Videoclips

  • Friis-Hansen
    Dana Friis-Hansen: Digital Identity
  • Pyotr 2.jpg
    Piotr Szyhalski: Poem To My Audience
  • ConsalvoThumb
    Mia Consalvo: Video Games
  • chuck.80
    Chuck Olsen: Blogs
  • joe_amato_2pix
    Joe Amato: E-Writing
  • dj_apooky_small.jpg
    DJ Spooky: Music
  • jesse_k_small_
    Jesse Kriss: Digital Music
  • jim_ockuly_pix_samll
    Jim Ockuly: New Media
  • robert_small_small
    Robert Nideffer: Video Games
  • katie_samll_small.jpg
    Katie Salen: Video Games
  • paul_pix_small
    Paul Frett: Just Getting Started
  • lawrence_small_pix
    Laurence Bricker: Interactive/Exploration

Recommended

  • LanguageNewMedia.jpg
    Language of New Media
  • NewMediaReader.jpg
    New Media Reader
  • WagnerTo.jpg
    Wagner To Virtual Reality
  • HamletHolodeck.jpg
    Hamlet on the Holodeck
  • Grau.jpg
    Grau: Virtual Art

December 2005

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Thursday, October 02, 2003

Mia Consalvo: The Digital Games Industry: The Changing Role of Women In and Behind Games

Boliou 104, 7:30 p.m. [Sponsored by the Women's & Gender Studies]

Consalvo.jpgThe digital game industry is currently valued at over $6 billion a year, yet academic understanding of the role of games in society has only recently moved beyond concerns over violence and aggression in children to considering other areas of interest. Some early research has suggested that girls and women are underrepresented as central characters in games, and that most times, the females that are present are stereotypical in dress, appearance, movement and roles.

As with other forms of media, it has been thought that by encouraging more women to enter the games industry (an industry with historically low female involvement), this situation would improve. However, I believe that the structure of the GameWoman.jpgindustry itself needs careful consideration and larger structural change if it is to become a place more welcoming to women and a source of entertainment that meets the needs of more than a core demographic of adolescent males. This talk demonstrates how various industry structures still exist as barriers to better integration of the gaming industry. Such elements as work week expectations, company recruitment tools and practices, genre limitations and the increasingly conservative views of game publishers, for example, all play into a system that discourages not only the role and presence of women in the game industry, but innovation and change in that industry as well. There are ways out of this dilemma, which I address in closing.

Rockstar.jpg Mia Consalvo, Ph.D., is an assistant professor in the School of Telecommunications at Ohio University. Her research area includes the study of new media and popular culture, with a focus on the digital games industry. Her current work examines women gamers as well as the growing peripheral aspects of the game industry, including publishers of strategy guides, creators of technological enhancements such as the GameShark, and player-created versions of the same items.

Research Interests
Curriculum Vita & Publications
It's A Queer World After All: Studying the Sims and Sexuality [PDF Format]

Women Gamers
Game Girl Advance

Mia Consalvo: Open Class Discussion

Thursday, October 2: [Scoville 106, 3:10 p.m.]

Join an open discussion on gender roles in video games with Mia Consalvo [see above] in John Schott's "Understanding New Media" class. You are welcome to participate or simply listen. Discussion will last about an hour.

Be A Digital Director For A Day

Thursday, October 2: Sayles-Hill Great Space, 10 a.m. - 4 p.m. [Sponsored by the Media Production Lab & Media Studies]

crane.jpg

Paul Hager, Director of the Media Production Lab, will help you direct a mobile digital video camera on crane and tracks to re-create classic shots. Try your hand at shooting and posting digital video. Everyone's invited.

[Disclaimer: actual crane may be smaller than illustrated.]

Jennifer Yorke: Gallery Talk

Thursday, October 2: Boliou Gallery, 4 p.m. [Sponsored by the Department of Art & Art History]

"'Seven Strained Smiles' and 'Bridesmaid': Recent work by Jennifer Yorke" is on exhibition in Boliou Gallery until October 18.

Yorke1.jpg"In my work I examine the tension between public space and private identity. Through manipulations of familiar images, I suggest that our public and private selves are not easily reconciled.

I exploit the conventions of portrait photography in Bridesmaids, a group of large scale two-color screen prints. Only the most basic elements of such portraits remain: the clenched teeth of a photographic smile, the identical artificial pearls of middle-class weddings, and lines denoting the vertical and horizontal axes of the face. Yorke.jpgDespite the poverty of these images, the rigid conventions of portrait photography make them recognizable. Seven Strained Smiles is an examination of the aggressive, alienating element of self-presentation. These small images of the nose and mouth area of yearbook portraits float on large sheets of paper. The grimacing, unrecognizable sitters are isolated from each other by this expansive boarder, which amplifies their own efforts at self-presentation. The viewer must remain at a distance in order to see all seven images at once; the small images, however, are impossible to read from this distance. As a result, the isolation of the images from each other is extended to the viewer."

Jennifer Yorke is a Chicago print and book artist who exhibits regionally and nationally, with work in the collections of the Auckland Museum of Art (New Zealand), the Art Gallery of New South Wales (Sydney Australia), and the Huntsville Museum of Art, among others. She holds an MFA from the School of the Art Institute of Chicago and a BA from Carleton College. Jennifer lives with her husband and dog Fabio in Chicago.

Friday, October 03, 2003

Jennifer Yorke: Digital Printmaking Workshop

Boliou, Room 32 [the print-lab studio], 9:30 to noon. [Sponsored by the Department of Art & Art History]

Jennifer Yorke's work is on display in the Boliou Gallery. [See above.] Her workshop in printing digital images with plastic lithography plates has room for 8 participants. You are welcome to sign up in advance just outside the Art and Art History Office.

Wednesday, October 08, 2003

Chuck Olsen: "Blogumentary," A Film-in-Progress

Boliou 104, 7:00 p.m. [Sponsored by the College Film Society and Media Studies]

Olsen.jpgFilmmaker Chuck Olsen has amassed over 30 hours of interviews with the prime movers and shakers in the world of Weblogs, or "blogs." He will present edited sections from the film and lead an open discussion of ways in which this new form of "we media" is giving everyone a personal voice and transforming journalism. If you are interested in creating your own weblog, Chuck will give you some advice on software and how to get started. Chuck Olsen is the webmaster for Twin Cities Public Television.

Blogumentary, Chuck's Blog-film Siteliberalwarblogger.jpg
Chuck's Own Blog

Find A Blog
Rebecca Blood: Essays on Blogs
Blogworld: The New Amateur Journalists Weign In
What We're Doing When We Blog
Tony Pierce's BusBlog

John Schott's Ratchet Up

Friday, October 10, 2003

Dave Ryan & Pat Kelley: 'Engine Room,' A New Media Installation for Computer Lab

Gould Library, Main Floor Computer Lab, 7:00 to 9:00 p.m.

Engine Room [click image] transforms the library's computer lab into a large-scale installation that examines the use of search engines to sift through an incomprehensible volume of information and how the search process becomes an engine of cultural transformation.

Engine.smAs the web searcher pursues the meaning and associations of a word, a trace of the surfing process is left in the form of related images forgotten in the browser's image cache. Engine Room animates the debris of actual searches; each screen presents the visual results of a search for a specific word. The deluge of images and text provides the only lighting in the room and illuminates a silhouetted figure on each screen, accompanied by an electronic voice babbling at blazing speed.

Each computer in Engine Room plays a short movie in a loop. A brief panning shot of a swamp appears in the loop covered by the loud sound of spring peepers. As each loop is a different length, the panning shots sync up in random patterns and the sound of the peepers swirls around the room.

The effect of the group is an intense sensory "thrum" in the depths of the library suggesting a subtle sense of movement of the establishment itself. Engine Room transforms the library's computer lab into a large-scale installation that examines the use of search engines to sift through an incomprehensible volume of information and how the search process becomes engine of cultural transformation. Ryan.jpgDave Ryan graduated with a MFA in Film from Ohio University. His videos have gained recognition at some of the most important venues for video art including The Whitney Museum of American Art, New York Video Festival and the Locarno Video Art festival. He was selected for a 2003 Bush Foundation Artist Fellowship.

Kelley.sm.jpg Patrick Kelley received his MFA at Cranbrook Academy of Art. He is a 2001 recipient of a McKnight Artist Fellowship for Photography. He is also a recipient of a Jerome/Blacklock Nature Sanctuary Fellowship Residency and a Jerome/Forecast Public Art Works Installation Commission for the Open Book Literary Arts Building in Minneapolis.

Sequence from Engine Room

Engine Room Web site
Dave Ryan: "Chroma Zone"
Patrick Kelley
Digital Arts Festival in the Gould Library

Saturday, October 11, 2003

Dave Ryan & Pat Kelley: 'Engine Room,' A New Media Installation for Computer Lab

Gould Library, Main Floor Computer Lab, 7:00 to 9:00 p.m.

[See description above.]

Monday, October 13, 2003

Allan Kohl: Copy . . . right? Creative Individuals and the Public Domain [Presentation & Film]

Gould Library Athenaeum, 7:30 p.m. [Sponsored by the Gould Library]

Kohl.jpgRecent developments in United States copyright law have reflected the agenda of an aggressive corporate mindset which regards all creative expression as intellectual property lacking in value unless it can be owned and commercially exploited. The result of many incremental steps, this approach may be viewed as an extreme manifestation of the Western mythos of the heroic individual as self-reliant originator. As such, it denies or obscures that fact that all art is to some degree derivative, and is dependent on collaboration with historic antecedents and living creative communities. This presentation urges respect for a robust Public Domain, and suggests ways in which creative people can both benefit from the Creative Commons and contribute to its flourishing as an alternative model.

The evening begins with a 50-minute film collage featuring Stanford Law Professor Lawrence Lessig, author of The Future of Ideas, presenting his argument against the the increasing corporate control of copyright at the expense of the free flow of ideas. Following this are selections from "Copyright Infringement Advisory," a DVD created as part of the current "Illegal Art" exhibition, along with sequences from Greg Hittelman's Willful Infringement: A Report from the Front Lines of the real Culture Wars.

IllegalArt.gif

Art historian Allan T. Kohl is Visual Resources Librarian at the Minneapolis College of Art & Design. He is a member of the Visual Resources Association's Intellectual Property Rights Committee, with a particular interest in copyright issues as they affect the educational use of images documenting works of art and visual culture. He collaborated in the formulation of the VRA's "Image Collection Guidelines: The Acquisition and Use of Images in Non-Profit Educational Visual Resources Collections," and was principal author and designer of the "Copy Photography Computator."

Reconstructing the Public Domain (Metaphor as Polemic in the Intellectual Property Wars) by Robert A. Baron
COPY PHOTOGRAPHY COMPUTATOR: An Interactive Program to Assist Visual Resource Professionals in Assessing Intellectual Property Rights Affecting the Educational Use of Derived Images by Allan Kohl and the Intellectual Property Rights Committee of the Visual Resources Association (VRA)
The Copyright Website: Public Domain by Benedict O'Mahoney.
When Works Pass Into the Public Domain by Lolly Gasaway, University of North Carolina
Fair Use of Copyrighted Works (CETUS): Fair Use: Overview and Meaning for Higher Education by the Consortium for Educational Technology in University Systems (CETUS)
Derivative Works (United States Copyright Office: Circular 14: Copyright Registration for Derivative Works)

Wednesday, October 15, 2003

Turntable Cinema: Scratch

Olin 149, 7:00 & 9:30 p.m.: "Scratch"
[Sponsored by the College Film Society]

As a warm-up for this Firday's DJ Spooky bash:

turntable.jpg"Director Doug Pray pays tribute to the innovative art of deejaying in the electrifying documentary Scratch. Featuring the most legendary figures in the deejay scene, Pray's film is at once a deeply insightful historical document and a highly entertaining glimpse into the world of underground hip-hop. Modern luminaries such as DJ Shadow, MixMasterMike (of the Beastie Boys), DJ Qbert, Rob Swift, and DJ Swamp are interviewed alongside living legends like Afrika Bambaataa, Jazzy Jay, and Grand Mixer DXT, in order to paint a broad, comprehensive picture of how deejaying has evolved over the years. The title, SCRATCH, refers to a technique that was initially used to keep one particular section of a song running endlessly as other songs are played simultaneously. Deejaying (and scratching) has now become a worldwide phenomenon and lucrative profession which can be attributed to DJ Qbert, whose masterful stylings enabled deejays to step out from behind the shadow of rappers and into a spotlight of their very own." [The World of Hiphop]

Thursday, October 16, 2003

Joe Amato: Engineering With Words - A Workshop

Laird, 2nd Floor, 3:10 to 4:50 p.m. [Sponsored by the Department of English]

keyboard-1-small.jpg

Electronic Writing is an omnibus term for new forms of writing that take advantage of computers, the web, and new media resources. This emerging field has a surprising number of practitioners and several online journals devoted both to showcasing new work and presenting lively critical debate.

Join E-literature writer and critic Joe Amato for an informal workshop in which you can discuss the new forms, esthetics and tools of Electronic Writing.

[Amato will be giving a public talk tonight, see below.]

Joe Amato: Three Movements in Search of a Medium

Boliou 104, 7:30 p.m. [Sponsored by the Department of English]

Amato.jpgIn a performative presentation that is part narrative, part critical prose, and part poetry, Amato will explore how the digital sphere alters the materiality and urgency of our public and private transactions. The talk will constitute a demonstration, too, of how language may embody the shifting effects and affects of the digital.

Statement: "Sometimes new forms of expression comprise not simply different ways of asking (and answering) the same questions, but ways of asking (and answering) different questions. I believe that new media comprise new forms of expression -- or at least, can constitute such forms; and I believe that, even as the web becomes more and more a device for furthering the programmatic agenda of any number of institutional bureaucracies [cough], it yet holds promise for helping us to cope with the world as it is, and might be. Which suggests that the age-old questions will continue to be with us, but that some new, equally provocative and urgent questions will likely arise.

ELit.jpg"Specifically, there are at least two issues that I've grappled with of late in my own thinking and writing and making. First, I wonder to what extent an unedited sea of information (term used advisedly) can overload our collective capacity for making meaningful meanings (which is not solely a matter of developing more efficient navigational tools, not least because these tools generally help and hurt matters). Secondly, I wonder whether the tried & true binaries of print culture -- professional vs. amateur, academic vs. nonacademic, indie vs. mainstream -- are still useful in coping with the situation we now find ourselves in. My "we" is especially problematic, both because of increasing global disparities (access, sure, but e.g. hunger as well) and the many ecological and geopolitical consequences of our sprawling social habitats.

"But implicit in this way of understanding our circumstances, too, is an awareness that print culture never operated independently of other cultural and aesthetic movements in any case. Radio, television and film have served right along as the hypertext.jpgpopular cultural backdrop for the print artifacts of the past half-century, whether novels, poems, plays, refrigerator manuals, or oils-on-velvet. And while our theories of media, for instance, like our economic theories, require a certain capacity for bracketing the particular aspect of reality under scrutiny, it's nonetheless the case that, taken at face value, isolating concerns can produce a somewhat distorted account. What's at stake, personally and politically, when Ahmad and Muriel initiate a transatlantic correspondence online about a collaborative arts project after having hooked up in a chat room decorated with animated banners and punctuated by the sounds of Phish?

"It's in the conjunction of formal practices, social movements and all-too-human motivations that our digital sphere continues to hold so much potential for aesthetic and, possibly, social reform -- provided we don't lapse into the dogmatic slumber of the merely new."

Joe Amato is the author of Symptoms of a Finer Age (Viet Nam Generation, 1994), Bookend: Anatomies of a Virtual Self (SUNY Press, 1997), and Under Virga (Chax Press, forthcoming 2004). His poetry, essays, reviews and digital art have been published here and abroad in such journals as The Iowa Review Web, Computers and Composition, Postmodern Culture, New American Writing, Jacket, Chain, electronic book review, Crayon, Writing on the Edge, Denver Quarterly, Nineteenth Century Studies and Voices in Italian Americana. He is currently on leave from the University of Colorado at Boulder and teaching with the Department of English at Illinois State University.

Interested in Electronic Writing? Try these resources:

Electronic Literature Organization
SUNY/Buffalo's Electronic Poetry Center
The Iowa Review Web
The trAce Online Writing Centre at Nottingham Trent University
Jim Andrew's VISPO -- Langu(im)age
Robert Kendall's Word Circuits
Brian Kim Stefans's ARRAS -- New Media Poetry and Poetics
Ubu Web: Visual - Concrete - Sound

Jesse Kriss: Turntables to PowerBooks: Digital Music Performance

Thursday, October 16: Gould Library Athenaeum, Noon to 1 p.m.

jkface.jpgTechnology has long been a driving force in music, shaping and extending artists thoughts as well as their abilities. Each new instrument introduces new sounds and performance possibilities, which in turn affect the creative process.

Advances in digital technology have created a whole new breed of instruments, including digital samplers, synthesizers and effects. More recently, with the increasing speed of laptop computers, new instruments are being created solely in software, allowing an unprecedented level of control and flexibility.

This talk will focus on developments in live music performance technology as well as their implications and applications.

laptopdj.jpg Jesse Kriss is currently a Masters student at Carnegie Mellon's Human-Computer Interaction Institute. He graduated from Carleton in 2003.

Cycling 74
Native Instruments
M-Audio
Final Scratch
Interdimensional Wrecked System
The Incredible Shrinking Studio

Jesse Kriss: Live Performance [Carleton Cave, October 16 at 9:30 p.m.]
Jesse will perform a solo set playing a PowerBook, turntable, and various control devices. Many of the ideas discussed in his talk will be explored in a musical context.

Friday, October 17, 2003

D.J. Spooky: Sound Unbound, A Lecture-Demonstration

Carleton Concert Hall, 4:00 p.m. [Sponsored by the Dean of Students Office]

The irrepressible D.J. Spooky is on the road: Linz...Bolzano...Strasbourg...Rome....and Carleton College, Northfield, MN.

"Sound Unbound" is a live multi-media presentation on the history of digital art and media by an artist who uses found objects like a DJ--mixing old video material with the new in such a way that history itself becomes the mix material. The lecture/presentation focuses on how DJ culture has evolved out of the same technologies as those used for digital media and art.

Spooky.jpg

Handy Spooky Fact Sheet:

:::: Came up in Washington D.C. during the height of punk. Weaned on his fathers record collection. First DJ chops on his own radio show at college while while studying French literature and philosophy. After college, on to New York City, writing advertising and science fiction. As a denizen of New York's East Village, he plays a major role in the developing electornica scene.

:::: Multi-talented visual artist, musician, theoretician, writer...who has produced albums, singles, collaborative works, a film score, and art installations.

:::: "One of the the first DJ's in NYC to bring together the disparate elements of space rock, hip-hop, ambient, jungle, experimental, and dub. Through underground events and parties (many of which moved frequently and were word of mouth), with names like Molecular, Abstrakt and Tone, he influenced New York's East Village with a sense of renewal. Where other music genres were looking for reasons to build more and more barriers between the elements that constituted their core styles, Spooky sought convergence in his mixes." [Artist Direct]

:::: Has collaborated with Nick Cave, Metallica, Korn, Hooverphonic, Kool Keith, Killa Priest from Wu-Tang Clan, Yoko Ono and Thurston Moore from SonicYouth. His most recent album, "Under the Influence," includes remixes crediting Moby, Hive, and Sonic Youth.

:::: Professor at the European Graduate School where he teaches Media Sounds, a class that explores the clashes and resonance between multiple styles and cultural approaches to music from classical composition to rap, hip-hop, and avant-garde sound collages. "Sound should be viewed as a social text and music as a universal cultural language.

:::: Frequent guest at international New Media festivals.djspooky_album.jpg

:::: Discography

The Spooky Bio
Spooky's House
Spooky at School
Spooky Writing & Interviews
Web Mixes
Spooky's "Rebirth of a Nation" Remix
Spooky Riffs on Fusion Anomaly
Tiny Spooky Bio on Art & Culture Network
Sleepbot on Spooky

Not Spooky: Guide to Electronic Music

D.J. Spooky: Dance Party!

Sayles-Hill Great Space, 9:00 p.m. to 1:00 p.m. [Sponsored by the Dean of Students Office]

rave1.jpg

Saturday, October 18, 2003

Martin King: Geodesy [Digital Prints: Show Opens]

Boliou Art Gallery [Sponsored by Art & Art History and Media Studies]

Boliou Gallery presents a suite of large digital prints by Australian artist Martin King. Exhibition closes November 19.

King.jpg"These works are a digital synthesis of photographs and etchings. The photographs that I have taken whilst flying over the Kimberley, have been combined with the etchings that I have produced in response to that landscape. The integration of the real objective landscape, that is the photo, with the invented subjective landscape' representation, that is, the etching, allows me to visually reinvent and modify the landscape, to accentuate the structure, topography, horizontality and even sense of movement over the land. Like the processes of nature, erosion, eruption, the faulting and folding of subterranean forces, the digital modification of the landscape becomes the agent of change, a technological simile for the effects of time, movement in the formation of the landscape."

FataMorgana.jpg "Fata Morgana"

Martin King on "Fata Morgana": "The geometry of geography, the sweeping lines caused by erosion, cut by water and rain. The subtle scarring of the landscape occurs by the integration and imposition of drawn and etched images from invented landscapes I have imagined. I pass over the landscape at high in a fast plane. Only briefly wondering what occurs beneath the surface. Then there is the luminous mirage, hazy in the heat, like a reflection, or another dimension to my understanding of the landscape."

Martin King has been exhibiting art for the past 25 years, and his work is represented in over 40 collections. He is represented by the King Street Galleries.

Martin King's Site
Martin King at the King Street Gallery

Thursday, October 23, 2003

Jim Andrews: New Media Poetry & Music on the Web [Live Video-conference]

7:00 p.m., CMC 110 [Sponsored by Media Studies]

Vispo.jpg

Jim has prepared a special page just for Carleton where you can explore his work, writings and links to other resources. CLICK HERE TO FLY THERE!
He will join us for a live video-conference using Apple's new iChat software. Everyone's invited. You will not be expected to participate, although you are welcome to.

In the interview he will be discussing his work, not performing it. So please explore his online pieces in advance...or just join us to listen in.

Jim Andrews is a poet, musician and commentator whose work is produced for the web.

Wednesday, October 29, 2003

The Open Source Software Movement: Film & Discussion

Film and Discussion with Computer Science Faculty and Students, Boliou, 7:00 p.m. [Sponsored by the College Film Society & Computer Science]

The excellent 85-minute REVOLUTION OS "tells the inside story of the hackers who rebelled against the proprietary software model and Microsoft to create GNU/Linux and the Open Source movement.

RevOS.jpgOn June 1, 2001, Microsoft CEO Steve Ballmer said "Linux is a cancer that attaches itself in an intellectual property sense to everything it touches."

Microsoft fears GNU/Linux, and rightly so. GNU/Linux and the Open Source & Free Software movements arguably represent the greatest threat to Microsoft's way of life. Shot in cinemascope on 35mm film in Silicon Valley, REVOLUTION OS tracks down the key movers and shakers behind Linux, and finds out how and why Linux became such a potent threat."

Following the film, there will be an open discussion with Computer Science faculty and students.

Want a good backgrounder on Open Source?: Go For It.

Thursday, October 30, 2003

Jim Ockuly: Digital Transitions in 3 Realms: Art, the Museum, Academia

Boliou 161, 4:15 [Sponsored by the Department of Art and Art History]

OckulyHd.jpgFor those of us who have been around long enough, the digital revolution is in fact nothing short of a revolution. We have explored this new arena with a great sense of excitement--and have also had to grapple with what new technologies mean and how they supplant many of our old ways of doing things. (Indeed, many digital interfaces--take digital audio software for example--use analog models and imagery to provide a frame of reference for the user, who may be coming from this disappearing world.)ockulywork.gif

For the current generation, there is a different kind of comparison going on. You mean you actually had to physically send printed images through the mail? You cut magnetic audiotape with razor blades and stuck the pieces together? There is a certain fascination with what used to be.

In presentation, I will draw from personal experience as an artist, an art museum professional, and a college level teacher. I will present many examples of work made during this digital transition (and some from before) while addressing issues of media, content, and more.

Jim Ockuly is the Director of Interactive Media at The Minneapolis Institute of Arts. His artistic resume includes a commissioned mural for the Walker Art Center and a year as artist in residence at PS1 in New York City. He also taught an Introduction to Digital Art course in the Art and Art History Department at Carleton in 1999, 2001, and 2002.

Jim Ockuly's Site

Jim's Museum Work: Unified Vision: Architecture of the Prairie School
More Museum Work: Modernism
Work from Jim's Digital Art Class at Carleton--Available Only On Campus