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<td>eBULLETIN DEPARTMENT FUER BILDWISSENSCHAFTEN (DBW) Mai
2017</td>
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<td>Mon, 29 May 2017 12:33:59 +0200</td>
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<td>Zbw Bulletin <a class="moz-txt-link-rfc2396E" href="mailto:Zbw.Bulletin@donau-uni.ac.at"><Zbw.Bulletin@donau-uni.ac.at></a></td>
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<pre>eBULLETIN DEPARTMENT FUER BILDWISSENSCHAFTEN (DBW) Mai 2017
Department for Image Science, Danube-University
<= THEMEN/TOPICS ===============================================>
o 01. POST-GRADUATE PROGRAM “EXHIBITION DEVELOPMENT” – CALL FOR APPLICATIONS
o 02. CONFERENCE “RE:TRACE” 2017 – PRELIMINARY INFORMATION
o 03. MEDIA ART HISTORIES MASTER 2017-2019 – CALL FOR APPLICATIONS
o 04. MEDIAARTHISTORIES RESEARCH IS ADVANCING INTO MOST QUOTED ART HISTORY BOOKS
o 05. 3rd COHORT OF ERASMUS+ PROGRAM MEDIA ARTS CULTURES
o 06. VORTRAGSREIHE: MEDIENKUNST, MUSEEN UND ARCHIVE IM 21. JHD.
o 07. NEUES FORSCHUNGSPROJEKT AM DBW: VISUAL LITERACY (ViLi) VON RAMÓN REICHERT –
FREIWILLIGE FÜR BEFRAGUNGEN GESUCHT
o 08. THE ARCHIVE OF DIGITAL ART (ADA) FEATURES CHRISTOPHER SALTER
o 09. FORTHCOMING PUBLICATION: MUSEUM AND ARCHIVE ON THE MOVE
o 10. STUDIENGÄNGE STARTTERMINE
o 11. FB-PAGE BILDWISSENSCHAFT / IMAGE SCIENCE
o 12. ERFOLGE UNSERER ABSOLVENTEN
o 13. VORTRÄGE DER BILDWISSENSCHAFTEN / LECTURES IN IMAGE SCIENCE
o 14. NEW PUBLICATIONS BY OUR FACULTY
o 15. INTERNATIONALE REFERENZEN ZUM DBW
o 16. DANK AN UNSERE FÖRDERER
<= 01. POST-GRADUATE PROGRAM “EXHIBITION DEVELOPMENT” – CALL FOR APPLICATIONS =====>
Start Nov 4, 2017 - Certified Program “Exhibition Development” (low residency, parallel to employment, international faculty, in the UNESCO World Cultural Landscape Wachau in Austria, Deadline Sept 4, 2017)
This modularized and low-residency certified program taught in English at the Department for Image Science enables students to profit from the knowledge and experiences of outstanding experts in the field of scientific and cultural exhibition-making and design. Participants will be presented with creative and organizational skills like exhibition development, scenography and project management as well as with know-how about the financing, visitor orientation and multimedia-based techniques of presentation. The different characteristics of special, permanent and traveling exhibitions are taught, supported by many case studies. Best-practice-examples of leading experts in exhibition design and management give thorough insights into contemporary trends and introduce students to new working fields with a special focus on immersive exhibit architecture and experiential worlds.
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 on a high level. The Certified Program covers competencies for the professional assessment of chances and risks in contemporary exhibition planning and shows how to apply these skills in concrete projects. By developing and completing a concrete project, participants get the opportunity to try out their own ideas in exhibition work. This way they are able to apply newly learned aspects of project management and their gained knowledge on the creative and theoretical components of exhibition making. There is plenty of opportunity for discussing exhibition issues with experts and for the individual specialization of knowledge. At the end of the course, participants will be better equipped to undertake the project organization of designing and managing exhibitions and experiential worlds.
As part of the post-graduate masters program at the Department for Image Science, credits earned in Exhibition Development (30 ECTS) can be combined with other programs like MediaArtHistories, Photography, Image & Science, or Digital Collections Management to upgrade to an academic expert (60 ECTS) or master’s degree (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. Without interrupting their career, students have the opportunity to learn through direct experience, social learning in small groups and contacts with institutions and specialists.
==> APPLICATION (digital) - 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.
==> Contact: Department for Image Science, Mag.a Stefanie Bierbaumer, <a class="moz-txt-link-abbreviated" href="mailto:stefanie.bierbaumer@donau-uni.ac.at">stefanie.bierbaumer@donau-uni.ac.at</a>, +43 (0)2732 893-2569, <a class="moz-txt-link-abbreviated" href="http://www.donau-uni.ac.at/exhibit">www.donau-uni.ac.at/exhibit</a> <a class="moz-txt-link-abbreviated" href="http://www.mediacultures.net/exhibitionstrategies">www.mediacultures.net/exhibitionstrategies</a>
==> 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
<= 02. CONFERENCE “RE:TRACE” 2017 – PRELIMINARY INFORMATION =====>
PARTNERS:
Danube University, Austrian Academy of Sciences (ÖAW), Academia Europaea (AE), Erasmus+ MediaArtCultures, Archive of Digital Arts (ADA), Leonardo, Humboldt-University Berlin, Kunsthalle Krems
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. It aroused the interest of 360 applicants from 64 countries.
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.
KEYNOTE LECTURES and DEBATES with
Martin KEMP (emeritus professor Oxford University, British Academy)
Wendy Hui CHUN (Brown University)
Ryszard KLUSZCZYNSKI (Universität Lodz, PL)
Morten SøNDERGAARD (Aalborg University, DAN)
Sarah KENDERDINE (University of New South Wales, AUS)
Media Art Histories Board (Steering Committee):
Dr. Andreas BROECKMANN (Leuphana University Lüneburg, DE); Prof. Dr. Sean CUBITT (Goldsmiths University of London, UK); Univ.-Prof. Dr. Oliver GRAU, MAE (Danube University, AT); Dr. Linda Dalrymple HENDERSON (University of Texas at Austin, US); Prof. Dr. Erkki HUHTAMO (University of California Los Angeles, US); Prof. Dr. Douglas KAHN (University of New South Wales, AU); Prof. Dr. Machiko KUSAHARA (Waseda University Tokyo, JP); Prof. Dr. Tim LENOIR (Stanford University, US); Prof. Dr. Gunalan NADARAJAN (University of Michigan, US); Prof. Dr. Paul THOMAS (University of New South Wales, AU)
MAH Honorary Board: Martin KEMP, Jasia REICHARDT, Itsuo SAKANE, Peter WEIBEL, Rudolf ARNHEIM †, Douglas DAVIS †
Conference dates: November 23-25th, 2017, Krems (World Cultural Heritage) & Austrian Academy of Sciences (ÖAW) Vienna, hosted by DANUBE UNIVERSITY and ÖAW
Co-Chairs RE:TRACE: Oliver GRAU & Inge HINTERWALDNER
AUSTRIA RE:TRACE: Conference Advisory Board
Carl AIGNER (Landesmuseum St. Pölten, AT); Jose Ramon ALCALA (University of Castilla La Mancha, ES); Giselle BEIGUELMAN (University of São Paulo, BR); Beatriz Escribano BELMAR (University of Castilla La Mancha, ES); Andreas BROECKMANN (Leuphana University Lüneburg, DE); Andres BURBANO (Universidad de los Andes, CO); Valentino CATRICALA (University Roma Tre / Media Art Festival, IT); Sebastian EGENHOFER (University of Vienna, AT); Ksenia 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 and Austrian Academy of Science, Vienna
<a class="moz-txt-link-abbreviated" href="http://www.mediaarthistory.org/retrace">www.mediaarthistory.org/retrace</a>
<a class="moz-txt-link-abbreviated" href="http://www.mediacultures.net/mah">www.mediacultures.net/mah</a>
<a class="moz-txt-link-abbreviated" href="http://www.digitalartarchive.at">www.digitalartarchive.at</a>
<a class="moz-txt-link-freetext" href="https://www.academia.edu/30551255/What_is_MediaArtHistories_.pdf">https://www.academia.edu/30551255/What_is_MediaArtHistories_.pdf</a>
<= 03. MEDIA ART HISTORIES MASTER 2017-2019 – CALL FOR APPLICATIONS ==================>
MEDIA ART HISTORIES, MA (4/5 Semester)
*low residency* *world renowned faculty*
*international network* *world heritage Wachau*
> Start: Sept 2017
<a class="moz-txt-link-abbreviated" href="http://www.mediacultures.net/mah">www.mediacultures.net/mah</a>
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.
<a class="moz-txt-link-abbreviated" href="http://www.donau-uni.ac.at/mah">www.donau-uni.ac.at/mah</a>
==> 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 <a class="moz-txt-link-abbreviated" href="http://www.digitalartarchive.at">www.digitalartarchive.at</a>), festivals such as Transmediale, and the Media Art market.
==> STUDENTS - International students to our program have come from locations including Austria, Brazil, Canada, Germany, Nigeria, China, Egypt, Iceland, Japan, Korea, Mexico, Russia, Spain, Italy, Ukraine, and USA... <a class="moz-txt-link-abbreviated" href="http://www.donau-uni.ac.at/mahstudents">www.donau-uni.ac.at/mahstudents</a>
==> ALUMNI of the program are employed at renowned cultural institutions like: Austrian National Library, Süddeutsche Zeitung, Chicago Art Institute, Deutsche Kinemathek, ETH Zürich, Ars Electronica, ITAU Cultural Sao Paulo, Nicolaus Copernicus Universtiy, Auckland Art Gallery, Pinchuk Art Centre, Hive Advertising, imai, Polytechnic Museum Moscow, and more.
MODULES: Sept 15-25, 2017/ Nov 20-30, 2017 / May 2-6, 2018 / October 1-10, 2018 (and optionally May 2-6, 2019)
INTERNSHIP: (MAH-Advanced only) between May -Dec 2018 MASTER THESIS: Nov 2018 April 2019
<a class="moz-txt-link-abbreviated" href="http://www.donau-uni.ac.at/mah">www.donau-uni.ac.at/mah</a>
<a class="moz-txt-link-abbreviated" href="http://www.donau-uni.ac.at/mah/funding">www.donau-uni.ac.at/mah/funding</a>
<a class="moz-txt-link-abbreviated" href="http://www.mediacultures.net/mah">www.mediacultures.net/mah</a>
MediaArtHistories on Facebook: <a class="moz-txt-link-abbreviated" href="http://www.facebook.com/groups/377264145713664/">www.facebook.com/groups/377264145713664/</a>
<= 04. MEDIAARTHISTORIES RESEARCH IS ADVANCING INTO MOST QUOTED ART HISTORY BOOKS =========>
MediaArtHistories (Digital Arts Publications **) are advancing into the List of MOST QUOTED Art History books during recent decades (Date: May 2017, Source: H-INDEX, including translations).
W. J. T. MITCHELL: Picture Theory. Essays on Verbal and Visual Representation, Chicago, 1994 (3940 quotes)
Hans BELTING: Likeness and Presence: A History of the Image before the Era of Art, (German 1980) (1720 quotes)
Hal FOSTER: The Return of the Real, Cambridge/Mass., 1996 (1965)
Rosalind E. KRAUSS, The Originality of the Avant-Garde and Other Modernist Myths, Cambridge, Mass. – London, 1986 (1535 quotes)
**Oliver GRAU, Virtual Art. From Illusion to Immersion, Cambridge, Mass., MIT-Press, 2002 (1180 quotes)
Martin KEMP, The Science of Art. Optical Themes in Western Art from Brunelleschi to Seurat, New Haven and London, 1990 (1000)
Barbara Maria STAFFORD, Body Criticism. Imaging the Unseen in Enlightenment Art and Medicine, Cambridge Mass. – London, 1991 (840)
**Michael RUSH, New Media in Late 20th-Century Art, London, 1999 (780)
**Christiane PAUL, Digital Art, London and New York, 2003 (680)
**Peter WEIBEL and Bruno LATOUR (eds.), Making Things Public. Atmospheres of Democracy, Cambridge, Mass. – Karlsruhe, 2005 (680)
James ELKINS, The Object Stares Back. On the Nature of Seeing, New York, 1996 (540)
Gottfried BOEHM (ed.), Was ist ein Bild? Munich, 1994 ( 540)
Martin WARNKE, Hofkünstler. Zur Vorgeschichte des modernen Künstlers, Cologne, 1996 (425)
Horst BREDEKAMP, Antikensehnsucht und Maschinenglaube, Berlin, 1993 (400)
Jeffrey F. HAMBURGER: The visual and the visionary, New York: Zone, 1998. (235).
Wolfgang KEMP, Der Betrachter ist im Bild, Cologne, 1985 (190)
**Bruce WANDS, Art of the Digital Age, New York, 2006 (170)
Benjamin BUCHLOH: Neo-avantgarde and Culture Industry, Cambridge. MIT-Press 2003. (164)
<= 05. 3rd COHORT OF ERASMUS+ PROGRAM MEDIA ARTS CULTURES ========================>
This winter semester, our Joint Master Program of Excellence in Media Arts Cultures begins its third cohort. Once again, we have received hundreds of eligible applications from a total of 67 countries, now under review by the Consortium for the awarding of Erasmus+ scholarships. The 4-semester program is conducted in cooperation with partners Aalborg University, University of Lodz, and CityU Hong Kong, and delivers excellent training in the Media Arts with high mobility. Unfortunately, for non-EU residents, the closing date for application was April 29th, but applications are still possible until June 1st for EU-residents at <a class="moz-txt-link-freetext" href="http://www.mediaartscultures.eu/mediaac/application">http://www.mediaartscultures.eu/mediaac/application</a>.
<= 06. VORTRAGSREIHE: MEDIENKUNST, MUSEEN UND ARCHIVE IM 21. JHD. ============>
Führende ExpertInnen diskutieren den zeitgemäßen Umgang und Erhalt von digitalen Kulturdaten. Wie haben digitale Technologien und Digitale Kunst unsere Wahrnehmung und Interaktion mit Bildern verändert und wie stellen sich Museen und Archive den neuen Herausforderungen der Sammlung, Erforschung und Erschließung, aber auch der Vermittlung?
Die Vortragsreihe „Medienkunst, Museeen und Archive im 21. Jhd.“ nimmt diesen Wandel in den Fokus. International ausgewiesene ExpertInnen aus Kunstgeschichte, Kulturwissenschaft, Museumswissenschaft und Kunst stellen Lösungsmöglichkeiten, Verbesserungsstrategien und wegweisende Forschungsergebnisse auf verschiedenen Feldern vor.
Ulf PREUSS (Berlin)
„Digitale Archivierung“
29. Mai 2017, 16 Uhr 30 – 18 Uhr
Axel ERMERT, Monika HAGEDORN-SAUPE
Museumsdokumentation in Deutschland
31. Mai 2017, 17 Uhr – 18 Uhr 30
Martin WARNKE (Lüneburg)
„Hyper Image –Bilddiskurse in Zeiten des Internets“
31. August 2017, 9 Uhr 30 – 11 Uhr
Weitere Vorträge, die im Herbst 2017 stattfinden, werden im nächsten Newsletter bekannt gegeben.
<= 07. NEUES FORSCHUNGSPROJEKT AM DBW: VISUAL LITERACY (ViLi) VON RAMÓN REICHERT – FREIWILLIGE FÜR BEFRAGUNGEN GESUCHT ============>
Video is ubiquitous, two thirds of knowledge on the internet is now in video format and YouTube statistics (“Statistics”, 2015) reveal that, since March 2014, there has been a 40% increase in the number of people engaging with video - either producing it or viewing the content. It is not just the creation and viewing of video, synchronous video communication is an integral part of smart phones, mobile devices, e-learning platforms and social network sites and is being used to enhance co-operation and collaboration amongst people in education, business and informal contexts.
The Visual Literacies (ViLi) project aims to: research current practice on video/visual thinking; design and implement open educational resources (OERs); deliver, monitor & evaluate a MOOC on digital literacy; and disseminate findings, including OERs. We will enhance the digital competences of educators by training them in video/visual thinking strategies (created from an analysis of current practice), delivered in a MOOC designed for Higher Education educators, that is open to others, e.g. workplace trainers, human resource managers, vocational trainers and business executives. Participants will also learn about new ways of thinking on screen and visual thinking strategies to enhance performance and promote business communication.
The Erasmus+-funded project is led by Dr. Julie-Ann Sime, Centre for Technology Enhanced Learning, Lancaster University (UK) with Dr. Ramón Reichert, Danube University Krems (Austria); Mr. Ioannis Arapoglou, Wide Services (Greece), a Moodle e-learning company; and Prof. Charlambos Vrasidas, Cardet, a leading research and training centre (Cyprus); with Europalsa association of vocational training centres (Greece).
The ViLi project team would like to conduct interviews with experts in the areas of image science, brain research and visual cognition. If you are interested, please contact Ramón Reichert (<a class="moz-txt-link-abbreviated" href="mailto:datastudies@donau-uni.ac.at">datastudies@donau-uni.ac.at</a>).
<= 08. THE ARCHIVE OF DIGITAL ART (ADA) FEATURES 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: <a class="moz-txt-link-freetext" href="http://mediaartresearch.org/search/thesaurus-hierarchical.html">http://mediaartresearch.org/search/thesaurus-hierarchical.html</a>
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.
Click here to see Chris Salter’s ADA profile: <a class="moz-txt-link-freetext" href="https://www.digitalartarchive.at/database/artists/general/artist/salter.html">https://www.digitalartarchive.at/database/artists/general/artist/salter.html</a>
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: <a class="moz-txt-link-abbreviated" href="http://www.digitalartarchive.at/support/account-request.html">www.digitalartarchive.at/support/account-request.html</a>
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, 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)
Contact us at <a class="moz-txt-link-abbreviated" href="mailto:digitalart.editor@donau-uni.ac.at">digitalart.editor@donau-uni.ac.at</a>
<= 09. FORTHCOMING PUBLICATION: MUSEUM AND ARCHIVE ON THE MOVE ==============>
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
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. Book contributors are: Lev MANOVICH, Jorge WAGENSBERG, Okwui ENWEZOR, Christiane PAUL, Dieter BOGNER, Oliver GRAU, Jeffrey SHAW, Sean CUBITT, Sarah KENDERDINE, Erkki HUHTAMO, Lutz ENGELKE, Anja OSSWALD, Morten SØNDERGAARD, Youngjin LEE, Wendy COONES, Viola RÜHSE, Ryszard W. KLUSZCZY*SKI, Andreas BROECKMANN und Harald KRAEMER. 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.
<a class="moz-txt-link-freetext" href="https://www.degruyter.com/view/product/480930?result=3&rskey=IX91UP">https://www.degruyter.com/view/product/480930?result=3&rskey=IX91UP</a>
ISBN 978-3-11-052963-0
<= 10. STUDIENGÄNGE STARTTERMINE ==>
MEDIA ART HISTORIES – ADVANCED (MA)
> Start: Nov. 2017
Faculty: Lev MANOVICH, Christiane PAUL, Edward SHANKEN, Jens HAUSER, Christa SOMMERER, Jussi PARIKKA, Gerfried STOCKER, Frieder NAKE, Oliver GRAU, u.v.m.
<a class="moz-txt-link-freetext" href="http://www.donau-uni.ac.at/mediaarthistories">http://www.donau-uni.ac.at/mediaarthistories</a>
MediaArtHistories on Facebook:
<a class="moz-txt-link-abbreviated" href="http://www.facebook.com/groups/377264145713664/">www.facebook.com/groups/377264145713664/</a>
=> EXHIBITION DEVELOPMENT, Certified Program (2 Module, 1 Semester)
> Start 04. Nov. 2017
Faculty: Herbert LACHMAYER, Peter ASSMANN, Enrique GUITART, Jorge WAGENSBERG, Frank den OUDSTEN, Stefan IGLHAUT, Audrey O’CONNELL, Brigitte FELDERER, Lutz ENGELKE, Martin FRITZ, Harald GRÜNDL, Pat MUNRO, Becky GILBERT, Dieter RONTE, u.v.m.
<a class="moz-txt-link-freetext" href="http://www.donau-uni.ac.at/exhibit">http://www.donau-uni.ac.at/exhibit</a>
=> CROSSMEDIA DESIGN & DEVELOPMENT, MSc
> Start 2018
Faculty: Marie-Luise ANGERER, Geoffrey LONG, Lev MANOVICH, Stefan HEIDENREICH, Oliver GRAU und Ramon REICHERT vermitteln die Potentiale der partizipativen und konvergenten Mediennutzung, Produktion und Distribution.
<a class="moz-txt-link-freetext" href="http://www.donau-uni.ac.at/crossmedia">http://www.donau-uni.ac.at/crossmedia</a>
=> DATA STUDIES, MSc
> Start März 2018
Faculty: David M. BERRY, Wolfgang GRAF, Gerald STOCKINGER, Axel MAIREDER, Carolin GERLITZ, Johannes BURGER, Bernhard RIEDER, Katrin WELLER, Axel BRUNS, Warren SACK, Niels-Oliver WALKOWSKI, Martin DOLL, Regine BUSCHAUER, Ramon REICHERT, u.v.m.
<a class="moz-txt-link-freetext" href="http://www.donau-uni.ac.at/datastudies">http://www.donau-uni.ac.at/datastudies</a>
=> FOTOGRAFIE, Certified Program (3 Modul, 1 Semester )
> Start Frühling 2018
Faculty: Uwe SCHÖGL, Martin Roman DEPPNER, Anton HOLZER, Jens JÄGER, Ulrich RUETER, Friedrich TIETJEN, Alfred BÜLLESBACH, Andreas GRUBER u.v.m.
<a class="moz-txt-link-freetext" href="http://www.donau-uni.ac.at/fotografie">http://www.donau-uni.ac.at/fotografie</a>
=> Studiengangskosten sind steuerlich absetzbar
<= 11. FB-PAGE BILDWISSENSCHAFT / IMAGE SCIENCE ==============>
Neuigkeiten des Departments für Bildwissenschaften der Donau-Universität Krems findet man auch auf der Facebook-Page „Bildwissenschaft / Image Science unter <a class="moz-txt-link-freetext" href="https://www.facebook.com/bildwissenschaft">https://www.facebook.com/bildwissenschaft</a>.
Dort werden unter anderem Veranstaltungen des Departments sowie neue Vorträge und Publikationen der Faculty angekündigt. Klicken Sie gern den Like-Button, um Page-Follower zu werden!
<= 12. ERFOLGE VON ABSOLVENTEN ====>
Glitch Art by a Media Art Histories master progam student at three exhibitions
Alexandra Ehrlich Speiser is currently studying in the MediaArtHistories master program at our Department. She showed her Glitch Art works at the EMAF European Media Art Festival in Osnabrück in April 2017, in the Kunsthalle Krems and the international exhibition "Glitch Art is Dead“ in Minneapolis (Gamut Gallery).
<= 13. VORTRÄGE DER BILDWISSENSCHAFTEN / LECTURES IN IMAGE SCIENCE =====>
Univ.-Prof. Dr. habil. Oliver GRAU, MAE
COIMBRA/PORTO: Academic Theater of Gil Vicente/ National Theater of São João "Archive Practices in Performing Arts" 16-18 November 2017
SINGAPORE: Nanyang Technological University, ‘Multiverse’ Symposium, Keynote, Nov. 2017.
HANNOVER, NDR: Kultur, KunstFestSpiele Herrenhausen, "Die Kunst und das Digitale", 4. Mai 2017 (Vortrag und Podium).
MÜNCHEN: Festival KINO DER KUNST, 20. April 2017, Symposiumsvortrag.
JERUSALEM: Open University, Eingeladener Abendvortrag, Ehrensymposium für Prof. Oliver Grau, 23. Nov. 2016.
BERLIN: Martin-Gropius-Bau, Schule der Distanz: Immersion, Keynote, 18. Nov. 2016.
Mag. Janina HOTH:
WIEN: dha Konferenz (digital humanities Austria), ÖAW, Poster und Demo Session, Vorstellung ADA und Media Art
Research Thesaurus, 03.-05.12.2016.
BERLIN: Eva Konferenz (Electronic Media and Visual Arts), Staatliche Museen zu Berlin, Berlin, Vortrag zur Online
Exhibition, 9.-11.11.2016.
Viola RÜHSE, M.A.:
WIEN: Duane Hanson's Sculptures of American Everyday Life, 3rd ISA Forum of Sociology: Viusalizing
Spaces of the Everyday, 12.7.2016.
Devon SCHILLER, BFA:
KAUNAS, LITHUANIA: "Animal Face/Human Soul: The Zoomorphic Syllogism of Aristotelianist Physiognomics in
Pixar-Disney Digital Animation." 13th World Congress of Semiotics. Semiotics Institute of
Kaunas University of Technology. 26-30.06.2017 (upcoming).
BRIGHTON, ENGLAND: "Proof of Face: Operational Iconicity in the Facial Action Coding System (FACS) Manual and
its Diagrammatical Manipulation for Automated Facial Expression Analysis (AFEA)." 11th
International Symposium on Iconicity in Language and Literature. University of Brighton. 06.-
8.04.2017 (upcoming).
Florian WIENCEK, M.A.:
MÜNCHEN: Lightning Talk "Archive of Digital Art" bei Coding Dürer - International Hackaton for Art History,
München, 14.03.2017.
BIELEFELD: Interactive Session: Was heißt Citizen Science und Dialog in den Geisteswissenschaften? - Topic
"Living Publications". 9. Forum Wissenschaftskommunikation, 06.12.2016.
<= 14. NEW PUBLICATIONS BY OUR FACULTY ========================>
Gerry BADGER und Martin PARR: The Photobook: A History, Volume III, Phaidon, London, 2014.
Andreas BROECKMANN: Machine Art in the Twentieth Century. Cambridge MA: MIT Press 2016.
Axel BRUNS, Katrin WELLER (u.a.): Twitter and Society, Peter Lang, New York, 2014.
Wendy COONES: KSEVT Space Sight - Icons of Non-Visible: Our Changing Image of Mars and Ourselves - First TV Image of Mars (1965), <a class="moz-txt-link-freetext" href="http://www.ksevt.eu/spacesight/?p=2107">http://www.ksevt.eu/spacesight/?p=2107</a>.
Sean CUBITT: The Practice of Light: A Genealogy of Visual Technologies from Prints to Pixels. Cambridge MA: MIT Press 2014.
Sean CUBITT, Stephen RUST, Salma MONANI (eds.): Ecomedia: Key Issues. Routledge 2016.
Elinor Nina CZEGLEDY NAGY, Art as a Catalyst. Leonardo Transactions Sept. 2014.
Ksenia FEDOROVA, Nina SOSNA (eds.): Media: between Magic and Technology, Moscow: Armchair Scientist Press, 2014 (auf Russisch).
Carolin GERLITZ (u.a.): Social Media and Self-Evaluating Assemblages: On Numbers, Orderings and Values. Distinktion. Special Issue on ‘Number Ecologies: Numbers and Numbering Practices’, 2014.
Oliver GRAU, Wendy COONES, Viola RÜHSE (eds.): Museum and Archive on the Move, De Gruyter 2017 (forthcoming).
Oliver GRAU: Druckgrafik bis Medienkunst: Neue Analyseinstrumente für die historisch vergleichende Bildforschung, in: Rundbrief Fotografie, Vol. 21 (2014), No. 1/2 [N.F. 81/82], pp. 108-116. <a class="moz-txt-link-freetext" href="https://www.academia.edu/7241590/Druckgrafik_bis_Medienkunst_-_Neue_Analysinstrumente_fur_die_historisch_vergleichende_Bildforschung">https://www.academia.edu/7241590/Druckgrafik_bis_Medienkunst_-_Neue_Analysinstrumente_fur_die_historisch_vergleichende_Bildforschung</a>
Oliver GRAU: NEW MEDIA ART, in: Oxford Bibliographies (Online), Editor in Chief: Thomas DaCosta Kaufmann, 2016, S. 1-18, <a class="moz-txt-link-freetext" href="https://www.academia.edu/25770396/New_Media_Art_Oxford_Reserach_Bibliographies">https://www.academia.edu/25770396/New_Media_Art_Oxford_Reserach_Bibliographies</a>
Oliver GRAU: The Complex and Multifarious Expression of Digital Art and its Impact on Archives and Humanities, in: Christiane PAUL (Hg.): A Companion to Digital Art, Wiley-Blackwell 2016, S. 23-45.
Frank HARTMANN, u.a.: Körper des Denkens. Neue Positionen der Medienphilosophie, Fink, 2013.
Anton HOLZER: Rasende Reporter: Eine Kulturgeschichte des Fotojournalismus, Primus, 2014.
Janina HOTH / Oliver GRAU: Documenting Media Art and beyond. Challenges and Opportunities of Online Exhibitions, Eva Konferenz (Electronic Media and Visual Arts), Tagungsband, S. 203-211.
Erkki HUHTAMO: Illusions in Motion. Media Archaeology of the Moving Panorama and Related Spectacles, MIT Press, 2013.
Henry JENKINS, u.a.: SPREADABLE Media: Creating Value and Meaning in a Networked Culture, New York Univ Press, 2013.
Slavko KACUNKO, Culture as Capital. Logos Verlag Berlin 2015.
Martin KEMP: The Chapel of Trinity College, Oxford. Antique Collectors Club, 2014.
Herbert LACHMAYER: Staging Knowledge. Inszenierung von Wissensräumen als Forschungsstrategie und Ausstellungsformat. Eine Auswahl von Ausstellungsproduktionen, Fink Verlag, 2013.
Martina LEEKER, T. BEYES, I. SCHIPPER, Performing the Digital: Performance Studies and Performances in Digital Cultures . Bielefeld: transcript Verlag für Kommunikation, Kultur und soziale Praxis 2016.
Lev MANOVICH: "Instagram and Contemporary Image" (2016) (released online).
Lev MANOVICH, Rasa SMITE, Raitis SMITS: Data Drift: Archiving Media and Data Art in the 21st Century, Riga: RIXC, LiepU MPLab, 2015.
Nat MULLER (ed.): Nancy Atakan. Passing On. Heidelberg: Kehrer Verlag, 2016.
Dietmar OFFENHUBER, Carlo RATTI (eds.), Decoding the City: Urbanism in the Age of Big Data. Basel: Birkhauser 2014 (extended English edition).
Jussi PARIKKA und Joasia KRYSA (eds.): Writing and Unwriting (Media) Art History: Erkki Kurenniemi in 2048, Cambridge, MA: The MIT Press 2015.
Christiane PAUL (ed.): A Companion to Digital Art, Blackwell-Wiley 2016.
Christiane PAUL: Digital Art, 3rd revised and expanded edition, Thames & Hudson, 2015.
Ana PERAICA: An introduction to smuggling as an object of academic research and the politics of artistic engagement, in: dies. (Hg.), Smuggling Anthologies Reader, Rijeka (MMSU) 2015,p. 16-23.
Ramón REICHERT: Big Data. Analysen zum digitalen Wandel von Wissen, Macht und Ökonomie. transcript Verlag. 2014.
Margit ROSEN: Hiroshi Kawano. Der Philosoph am Computer / Hiroshi Kawano. The Philosopher at the Computer (in Vorbereitung).
Margit ROSEN (Hg.): Der Algorithmus des Manfred Mohr: Texte 1963 – 1979, Leipzig: Spector 2014.
Raphael ROSENBERG: Hitlers Architekten. Historisch-kritische Monografien zur Regimearchitektur im Nationalsozialismus (Hg.), Böhlau, Wien, 2014.
Viola RÜHSE, Lee Miller in Hitlers Badewanne, in: Alexandra Klei et al., 8. Mai. 1945: Internationale und interdisziplinäre Perspektiven, Berlin (Neofelis Verlag) 2016, S. 161-186.
Viola RÜHSE, Eric Hobsbawms und Theodor W. Adornos Auseinandersetzung mit Jazz, in: Hobsbawm, Newton und Jazz, hrsg. von Andreas Linsenmann und Thorsten Hindrichs, Paderborn 2017.
Viola RÜHSE, The Digital Collection of the Rijksmuseum. Open Content and the Commercialization of a National Museum, in: Oliver Grau (ed.) together with Wendy Coones and Viola Rühse, Museum and Archive on the Move, Berlin 2017 (im Erscheinen).
Klaus SACHS-HOMBACH: Bildwissenschaft und Visual Culture, Transcript, 2014.
Christopher SALTER: Alien Agency: Experimental Encounters with Art in the Making. MIT Press, 2015.
Devon SCHILLER: Eco’s Face Drawing and the Continuum of Emoticon Articulation.” In Torkild Thellefsen and Bent Sørensen (Eds.). Umberto Eco in His Own Words. Berlin, Germany: de Gruyter Mouton, 2017 (forthcoming).
Devon SCHILLER: The Filters Through Which We Live: Representing the Emotional Self in Digital Media. In: The International Journal of New Media, Technology, and the Arts. 01.2017.
Maiximiliaen SCHICH, I. Meirelles, R. Malina, eds.: Arts, Humanities, and Complex Networks, Cambridge, MA: MIT-Press, 2014 (4th extended edition).
Martin SCHULZ, Kristin MAREK (Hg.): Kanon Kunstgeschichte. Einführung in Werke, Methoden und Epochen. 4 Bände, Wilhelm Fink, 2015.
Edward SHANKEN: Systems. (Documents of Contemporary Art) London and Cambridge, MA: Whitechapel/MIT Press, 2015.
Morten SØNDERGAARD, Ulrik EKMAN, Jay David BOLTER, Lily DÍAZ, Maria Engberg (Editors), Ubiquitous Computing, Complexity, and Culture. New York: Routledge 2015.
Florian WIENCEK & Amanda STARLING GOULD (Editors): Network Ecologies. Durham, NC : John Hope Franklin Humanities Institute at Duke University, 2016, <a class="moz-txt-link-freetext" href="http://scalar.usc.edu/works/network-ecologies/index">http://scalar.usc.edu/works/network-ecologies/index</a>.
Beat WYSS: Renaissance als Kulturtechnik, Philo Fine Arts, 2013.
<= 15. INTERNATIONALE REFERENZEN ZUM DBW ====>
Stellungnahmen der internationalen Fachwelt und Erfahrungsberichte der Studierenden und AbsolventInnen sind als Paperback erschienen. Das Kompendium dokumentiert wissenschaftliche Leistung und Stellenwert des Departments für Bildwissenschaften und informiert über erreichte Meilensteine in Forschung und Lehre.
Digital und als Print unter: <a class="moz-txt-link-freetext" href="http://www.donau-uni.ac.at/dbw/reader">http://www.donau-uni.ac.at/dbw/reader</a>
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