Stephanie Stickland will read from V at the UCLA Hammer Museum on Tuesday, February 4 at 7 pm.
The Hammer Museum is in Westwood, at the northeast corner of Westwood Boulevard and Wilshire Boulevard. There is parking underneath the Museum, with an entrance off Westood, for a flat rate of $3. There is no admission charge for the reading, which is in Gallery VI.
Reviewed in this issue of Cyberculture Studies: Evolving Traditions, Artists Working in New Media, The Internet and Health Communication: Experiences and Expectations, Virtual Gender: Technology, Consumption and Identity.
Submission deadline to BREAK 2.2 FESTIVAL (‘INVISIBLE THREAT’) extended. Artists from various fields of art can submit their proposals to the Break 2.2 Festival call for applications through February 15, 2003. The theme of the festival is ‘Invisible Threat’.
The latest edition of the hypermedia journal Beehive includes work by Bill Marsh, Joseph Nechvatal, Millie Niss, Jon Fried, Juliet Ann Martin, Miranda F. Mellis, Marianne Shaneen, and Alan Sondheim.
Rich Gold of Menlo Park died in his sleep on January 9, 2003. Rich Gold was a digital artist, inventor, cartoonist, composer, lecturer and inter-disciplinary researcher who in the 1970s co-founded the League of Automatic Music Composers, the first network computer band. As an internationally known artist he invented the field of Algorithmic Symbolism. In the 1980s he was director of the sound and music department of Sega. From 1985 to 1990 he headed an electronic and computer toy research group at Mattel Toys and was the manager of the development of several interactive toys, including the Mattel PowerGlove. After working as a consultant in VirtualReality he joined Xerox PARC in 1991, where he was a scientific researcher in Ubiquitous Computing, the study of invisible, embedded and tacit computation. In 1993 he founded the influential PARC Artist-In-Residence program (PAIR),in which fine artists and scientists collaborated using shared technologies. Later that year, he created the multi-disciplinary Laboratory RED (Research in Experimental Documents) which studied the creation of new document genres by merging art, design, science and engineering and then creating exemplars of those genres.
Technoetic Arts, a peer-reviewed journal presents the cutting edge of ideas, projects and practices arising from the confluence of art, science, technology and consciousness research. It has a special interest in matters of mind and the extension of the senses through technologies of cognition and perception. It documents accounts of transdisciplinary research, collaboration and innovation in the design, theory and production of new systems and structures for life in the 21st century, while inviting a re-evaluation of older worldviews, esoteric knowledge and arcane cultural practices. Artificial life, the promise of nanotechnology, the ecology of mixed reality environments, the reach of telematic media, and the effect generally of a post-biological culture on human values and identity, are issues central to the journal’s focus.
Hyperrhiz Editor Jason Nelson requests submissions for a new issue of the journal. He writes “I’m curious about hidden work….work that must be discovered, be found…much like the secret compartment in the basement, or the easter eggs on DVDS…in my work I often hide things…almost unfindable…links to odd bits..so I’m looking for hidden work…specifically the main page of the journal will include hints, and only hints…no names or titles…the hints can have links…but not links to the work…but links to someplace else where there is a link…or something hidden…the goal is to make people search the web….this can be done in a trillion ways….”
Katherine Hayles’s new Writing Machines, superbly designed by Anne Burdick (of ebr) was published at the end of 2002. The supplemental website, which contains all bibliographic material as well as other works of interest, is now online. Check the site soon for an interview with Hayles and Burdick, forthcoming.
New to the site are the following reviews: Charles Ess & Fay Sudweeks, eds, Culture, Technology, Communication: Towards an Intercultural Global Village (SUNY Press, 2001) Reviewed by Michel J. Menou, with a response from Charles Ess and Fay Sudweeks; James E. Katz & Mark Aakhus, eds, Perpetual Contact: Mobile Communication, Private Talk, Public Performance (Cambridge University Press, 2002) Reviewed by Tim Detwiler, Scott Campbell, and Wendy Robinson, with a response from Mark Aakhus and James E. Katz.