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SCHOOL OF VISUAL ARTS PRESENTS MEDIAMODES: A GRADUATE STUDENT CONFERENCE ON CRITICAL THINKING AT THE INTERSECTION OF ART AND TEC
SCHOOL OF VISUAL ARTS PRESENTS MEDIAMODES:
A GRADUATE STUDENT CONFERENCE ON CRITICAL THINKING AT THE INTERSECTION OF ART AND TECHNOLOGY
KEYNOTE ADDRESS BY NOTED CRITIC AND SCHOLAR JONATHAN CRARY
Saturday, November 14, 2009
Keynote Address: 4 — 5:30pm
Book signing and reception to follow
SVA Theatre, 333 West 23 Street, New York City
Conference Panels: 10am — 3:30pm
133/141 West 21 Street, 10th floor, New York City
All events are free and open to the public
School of Visual Arts (SVA) presents MediaModes, an interdisciplinary graduate conference examining the contemporary dialogue between art and technology. Co-sponsored by the MFA Computer Art and the MFA Art Criticism and Writing Departments at SVA, MediaModes provides a critical forum for current scholarship exploring the juncture of media, theory, criticism and the visual arts. Jonathan Crary, Meyer Schapiro Professor of Modern Art and Theory at Columbia University, will deliver the keynote address, commenting on the human and social consequences of 24/7 technological culture.
Jonathan Crary has written extensively on the confluence of art, technology and mass media. His books include Techniques of the Observer: On Vision and Modernity in the Nineteenth Century (MIT Press, 1992), Suspensions of Perception: Attention, Spectacle, and Modern Culture (MIT Press, 2001) and Incorporations (Zone Books, 1992). He is also a founding editor of Zone Books, widely noted for its publication of major works in philosophy, criticism, art, social theory and history. Crary has been the recipient of National Endowment for the Arts, Mellon, Getty and Guggenheim fellowships and was a member of the Institute for Advanced Study at Princeton.
209 East 23 Street, New York, NY 10010-3994 Tel 212.592.2010 Fax 212.929.0325 www.sva.edu
Twenty-three current students and recent alumni from graduate programs throughout North America, South America, Europe and Asia will present on the following six topics: Body, Identity and the Virtual Space; Spatial Experience and Social Networking; Perception, Information and Temporality; The Spectator and the Spectacle: Mediating Differences/Technology and Politics; Processes and Aesthetics of Digital Art; and Sound Junctures. SVA faculty members will moderate. A complete list of participants is attached. Additional details can also be found at www.mediamodes.com.
MediaModes conference participants represent a wide cross-section of disciplines, ranging from visual and cultural studies to interactive media arts; from criticism to curatorial practice; and from performance art to art history. They will address critical and analytical issues related to the connection between art and technology from a multiplicity of viewpoints, methodologies and theoretical approaches.
The MFA Art Criticism and Writing Department at SVA offers a two-year course of study leading to an MFA degree. For students who want to improve their writing and advance their knowledge of contemporary art, theory, literature, and history, this concentrated program offers seminars by practicing critics, editors, philosophers, poets, and artists. The focus in writing is on the essay as form, as well as on shorter forms of review, through intensive writing practicums.
The MFA Computer Art Department at SVA emphasizes creative experimentation and a multidisciplinary approach. Dedicated to producing digital artists of the highest caliber, the department guides each student in the development of a personal artistic style and a course of study that is individually tailored to meet his/her needs. The program also offers concentrations in animation, digital video/motion graphics, installation and digital fine art, interactive media, sound art and performance.
School of Visual Arts (SVA) in New York City is an established leader and innovator in the education of artists. From its inception in 1947, the faculty has been comprised of professionals working in the arts and art-related fields. SVA provides an environment that nurtures creativity, inventiveness and experimentation, enabling students to develop a strong sense of identity and a clear direction of purpose.
PANEL SCHEDULE (at 133/141 West 21st Street, 10th Floor)
Session 1: 10 — 11:30am
SPATIAL EXPERIENCE AND SOCIAL NETWORKING
• Amanda Graham, The Body of the Text: Dispersion and Its Implications in Shelley Jackson’s Skin: A Mortal Work of Art (University of Rochester, Graduate Program in Visual and Cultural Studies, PhD)
• Nipun Kumar, Intervention or Interference of Digital Technologies in Interior Design–Developing Spatial Digital Experience (Rhode Island School of Design, Digital + Media)
• Ellen Hartwell Alderman, Phenomenal Translucency in Toyo Ito’s T House (Art Institute of Chicago, MFA)
• Graham Smith, Digital Painting: Social Network (School of Visual Arts, MFA Computer Art)
• Respondent: Grahame Weinbren
BODY, IDENTITY AND THE VIRTUAL SPACE
• Jaime Austin, Space, Identity, and Embodiment in Lynn Hershman Leeson's The Dante Hotel and Life Squared (California College of the Arts, Curatorial Practice, MA)
• Jenny Keane, Fragmented Fetishes: Monstrosity and Desire in Women's Contemporary Time-Based Art (University of Ulster, Belfast)
• Aleksandra Przegalinska, Identity Negotiation in Human-Avatar Relations (The New School, Sociology, MA)
• Klara Seddon, Bento Blogs: Women’s Expression in Japanese Visual Culture (Bard Graduate Center for Studies in Decorative Arts, Design and Culture, MA)
• Respondent: Russet Lederman
Session 2: 11:45am — 1:15pm
PROCESSES AND AESTHETICS OF DIGITAL ART
• Zach Blas, Queer Technologies: Toward a Viral Aesthetic (Duke University, Literature & Information Science and Information Studies, PhD)
• Dustin Grella, Processing Prayers for Peace (School of Visual Arts, MFA Computer Art)
• Aimee Walleston, The Aesthetics of Pixelation (School of Visual Arts, MFA Art Criticism and Writing)
• Respondent: Kathy Brew
PERCEPTION, INFORMATION AND TEMPORALITY
• Lorne Blythe, Cartesian Illusions: Cognitive Science and Representations of Subjective Time in Visual Art (School of Visual Arts, MFA Photography, Video and Related Media)
• Pierre Leichner, From Transcendence to ‘Altercendence’? (University of Concordia, Faculty of Fine Arts, MFA)
• Kurt Ralske, Data and Time: Information Storage and Paradigms of Temporality (School of Visual Arts, MFA Art Criticism and Writing)
• Nina Wenhart, The Grammar of New Media (Danube University Krems/Austria, Department for Image Science, Media Art Histories Programme, MA)
• Respondent: Suzanne Anker
Session 3: 2 — 3:30pm
BETWEEN THE SPECTATOR AND THE SPECTACLE
• LaTanya Autry, In and Out of the Margins — “Click!: A Crowd-Curated Exhibition?” (University of Delaware, Art History)
• Matthias De Groof, The Assimilation of Cinematographic Techniques by African Filmmakers. In Order to be Not Assimilated? A Plea for Anthropophagy (University of Antwerp, Filmstudies + Visual Culture, PhD candidate)
• Elaine W. Ho and Sean Smith, Unlayering the Relational: Microaesthetics and Micropolitics (European Graduate School, Media and Communications Program PhD)
• Doug Jarvis, Ghosts as an Audience (University of Guelph, Ontario, School of Fine Arts and Music)
• Respondent: Ken Johnson
• Kelly Jaclynn Andres, Shells, Membranes and Bicycle Horns (Concordia University, Montréal, Interdisciplinary Studies, PhD)
• Song-Min Ang, Operations and Institutions (Goldsmiths, University of London, Department of Visual Cultures)
• Michael Capio, Wall Systems: Notes on Post-Digital Tendencies in Sound and Design (School of Visual Arts, MFA Art Criticism and Writing)
• Jelani Gould-Bailey, Harmonics (School of Visual Arts, MFA Computer Art)
• Respondent: Tom Huhn