (Dossiê Olhares Cruzados)

Este ensaio explora o conjunto de filmes do jovem cineasta Innu, Real Junior Leblanc, ligados ao Projeto Wapikoni Mobile, que atua em comunidades indígenas do Quebec (Canadá), formando realizadores. Seu argumento é o de que estes filmes, tanto os mais experimentais como os mais documentais, privilegiam uma dimensão poética, que acenam a uma estética cosmopolítica, esta que insiste em não separar mundos humanos e além do humano e que se oferece como instrumento de luta e resistência política.This essay explores films directed by Réal Junior Leblanc, a young Innu filmmaker. Leblanc is connected to the Wapikoni Mobile Project, which trains new filmmakers in Indigenous communities in Québec (Canada). The present essay arguments that his films – both the experimental ones and the documentaries – foreground a poetic dimension, which points to a cosmopolitical aesthetics that insists on not separating human and “other than human” worlds, offering itself as an instrument of struggle and political resistance

Of Clouds and Clocks: When Art Met the Web-Sciences: International launch symposium for ICAS, Oct 16-17, 2009

The Institute for the Converging Arts & Sciences (ICAS) links artists, scientists, designers, social theorists, legal scholars and inventive thinkers in a community directed at fostering transformational research and the dissemination of high impact knowledge Practice, and Performance both locally and globally. The historical setting of the Institute is without peer: the Royal Observatory on the hill overlooking the campus, the Cutty Sark Clipper at the edge of The Thames, the naval history stretching along the peninsula into the English Channel, mark out a territory where the convergence of the arts and sciences has been the standard. ICAS will draw from this rich historical legacy extending it into the future via Electronic & Media Arts Practice, Performance, Philosophy and the New Sciences! Located in King William Court, with strong ties to the Greenwich Maritime Institute and the Schools of Humanities & Social Sciences and Computing Mathematical Sciences, the Institute will create a network of Research Fellows focused on applied projects that will position the University at the centre of enterprises directly engaged with social, cultural, artistic, legal and creative events. Our launch, an international symposium entitled, Of Clouds and Clocks, will be held on the 16-17th October, in the Council Chamber Room (QA 063). Set up as an interactive Roundtable with 25 speakers over two intensive days, speakers will include Dame Wendy Hall (Director, Web-Science Research Institute, South Hampton), Sir Tim Berners-Lee (Founder of the Web, MIT, tbc) Professor Arthur Kroker (Director & Digital Arts Philosopher, Pacific Centre for Technology, Art and Culture, Victoria); Caroline Arscott (Prof of 19thC British Art, The Courtauld Institute), Olga Kisseleva (NANO-Artist, Plastik.Arts, The Sorbonne), Dick Rijken (Director: STEIM) and Joel Ryan (Composer & Physicist, STEIM), Norbert Finzsch (Historian, Univ of Cologne), Mary Bryson (Director, Centre for Cross-Faculty Education, Univ British Columbia), Art Clay (Composer/Mathematician, ETH, Zurich), Steve Gibson & Stefan Muller-Arisona (game arts/sound-light composers, Centre for Creative Technologies, De Montfort University and ETH, Zurich), Fox Harrell (robotics-games, Georgia Tech), Jackson 2 Bears (artist, Univ of Victoria, CA), Michaela Hampf (Historian, the JFK Institute, Frei Univ of Berlin), Ecke Bonk (Designer, ZKM Karlshrue), Pascal Brannan (Artist, London), Stephen Kennedy (Media-Arts Philosopher and DJ/composer, Univ Greenwich), Aya Walfaren (holographic technologies, UBC), Maureen Thomas (Media Arts/theatre Director, Cambridge), Ted Hiebert (media-arts-writer/Univ of Seattle)