Dark Culture= every telescope ever invented is blind to most of the universe

Pleased to bring to your attention our call for podcasts and memoirs from artsciencetechnology pioneers in popular culture. Guest Editor Poe Johnson coins the phrase ‘dark culture’ by analogy to ‘dark matter’ in astronomy. Astronomers now realise that all telescopes built in human history are blind to 95% of the matter in the universe, which unfortunately  doesnt emit light; similarly our cultural telescopes ignore the most important developments in the way that science and technology are appropriated and redirected in popular culture and all the social and technical innovations driven by popular culture.

Roger Malina

 

NEW CALL: NARRATIVES IN DARK CULTURE

http://www.leonardo.info/isast/journal/calls/pioneers-project.html

GUEST EDITOR: POE JOHNSON

Contact: poejohnson[at]gmail.com

The Leonardo Pioneers and Pathbreakers Project, in anticipation of Leonardo journal’s 50th anniversary, seeks papers dealing with the history of developments in the arts, sciences and technology and the art-science movements.

The aim of the project is to establish reliable, selected online documentation by twentieth-century artists, scholars and institution builders whose works and ideas have been influential in the development of technological art and art-science movements.

In our always-ongoing attempt to enlarge the historical terrain within the development of the encounter between the arts, sciences, and technology, during its 50th anniversary, Leonardo/ISAST is proud to announce the formation of a new memoirs series: Narratives in Dark Culture.

We invent the term “dark culture” by analogy to the concept of “dark matter” in astronomy. Astronomers have realized that most of the universe does not emit light of any kind and alternative methods must be used to understand the full content of the universe. Similarly, we have found that the Pioneers and Pathbreakers project favored the work of those associated within universities and technological industries, with their attendant issues regarding a lack of racial and gender diversity, while the work of artists and thinkers in popular culture fields have largely been ignored.

With this project, we aim to publish memoirs and podcasts featuring artists, writers, theorists and other content creators who used genres of popular culture to depict the interaction of science, identity and technology within artistic mediums. In particular, we invite artists and thinkers of color from a wide range of cultural, regional and gendered backgrounds to share their experiences on working as a minority within popular cultural realms.

Since its founding in 1966, and the publication of the first issue in January 1968, Leonardo has accompanied and championed the work of the pioneers who were just beginning to use computers and other emerging technologies for artistic purposes. This project creates an opportunity for Leonardo journal, as well as the artists, writers and thinkers themselves, to begin authoring a new history on the relationship between art, science and technology.

For the Leonardo Pioneers and Pathbreakers Project seehttp://www.olats.org/pionniers/pionniers.php.

For the Pioneers and Pathbreakers Call for Papers seehttp://www.leonardo.info/isast/journal/calls/pioneers.html.

We are interested in topics including, but not limited to, the following:

  • Memoirs by artists (of all methodologies and genres), writers and theorists working within popular culture genres (science fiction, popular music, graphic narratives, etc.)

  • Texts must be written by the artist, in English, and cover an extended body of work. Length may be up to 2,500 words, including 8 illustrations.

  • Memoirs by curators who organized art exhibitions highlighting technological artworks that represent underrepresented groups.

  • Memoirs by pioneering collectors who were early supporters of technological artists in popular culture.

We are happy to record short podcasts over the phone or Internet with pioneers for publication on the Creative Disturbance podcast platform.

Readers of Leonardo are asked to encourage their colleagues to submit such memoirs, which will be invaluable primary documents for historians and scholars in the future.

Interested authors should contact Poe Johnson at poejohnson@gmail.com to discuss possibilities and submit manuscript proposals or completed manuscripts to the Leonardo Editorial Office at leonardomanuscripts@gmail.com.

Memoirs and articles by pioneers recently published in Leonardo include:

http://www.mitpressjournals.org/toc/leon/0/ja

A. Michael Noll: “Howard Wise Gallery Show of Digital Art and Patterns (1965):  50th Anniversary Memoir” (2015)

Jim Pallas: “Century of Light Shines for Twenty-Five Years” (2015)

Trudy Myrrh Reagan: “Ylem Rode the Wave, 1981-1986: A Bay Area member organization that served artists using science and technology until 2009” (2015)

Edmond Couchot: “Digital art: From 60’ to 80’: Point of view of an observactor” (2015)

Podcasts published on the Pioneers Pathbreakers Channel of Creative Disturbance include: http://creativedisturbance.org/channel/pioneers-and-pathbreakers/

Judy Malloy and Roger Malina: “Pioneer Judy Malloy Thinks Aloud about Her Role in the Birth of Electronic Literature”
(2015, English)

Pamela Grant-Ryan and Roger Malina: “Re-thinking the Leonardo Journal” (2015, English)

Pierre-Alain Hubert and Roger Malina: “Artiste Pyrotechnicien P A Hubert discute ses feux d’artifice et musique dans les espaces urbains” (2015, French)

Neil Rolnick and Roger Malina: “Neil Rolnick Remembers IRCAM, iEar and Early Days in Art/Technology” (2015, English)

Dan Sandin and Roger Malina: “Pioneer Dan Sandin 40 Year Look Back at the Analog to Digital, and Video Revolutions” (2015, English)

Edmond Couchot and Roger Malina: “Contre le Post-Humanisme et Vers la Co-evolution de Forms de Vies Numerique et Organique” (2015, French)

Jacques Mandelbrojt and Roger Malina: “Jacques Mandelbrojt se rappelle à voix haute” (2015, French)

Sean B. Carroll and Charissa Terranova: “Overlaps in Practices Between Humanists and Scientists” (2015, English)

Tobias C. Van Veen and Ytasha Womack: “Other Planes 01: Ytasha Womack, Author, Filmmaker & Innovator” (2016, English)

Tobias C. Van Veen and John Jennings: “Other Planes 02: John Jennings, Graphic Novelist and Professor” (2016, English)

Roger Malina and Sandy Stone: “Sound’s Path to Academia” (2016, English)

 

creative disturbance in Turkey: social and subconstructive design

Colleagues

We are pleased to present a new podcast from our Turkish Creative Disturbance Channel Hosted by Altuğ Akın, H. Cenk Dereli and Sarphan Uzunoğlu

Conversations with creators of stimulating works from Turkey’s fields of culture, technology and art. The key words are creativity, possibilities and Turkey.

We have been in touch with our Turkish colleagues and they are doing ok given the turmoil in their country

The new podcast is with Co Producer Cenk and Evren Uzer

creative disturbance from turkey: social and subconstructive design, community participation and risk mitigation, sociograms and viral ontologies, cultural heritage and fashion, earthquakes, and collaborative crafts…in turkish

The guest is Evren Uzer

Expertise
Designer, Urban Planner
Bio
Evren is an urban planner and designer working on civic engagement and critical heritage, disaster risk mitigation, participatory housing and interventions in the public space. She has a PhD and BSc in urban and regional planning, and an MSc in urban design, from Istanbul Technical University. Her PhD thesis was on risk mitigation for urban cultural heritage. Evren joins Parsons from Gothenburg University, where she was a postdoctoral research fellow since 2013 in the School of Design and Crafts. Her postdoctoral research at Gothenburg is called “Urban heritage at risk: artistic and activist interventions in heritage issues.”  She has taught at Pratt Institute, and her prior teaching also includes lecturer at ITU’s Housing and Earthquake MSc program, senior lecturer at Auckland Technical University, and workshop lecturer at Bergen School of Architecture in Norway. Evren is sole or co-author of two dozen writings, including articles, chapters, monographs, and conference papers on topics ranging from  urban design, public space design, green intervention, disaster mitigation, and housing systems. She is also co-founder (2004) and partner of roomservices, an artistic research collaboration for practice-based and experimental design projects, dealing with issues such as DIY urbanism, artistic research, social and entrepreneurial enablement and art practice. Through roomservices, Evren and her partner research and experiment with social and subconstructive design, community participation and risk mitigation, sociograms and viral ontologies, cultural heritage and fashion, earthquakes, and collaborative crafts.

 

Unfortunately the news is more worrying from our creative disturbance colleagues in South Sudan. we live in difficult times

Roger Malina

STEAM ahead: nominate exemplars of art science transdisciplinary practice

Colleagues

The SEAD network, http://sead.viz.tamu.edu/about/index.html ,  is currently compiling a list of EXEMPLARS in art-science or STEAM research and education practice. We welcome nominations..all the way from individual to groups, in academic or civil society or industry – whose work is an exemplar of the new kinds of transdisciplinary art science practices that have developed over the last 30 years

To nominate a person or a group ( please dont nominate yourself !) just send;

a) Name of individual or Group

b) URL if possible

And then a few sentences explaining why you think this work is EXEMPLAR

Eg

a) The Studio At NASA JPL under the leadership of Artist Designer Dan Goods

b) https://www.theguardian.com/science/2016/aug/07/nasa-secret-art-studio-rocket-science-jet-propulsion-laboratory?CMP=Share_iOSApp_Other

c) The Studio at JPL, founded and under the direction of artist Dan Goods. has a sustained practice over more than a decade

that contributes by a) contributing to innovation design methodologies at JPL b) Creating artworks that are compelling artistic experiences

c) Developing new ways for scientific institutions to engage with a diverse variety of publics.

We are interested in nominations across the whole range and variety of practices ( eg patents filed by artists, public performances that develop innovative ways of science communication and public engagement, teams that result in scientific discoveries as well as compelling art works, innovative artistic representation of big or complex data, innovative STEAM curricula or courses at K-12, higher education or continuing education  etc etc

We are curating an exhibition of a selection of these exemplars and will share the list of nominees.

Roger Malina

Join us in Manizales Colombia for ISEA 2017 in June 2017

Colleagues

I am delighted to forward this from Leonardo Editorial Board member Felipe Londono, Rector of the University of Caldas. Leonardo will be organising activities there as part of our Leonardo 50th anniversary

In a previous post, I announced the panel on training for transdisciplinary collaboration that mauricio Mejias , Andres Roldan and I are coordinating:

 

 

isea 2017 Training Methods for Transdisciplinary Collaboration

 

roger

Dear Roger and Leonardo Editorial Board member.

The Universidad de Caldas (Colombia) is hosting next year ISEA2017. We invite scientists, artists, designers, and professionals to debate issues of design and creation. The official language of the event is English; submissions must be written in English. Authors will have the opportunity to give their oral presentations in Spanish; those presentations will be live translated to English for the audience.

Hope to see many of you in Manizales next June!

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Call for Papers and Participation
ISEA2017
BIO-CREATION AND PEACE
………………………………………………………………………………

23rd International Symposium on Electronic Art
XVI International Image Festival
June 11-18, 2017
Universidad de Caldas, Manizales, Colombia
www.isea2017.info

ISEA is one of the world’s most prominent international arts and technology events, bringing together scholarly, artistic, and scientific domains in an interdisciplinary discussion and showcase of creative productions applying new technologies in art, interactivity, and electronic and digital media.

ISEA2017 invites participants to reflect on the contributions that art, design, and technology provide as alternatives for social development based on respect for natural biodiversity and having pacific coexistence of the communities. ISEA2017 welcomes submissions in three broad categories: academic (papers, posters, panels, and roundtables), creative (artworks, installations, performances, and design cases) and learning (residence, workshops, tutorials, artist or designer talks, and institutional presentations).

Sub-themes
Bio-creation and data
Data is becoming pervasive in our daily lives. Scientists have used data and biological processes to create products and systems, while artists explore the aesthetics of technology, data and biology. How do artists integrate data and biological phenomenon in the creative process? In what ways do designers take advantage of large amounts of data to make decisions that affect sustainability and biodiversity?

Critical perspectives on the use of technology for peace
Technology is a potential tool that supports peace process and conflict resolution. What is the role of art and design in defining the use of technology to support peace and conflict resolution? Are there cultural identity tensions catalyzed by technologies? How can technology promote intercultural dialogues and durable peace?

Media art, landscape and heritage
ISEA2017 will take place in a region in Colombia known as the Coffee Cultural Landscape, declared as a world heritage site by UNESCO. We invite work that reflects on the conflict between media and heritage. How do artists and designers include heritage in their critical thinking and aesthetic decisions? How could media art help disseminate cultural values around peace? Does media art have the capacity to preserve heritage? Does conservation or cultural transformation generate conflict?

Interdisciplinary platforms for coexistence
Transdisciplinary teams collaborate to generate social and political content and debates. Artists, designers and scientists have tried to work together and get citizens involved with interactive technologies and media. Are these platforms showing paths for social coexistence? How transdisciplinary collaborations can generate social benefits? How can biological process be used as a source of inspiration and the generation of social possibilities for living in peace?

The cultural dimensions of bio-creation and peace
In recent times, pockets of peace across our planet have emerged and Colombia is one example. Does the idea of peace have a larger role to play than simply resolving conflict? In what ways could indigenous awareness contribute to our understanding of peace? What bridges in thought and action are needed to achieve global peace across cultural and transdisciplinary boundaries? Is bio-creation in conflict with, or in accord with, indigenous awareness of living organisms?

Design, Art, Science, and Technology
This subtheme is to open up participation for other authors that want to submit works to ISEA2017 and include a broad interdisciplinary discussion and showcase about interrelations among design, art, science and technology.

We invite scientists, artists, designers, and professionals to debate issues of design and creation. The official language of the event is English; submissions must be written in English. Authors will have the opportunity to give their oral presentations in Spanish; those presentations will be live translated to English for the audience.

–Academic call
Papers are completed or ongoing research works with clear contributions (4-8 pages). Papers will have 20-minutes oral presentations with 5 minutes for questions and answers.
Posters are novel research ideas or exploratory work (proposal in 2 pages). Accepted posters proposals will be invited to submit poster with template provided.
Panels are moderator-led groups of 3–5 experts answering moderator and audience questions on a particular topic (proposal in 3 pages). Panels will have 1.5 hours of presentation and discussion.
Roundtables are moderator-led discussions on a particular topic with participation of the audience (proposal in 3 pages). Roundtables will have 1.5 hours of presentation and discussion.
Paper, poster, panel and roundtable proposals will be peer reviewed using double blind review.

–Creative call
Artistic works are productions of artists, designers, and/or scientists that include electronic sound art, audio-visual digital art, exhibitions, performances, installations, media art. Authors should select one category within: (a) soundscapes, (b) exhibitions, installations and performances, (c) media art, and (d) cinema -and- digital.
Design cases are practice experiences that report and discuss design artifacts or systems, methods, tools in design projects for commercial, nonprofit, or governmental clients (4-8 pages). Design and creation professional are encouraged to submit their experiences.
Creative proposals will be peer reviewed. Please submit a 2-4 page proposal in English including title, author bios and affiliations, 200 word (max) abstract (ready for diffusion), general project/work description, link to a video or demo website, and required equipment (technical rider).
We encourage submissions that use the open and public space; we recommend these three spaces in the city: Plaza de Bolívar, El Cable, Recinto del Pensamiento in the city. Authors can propose other spaces.
Artistic works and design cases proposals will be peer reviewed using single blind review.

–Learning call
The Residence Design + Creation is a fellowship for a research and development project in the area of interactive creation during one month at the Universidad de Caldas in Manizales. The grantee will interact with other researchers and graduate students in design and creation to collaborate and exchange ideas. The result of the project will be showcased in ISEA2017.
Workshops are half or full day interactive presentations that lead the audience to concrete outcomes.
Tutorials are half or full day interactive presentations that explain or train the audience in a method, technique or toolkit.
Artist talks or designer talks are short 10-minute presentations or demonstrations that showcase artworks, design artifacts, or works in progress.
Institutional presentations are 20-minute sessions that are intended as opportunities for networking and as a forum for institutions such as museums, NGOs, networks, schools, and companies to introduce themselves to the community.
Workshop and tutorial submissions require a 2-4 page proposal in English that includes title, duration (half or full day), organizer bios and affiliations, 200 word (max) abstract (ready for diffusion), rationale, instructional methods, plan to solicit participation, link to workshop tutorial website, and required equipment (technical rider). Talks and institutional presentation submissions require a 2-4 page proposals.
Residence, workshops, tutorials, artist or designer talks, and institutional presentation proposals will be selected by appropriate chairs and the organizing committee based on their quality and relevance to the Symposium.

……………………….Key dates
Submission system opens: August 30, 2016
Deadline for submission of papers, posters, panels, roundtables, artistic works, design cases, residence, workshop, and tutorials: November 21, 2016
Notification of acceptance for papers, posters, panels, roundtables, artistic works, design cases, residence, workshop, and tutorials: January 30, 2017
Deadline for submission of artist or designer talks and institutional presentations: February 27, 2017
Notification of acceptance for artist or designer talks and institutional presentations: March 20, 2017
Deadline for camera-ready submissions to be included in the proceedings (papers and abstracts of posters, panels, and roundtables): March 20, 2017
Symposium days: June 11-18, 2017

……………………Symposium Organizers

Symposium director
Dr. Felipe C. Londoño, Universidad de Caldas

Symposium deputy director
Dr. G. Mauricio Mejía, Universidad de Caldas

Academic chairs
Dr. Julián Jaramillo, Universidad de Caldas
Dr. Andrés Burbano, Universidad de los Andes

Artistic directors
Dr. Walter J. Castañeda, Universidad de Caldas
Dr. Sergio Sierra, Universidad de Caldas

Learning chairs
Liliana M. Villescas, Universidad de Caldas
Dr. Daniel Ariza, Universidad de Caldas

Indigenous program chairs
Dr. Adriana Gómez, Universidad de Caldas
Nina Czegledy, Ontario College of Art and Design University

The International Image Festival is proud to be the sponsor of ISEA2017
www.festivaldelaimagen.com

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Felipe C. Londoño, PhD
President Universidad de Caldas, Colombia
Director International Image Festival
@felipecl01

isea 2017 Training Methods for Transdisciplinary Collaboration

colleagues

we have prepared a call for interest for papers to be presented in our proposed panel for ISEA 2017 Colombia

http://isea2017.isea-international.org/  which will be in Manizales at Caldas University
If you would be interested in presenting a paper email me at rmalina@alum.mit.edu . or if you know someone
who could speak on this topic please refer them to us

Title: Training Methods for Transdisciplinary Collaboration

SubTitle: Best Practices and Didactics for Team Work
Authors: Mauricio Mejía, Andrés Roldán, and Roger Malina

Collaborative work appears as a need for successful transdisciplinary efforts and communal living among individuals with different expertise. Collaboration frames activities in a scenario of mutual benefits, where each participant contributes with her work to personal and group goals. Collaboration is expected to counter individuality because participants’ peculiarities, strengths, knowledge, and skills may articulate and negotiate to achieve an integrated outcome, which could be more successful and adequate.

However, individuals have limited abilities to exploit the personal and collective benefits of collaboration. Formal or informal training methods need to be refined and tested to enhance transdisciplinary work. In the Manizales Mutualism Project we as collaborators are exploring training methods for transdisciplinary collaboration. We are looking for multiple perspectives of training methods, but we are particularly interested in inspiration from the natural environment. Training methods, and pedagogics, exist for team management training and team building in other fields such as medicine or industry; we are interested in the specifics for transdisciplinary training on creative projects that bridge the design, arts, and humanities with science and engineering.

In nature, some animals and plants master interspecies communal living in some biological relationships and collaborative work. In mutualism, for instance, individuals from different species live together and benefit from a relationship based on strategic alliances. There should be much to learn from the mutualism as replicable strategy in human transdisciplinary collaboration, including training methods.

We propose an ISEA panel where experienced transdisciplinary collaborators present their collaboration methodologies. A half day working group meeting would also be held with interested participants. An annotated critical bibliography of collaboration references would be published as well as a report from the ISEA panel and working group meeting.

Título: Métodos de Entrenamiento para la Colaboración Transdisciplinaria

SubTítulo: Buenas Prácticas y Didácticas para el Trabajo en Equipo
Autores: Mauricio Mejía, Andrés Roldán y Roger Malina

El trabajo colaborativo surge como una necesidad para el éxito de los esfuerzos transdisciplinarios y la convivencia entre personas con diferentes conocimientos. La colaboración se enmarca en actividades dentro de un escenario de mutuo beneficio, donde cada participante contribuye con su trabajo para la obtención de los objetivos personales y los del grupo. Se espera que la colaboración contrarreste la individualidad por que las peculiaridades, fortalezas, conocimientos y habilidades de los participantes pueden articular y negociar para lograr un resultado integral, que podría ser más exitoso y adecuado.

Sin embargo, los individuos tienen una capacidad limitada para explotar los beneficios personales y colectivos de la colaboración. Los métodos formales e informales de entrenamiento necesitan ser refinados y probados para mejorar el trabajo transdisciplinario. Como colaboradores del proyecto Mutualismo Manizales  exploramos métodos de entrenamiento para la colaboración transdisciplinaria. Estamos en busca de múltiples perspectivas de los métodos de entrenamiento, pero nos interesa particularmente el entorno natural como inspiración. Existen métodos de entrenamiento y pedagogías para la formación, manejo y formación de equipos en otros campos como la medicina o la industria; nos interesan los detalles específicos de formación transdisciplinaria en proyectos creativos que unen al diseño, las artes y las humanidades con la ciencia y la ingeniería.

En la naturaleza, algunos animales y plantas perfeccionan la convivencia interespecies en algunas relaciones biológicas y de trabajo colaborativo. En el mutualismo, por ejemplo, individuos de diferentes especies conviven y se benefician de una relación basada en alianzas estratégicas. Debe haber mucho por aprender del mutualismo para replicar estrategias de colaboración humana transdisciplinaria, incluyendo métodos de entrenamiento.

Proponemos un panel en ISEA donde los colaboradores transdisciplinarios experimentados presenten sus metodologías de colaboración. Se llevaría a cabo una reunión del grupo de trabajo durante medio día con participantes interesados. Una bibliografía anotada de referencias indispensables en temas de colaboración sería publicada, así como un informe del panel de ISEA y la reunión del grupo de trabajo.

Roger Malina, Mauricio Mejia, Andres Soldan

top 10 ten podcasts on creative disturbance and free gift exchange account on ARTECA

Colleagues

I am pleased to bring to your attention the top 10 most dowloaded podcasts on Creative Disturbance ..if you would like to publish a podcast contact me at rmalina@alum. mit.edu

We are also pleased to announce that we will soon be moving Creative Disturbance to our new ARTECA art science technology aggregator at MIT

http://arteca.mit.edu

If you would like a free gift exchange account please contact me at email above

Meanwhile here are the links to our ten most popular podcasts:

ROGER MALINA

Announcing upcoming launch of ARTECA

Colleagues

We are pleased to announce that ARTECA, our new art science technology aggregator is opening August 1 for public access: http://www.arteca.mit.edu

In the first phase we have started aggregating everything MIT Press has published in the art, science, technology area; several hundred books and thousands articles from Computer Music Journal, Leonardo and Leonardo Music Journal and the Leonardo Book Series and other MIT Press books. More will be added each month. Your recommendations for material that should be included is solicited.

In Phase 2 we will begin publishing non MIT Press grey literature publications beginning with Leonardo ‘grey literature’ that until now has only been published on our web sites. This will test our methodology for aggregating and archiving key grey literature.

In Phase 3 MIT Press will be bringing in other partners with content such as exhibition catalogues, multimedia presentations, and we will be developing methodologies for ‘post publication peer review” to figure out what grey literature needs archiving. Your ideas are invited !

In Phase 4 we will be working with our community of practice to develop new products and services to build other ways to help and work with professionals in our field.

Our business model is hybrid : paywall/open access. There will be library subscriptions. As as part of a philosophy of a gift exchange culture, we will give free access for a duration to members of Leonardo Editorial Board members, Peer Reviewers and Authors, in partial recognition of your volunteer work to help develop the quality and pertinence of the content. If you are one of these drop me an email at rmalina@alum.mit.edu if you are interested in your free user account.

Roger Malina
Executive Editor, Leonardo Publications

 

 

 

 

dark culture- congratulating Jepchumba and call for submissions on art tech and popular culture

colleagues

It is with great pleasure that we learn that Jepchumba

http://creativedisturbance.org/people/jepchumba/ 

has been named one of the top 10 leaders of Africa’s digital transformation  by the Guardian “As part of the Guardian’s focus on technology in Africa we’ve listed 10 individuals who’ve been pioneers in the transformation from Tanzania to Tunisia, with the three of sub-Saharan Africa’s big tech hitters – South Africa, Nigeria and Kenya – particularly well represented.”

https://www.theguardian.com/business/2016/jul/25/africas-tech-pioneers-we-have-become-an-internet-consuming-culture

Jepchumba received one of our Creative Disturbance kickstarter grants= thanks to the generosity of all of you who donated to our kickstarter campaign http://creativedisturbance.org/.

Jepchumba has been listed by Forbes as one of the 20 Youngest Power Women in Africa 2012 and in the Guardian Africa’s Top 25 Women Achievers. A cultural ambassador, Jepchumba is the Founder and Creative Director of African Digital Art, a collective and creative space where digital artists, enthusiasts and professionals can seek inspiration, showcase their artistry and connect with emerging artists. Jepchumba is dedicated to promoting the growth of the creative technology in Africa. Originally from Kenya, she has lived, travelled and spoken around the world promoting her commitment to creativity, art and technology. An African digital artist she is passionate about creating unique digital experiences. She loves experimenting with motion, sound and various digital effects and techniques and has an extensive background in digital art, web design and development, audio/visual production and user interface and user experience design.

Poe Johnson and I have just coined the phrase ‘dark culture” to point to the way that the internet makes visible only a small biased selection of the interesting work in art science technology and how we need to invent new instruments, such as Creative Disturbance, to make visible some of the most interesting going on outside the biased view of the seminal work going on in the art science technology community of practice. This call focuses on pioneers in art science technology in popular culture, outside the telescopes of academia but we also welcome submissions by young emerging professionals. The analogy is of course with dark matter in astronomy, where we now know that all the telescopes ever invented cannot observe directly at least 95% of the matter in the universe- astronomers have just been studying the decoration. This can also be said of academic publishing and the distressing homophily of the internet. 

here is the call

LEONARDO PIONEERS AND PATHBREAKERS PROJECT

NEW CALL: “NARRATIVES IN DARK CULTURE”  PROJECT

Guest Editor: Poe Johnson  Contact: poejohnson@gmail.com

The Leonardo Pioneers and Pathbreakers Project, in anticipation of Leonardo journal’s 50th anniversary, seeks papers dealing with the history of developments in the arts, sciences and technology and the art-science movements.

The aim of the project is to establish reliable, selected online documentation by twentieth-century artists, scholars and institution builders whose works and ideas have been influential in the development of technological art and art-science movements.

In our always-ongoing attempt to enlarge the historical terrain within the development of the encounter between the arts, sciences, and technology, during its 50th anniversary, Leonardo is proud to announce the formation of a new memoirs series: Narratives in Dark Culture.

We invent the term “dark culture” by analogy to the concept of “dark matter” in astronomy. Astronomers have realized that most of the universe does not emit light of any kind and alternative methods must be used to understand the full content of the universe. Similarly, we have found that the Pioneers and Pathbreakers project favored the work of those associated within universities and technological industries, with their attendant issues regarding a lack of racial and gender diversity, while the work of artists and thinkers in popular culture fields have largely been ignored.

With this project, we aim to publish memoirs and podcasts featuring artists, writers, theorists and other content creators who used genres of popular culture to depict the interaction of science, identity and technology within artistic mediums. In particular, we invite artists and thinkers of color from a wide range of cultural, regional and gendered backgrounds to share their experiences on working as a minority within popular cultural realms.

Since its founding in 1966, and the publication of the first issue in January 1968, Leonardo has accompanied and championed the work of the pioneers who were just beginning to use computers and other emerging technologies for artistic purposes. This project creates an opportunity for Leonardo journal, as well as the artists, writers and thinkers themselves, to begin authoring a new history on the relationship between art, science and technology.

For the Leonardo Pioneers and Pathbreakers Project see:

http://www.olats.org/pionniers/pionniers.php

For the Pioneers and Pathbreakers Call for Papers see: http://www.leonardo.info/isast/journal/calls/pioneers.html

We are interested in topics including, but not limited to, the following:

  • Memoirs by artists (of all methodologies and genres), writers and theorists working within popular culture genres (science fiction, popular music, graphic narratives, etc.)

  • Texts must be written by the artist, in English, and cover an extended body of work. Length may be up to 2,500 words, including 8 illustrations.

  • Memoirs by curators who organized art exhibitions highlighting technological artworks that represent underrepresented groups.

  • Memoirs by pioneering collectors who were early supporters of technological artists in popular culture.

  • We are happy to record short podcasts over the phone or Internet with pioneers for publication on the Creative Disturbance podcast platform.

Readers of Leonardo are asked to encourage their colleagues to submit such memoirs, which will be invaluable primary documents for historians and scholars in the future.

Interested authors should submit manuscript proposals or completed manuscripts to the Leonardo Editorial Office. Email to: leonardomanuscripts@gmail.com

Memoirs and articles by pioneers recently published in Leonardo include:

http://www.mitpressjournals.org/toc/leon/0/ja

  1. Michael Noll: “Howard Wise Gallery Show of Digital Art and Patterns (1965):  50th Anniversary Memoir” (2015)

Jim Pallas: “Century of Light Shines for Twenty-Five Years” (2015)

Trudy Myrrh Reagan: “Ylem Rode the Wave, 1981-1986: A Bay Area member organization that served artists using science and technology until 2009” (2015)

Edmond Couchot: “Digital art: From 60’ to 80’: Point of view of an observactor” (2015)

PodCasts published on the Pioneers Pathbreakers Channel of Creative Disturbance: http://creativedisturbance.org/channel/pioneers-and-pathbreakers/

Judy Malloy and Roger Malina: “Pioneer Judy Malloy Thinks Aloud about Her Role in the Birth of Electronic Literature” (2015, English)

Pamela Grant Ryan and Roger Malina: “Re-thinking the Leonardo Journal” (2015, English)

Pierre-Alain Hubert and Roger Malina: “Artiste Pyrotechnicien P A Hubert discute ses feux d’artifice et musique dans les espaces urbains” (2015, French)

Neil Rolnick and Roger Malina: “Neil Rolnick Remembers IRCAM, iEar and Early Days in Art/Technology” (2015, English)

Dan Sandin and Roger Malina: “Pioneer Dan Sandin 40 Year Look Back at the Analog to Digital, and Video Revolutions” (2015, English)

Edmond Couchot and Roger Malina: “Contre le Post-Humanisme et Vers la Co-evolution de Forms de Vies Numerique et Organique” (2015, French)

Jacques Mandelbrojt and Roger Malina: “Jacques Mandelbrojt se rappelle à voix haute” (2015, French)

Sean B. Carroll and Charissa Terranova: “Overlaps in Practices Between Humanists and Scientists” (2015, English)

Tobias C. Van Veen and Ytasha Womack: “Other Planes 01: Ytasha Womack, Author, Filmmaker & Innovator” (2016, English)

Tobias C. Van Veen and John Jennings: “Other Planes 02: John Jennings, Graphic Novelist and Professor” (2016, English)

Roger Malina and Sandy Stone: “Sound’s Path to Academia” (2016, English)

Interested authors should contact Poe Johnson poejohnson@gmail.com to discuss possibilities and submit manuscript proposals or completed manuscripts to the Leonardo Editorial Office. Email to: leonardomanuscripts@gmail.com

Roger Malina

art seen from the moon

space arts colleagues

are you in chicago or know someone interested in the arts and
space in chicago
paul catanese would be pleased to host you for discussions
through sept 27 or visit the live streaming
details below
roger malina
>
> From July 9 – September 27, Paul Catanese has a residency / exhibition at
> the Chicago Cultural Center entitled Visible From Space which erupts from
> a thought experiment about creating drawings on Earth so large they would
> be visible from the moon. During this exhibit, Catanese will be piloting a
> 12-foot blimp inside the gallery to fly over, observe, project and record
> aerial footage of “viewed from the moon” drawings on the gallery floor.
> Using a modular set of props that includes reflective films, agricultural
> netting, aerial targeting panels, mooring posts, rope, and hundreds of
> rigid dimensional lines, these drawings will change continuously over the
> course of the residency where modes of production from the artist studio,
> film set, black box theater, and site-specific installation will
> intermingle.
>
> For more details, please visit:
> http://www.cityofchicago.org/city/en/depts/dca/supp_info/catanese.html
>
> To sign up for updates about live-streaming / “live-from-the-blimp”
> events, visit http://www.paulcatanese.com/
>
>
>
>
>

Art at the Threshold of the Information Revolution (1961 – 1978) By Armin Medosch

ColleaguesDelighted to announce a new Leonardo BookArt at the Threshold of the Information Revolution (1961 – 1978) By Armin Medosch

This book is part of our Leonardo Pioneers and Pathbreakers project

 http://www.olats.org/pionniers/pionniers.php

with the help of the Frieda Ackerman Committee


and the Leonardo Book Series Editorial Board

Leonardo Book Series Advisory Board: Sean Cubitt (chair), Joel Slayton, Annick Bureaud, Roger Malina, Anna Munster, Michael Punt, Sundar Sarrukai, Douglas Sery, Eugene Thacker

We also have the Leonardo Pioneers and Pathbreakers Podcast channel:

http://creativedisturbance.org/channel/pioneers-and-pathbreakers/

If you are are pioneer active in the 19603, 70s. 80s and would like to

record a podcast for publication, or a memoir for the Leonardo Journal

please contact me rmalina at alum.mit.edu

Roger Malina

New Tendencies”

Art at the Threshold of the Information Revolution (1961 – 1978)

https://mitpress.mit.edu/books/new-tendenciesNew Tendencies”

Art at the Threshold of the Information Revolution (1961 – 1978)

 (1961 – 1978)

Overview

New Tendencies, a nonaligned modernist art movement, emerged in the early 1960s in the former Yugoslavia, a nonaligned country. It represented a new sensibility, rejecting both Abstract Expressionism and socialist realism in an attempt to formulate an art adequate to the age of advanced mass production. In this book, Armin Medosch examines the development of New Tendencies as a major international art movement in the context of social, political, and technological history. Doing so, he traces concurrent paradigm shifts: the change from Fordism (the political economy of mass production and consumption) to the information society, and the change from postwar modernism to dematerialized postmodern art practices.

Medosch explains that New Tendencies, rather than opposing the forces of technology as most artists and intellectuals of the time did, imagined the rapid advance of technology to be a springboard into a future beyond alienation and oppression. Works by New Tendencies cast the viewer as coproducer, abolishing the idea of artist as creative genius and replacing it with the notion of the visual researcher. In 1968 and 1969, the group actively turned to the computer as a medium of visual research, anticipating new media and digital art.

Medosch discusses modernization in then-Yugoslavia and other nations on the periphery; looks in detail at New Tendencies’ five major exhibitions in Zagreb (the capital of Croatia); and considers such topics as the group’s relation to science, the changing relationship of manual and intellectual labor, New Tendencies in the international art market, their engagement with computer art, and the group’s eventual eclipse by other “new art practices” including conceptualism, land art, and arte povera. Numerous illustrations document New Tendencies’ works and exhibitions.

About the Author

Armin Medosch is a Vienna-based artist, writer, and curator.

Endorsements

“Armin Medosch’s New Tendencies develops a ‘deep archeology’ of technological revolution in Croatian, Yugoslavian, and International neo-avant-garde in the 1960s and 1970s. This book is an analytical guide to the media, conceptual, and political transformation of late modernist epistemology of art. The author comparatively discusses relations between the socialist and western techno-utopian and, at the same time, critical artistic projects. His epistemology of art offers mapping of scientific, electronic, proto-cybernetic, computers oriented and conceptually developed artistic research between techno-positivism and techno-criticism, between neoconstructivism and conceptual art.”
Miško Šuvaković, Professor of Art Theory and Dean of Faculty for Media and Communications, Belgrade; coeditor of Impossible Histories: Historic Avant-Gardes, Neo-Avant-Gardes, and Post-Avant-Gardes in Yugoslavia, 1918–1991“This book brings much needed attention to the importance of New Tendencies, the groundbreaking art movement that emerged in the former Yugoslavia in the 1960s. Carefully researched and deeply insightful, Medosch’s overview illustrates that New Tendencies was much more than a highly relevant exhibition series: a playing field for exploring key ideas of the information revolution, from cybernetic control systems and networked communication to information aesthetics and digital art as visual research. A must read for anyone interested in the evolution of contemporary digital art and its complex technological and socio-political histories.”
Christiane Paul, Adjunct Curator of New Media Arts, Whitney Museum, Associate Professor, School of Media Studies, The New School