[-empyre-] Welcome to Week 1: an overview
Renate Terese Ferro
rferro at cornell.edu
Tue Jun 6 12:56:55 AEST 2017
Welcome to Week 1 of our discussion on Fake News in a Global Climate. Tim Murray and I will be hosting this week on -empyre. We are pleased to welcome Lindsay Kelley whose week was featured in this year’s topic in February during our discussion on Bio-Art. Anna Munster has been a long-time friend and guest on -empyre-. We are thrilled that they will be joining us for a few days this week and then again during Week 4. Both Anna and Lindsay are collaborating at the University of New South Wales to host a day-long event this Friday the 9th of June, Fake News from the Art and Politics Bureau: A One Day Event. We are looking forward to both of them framing their event.
In the meantime we hope that all of our subscribers will join us in conversation.
Renate Ferro’s (US) creative work resides within the areas of emerging technology, new media and culture. Her artistic work has been featured at the Nanyang Technological University (Singapore), The Freud Museum (London), The Dorksy Gallery (NY), The Hemispheric Institute and FOMMA (Mexico), and The Janus Pannonius Muzeum (Hungary). Ferro is a Visiting Associate Professor of Art at Cornell University. She has been on the moderating team of -empyre- soft-skinned space since 2007 and is currently the managing moderator.
Timothy Murray (US) is the Director of the Society for the Humanities at Cornell University and a Professor of Comparative Literature and English. Additionally he is the Curator of the Rose Goldsen Archive of New Media Art. He is the Cornell Principal Investigator of the Central Humanities Corridor, generously supported by a grant from the Andrew W. Mellon Foundation, and he sits on the International Advisory Board of the Consortium of the Humanities Centers and Institutes (CHCI) and the Executive Board of the Humanities, Arts, Science, and Technology Advanced Collaboratory (HASTAC). He is Co-Moderator of the -empyre- new media listserv and the author of Digital Baroque: New Media Art and Cinematic Folds (Minnesota 2008); Zonas de Contacto: el arte en CD-ROM (Centro de la imagen, 1999); Drama Trauma: Specters of Race and Sexuality in Performance, Video, Art (Routledge, 1997); Like a Film:Ideological Fantasy on Screen, Camera, and Canvas (Routledge, 1993); Theatrical Legitimation: Allegories of Genius in XVIIth-Century England and France (Oxford, 1987). He is editor of Mimesis, Masochism & Mime: The Politics of
Theatricality in Contemporary French Thought (Michigan, 1997) and, with Alan Smith, Repossessions: Psychoanalysis and the Phantasms of Early-Modern Culture (Minnesota, 1997). His curatorial projects include CTHEORY MULTIMEDIA and Contact Zones: The Art of the CD-Rom.
Week 1 Guests:
Lindsay Kelley (AU) Working in the kitchen, Lindsay Kelley’s art practice and scholarship explore how the experience of eating changes when technologies are being eaten. Her first book is Bioart Kitchen: Art, Feminism and Technoscience (London: IB Tauris, 2016). Bioart Kitchen emerges from her work at the University of California Santa Cruz (Ph.D in the History of Consciousness and MFA in Digital Art and New Media). Kelley is a Co-Investigator with the KIAS funded Research-Creation and Social Justice CoLABoratory: Arts and the Anthropocene (University of Alberta, Canada).
Anna Munster (AU) has been at UNSW Art and Design since 2001 on a full-time tenured basis. She is an active researcher with two sole published books: An Aesthesia of Networks (MIT Press, 2013), and Materializing New Media (Dartmouth College Press 2006). Her current research interests are: networked experience, media arts and theory, data and radical empiricism, nonhuman and perception, new pragmatist approaches to media and art.
Anna regularly collaborates artistically with Michele Barker in the School of Media Arts, COFA. Barker and Munster are working on a large-scale multi-channel interactive work, HocusPocus, which explores the relations between perception, magic and the brain. They have been awarded a New Work Grant, 2010, from the Australia Council for the Arts to realise this work. Recent collaborative projects include: Duchenne’s smile (2-channel DV installation, 2009), The Love Machine II (photomedia installation, 2008–1¬0), Struck (3-channel DV installation, 2007).
She is a partner in a large international project, Immediations <http://senselab.ca/wp2/immediations/>, hosted by Concordia University, Montreal and funded by the Social Science and
Humanities Research Council, Canada. She has held two ARC Discovery research grants in new media and art: ‘The Body-Machine Interface in New Media Art from 1984 to the Present, 2003–5’ and ‘Dynamic Media: Innovative social and artistic uses of dynamic media in Australia, Britain, Canada and Scandinavia since 1990’. She is also an investigator on an ARC Linkage project,
Australian Media Arts Database’, which will utilise innovative user-lead and open source databases to create a history of Australian media arts in an international context.
She is a founding member of the online peer-reviewed journal The Fibreculture Journal <http://fibreculturejournal.org/> and has co-edited two special issues on Distributed Aesthetics http://seven.fibreculturejournal.org/>and Web 2.0 and on the editorial advisory board of LeonardoBooks (MIT Press), Inflexions, CTheory, Convergence, and Scan
Visiting Associate Professor
Director of Undergraduate Studies
Department of Art
Tjaden Hall 306
rferro at cornell.edu
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