DASH Archives - April 2015

www.digitalartarchive.at 

Tamás WALICZKY is a pioneer in animation art. He developed new poetic
and visionary computer-generated worlds. Through experimental
techniques
such as the "waterdrop-perspective-system", which WALICZKY invented
for
'The Garden' in 1992, he profoundly influenced the aesthetics in this
genre. 

Jeffrey SHAW: 'The Garden' represented the achievement of an artist
[…]
who had discovered  the radically new expressive possibilities of
computer-generated images and who was working at a level of creative
freedom and  inventiveness that was in marked contrast to the
prescribed
clichés that were (and still are) the outcome of industrial computer
animation.  

Itsuo SAKAE: ['The Way'] stimulates our intellectual inquiry and
inspires a new type of sensibility towards visual expression.  

Steve FORE Waliczkys artworks require, in addition to a visual
encounter, a bodily engagement with perspectival universes
deliberately
configured to contradict our normal understandings of space and time.

WALICZKY is renowned for exploring time, space and movement in virtual
worlds and combining it with narrative elements based on personal
experience. His recent video installation 'Micromovements in
snapshots'
(2014) decodes the illusion of movement in animation using photographs
illustrating the special Hong Kong way of living and cityscape.

Currently WALICZKY is professor at the School of Creative Media at the
City University of Hong Kong. His works won numerous international
awards, including the Golden Nica of Prix Ars Electronica and were
shown
in exhibitions worldwide, including the Biennial of Lyon, the ICC
Gallery Tokyo, the Multimediale Karlsruhe or the Biennial of Seville.

Find out more:
https://www.digitalartarchive.at/database/artists/general/artist/waliczky.html



ARTISTS and SCHOLARS are invited to join the community and set up
their
own archive pages. Please register here:
https://www.digitalartarchive.at/support/account-request.html 

ADA: THOUSANDS OF ARTWORKS
Since its foundation in 1999, the ARCHIVE OF DIGITAL ART (former
Database of Virtual Art) has grown to be the most important online
archive for digital art. In cooperation with established media
artists,
researchers and institutions it has been documenting the rapidly
evolving world of digital art and its related fields for more than a
decade and contains today a selection of thousands of artworks at the
intersection of art, science and technology. 

COLLABORATIVE ARCHIVING OF DIGITAL ART
The large assortment of information on Tamás WALICZKY  and hundreds of
other leading artists and their artworks were carried out by the
artists
themselves in assistance with members of the ADA community. The new
ADA
web tool allows members to archive artist statements, works
descriptions, literature, information on exhibitions, high resolution
images, blueprints, videos etc. Artists and scholars are invited to
contribute actively to the archive and to work collaboratively on the
documentation and analysis of digital art. 

EXPANDED DOCUMENTATION FOR THE NEEDS OF DIGITAL ART
Due to the processual, ephemeral, interactive, technology-based and
fundamentally context-dependent character of digital art, it is at
risk
for becoming extinct without an adequate documentation. Therefore, the
ADA is based on an expanded concept of documentation, which takes
account of the specific conditions of digital art. 

ARTISTS represented, among many others: Rebecca ALLEN, Suzanne ANKER,
Cory ARCANGEL, Roy ASCOTT, Louis BEC, Maurice BENAYOUN, Paolo CIRIO,
Charlotte DAVIES, FLEISCHMANN & STRAUSS, Masaki FUJIHATA, Ken
GOLDBERG,
Agnes HEGEDÃœS, Lynn HERSHMAN LEESON, Ryoji IKEDA, Eduardo KAC, Ken
RINALDO, KNOWBOTIC RESEARCH, Lev MANOVICH, George LEGRADY, Golan
LEVIN,
Rafael LOZANO-HEMMER, Joseph NECHVATAL, Michael NAIMARK, David ROKEBY,
Jeffrey SHAW, Julius v. BISMARCK, Paul SERMON, Karl SIMS, SOMMERER &
MIGNONNEAU, STANZA, Nicole STENGER, THOMSON & CRAIGHEAD, Peter WEIBEL,
et al.

Advisory board: Christiane PAUL, Roy ASCOTT, Erkki HUHTAMO, Gunalan
NADARAJAN, Martin ROTH, et. al.

ADA team:

Oliver GRAU, Michaela SEISER (Editor, Community Admin)
Sebastian HALLER, Janina HOTH, Valerie KUMMER, Viola RÃœHSE, 
Wendy COONES, Ann-Christin RENN (Editorial Team)

digitalart.editor@donau-uni.ac.at 

www.digitalartarchive.at 

MediaArtHistories International Award: Call for Nominations

On the occasion of its 10th anniversary, the Media Art Histories Conference Board is pleased to announce the inaugural Media Art Histories Award for Outstanding Achievement. This award will be presented to an individual scholar working in any language who has on a sustained basis and at a very high level contributed to the field. Presentation will occur at the Re-Create 2015 Conference on the Histories of Media Art, Science and Technology in Montreal, 5-8 November 2015, and individuals will be recognized the award at all future conferences.

www.mediaarthistory.org 

The Media Art Histories Board would now like to ask for nominations. Please submit proposals of approximately 500 words describing the nominee's merit and achievements in scholarship in the histories of the media arts, the arts and science and/or the arts and technology, and related fields.

The time for nominations will close on May 10, 2015.
Please submit your proposals to coordination(at)mediaarthistory.org 
A committee of board and non-board members will select the MediaArtHistories Award winner.


Initiated by the Media Art Histories Board:
Prof. Dr. Sean CUBITT (Deputy Head of Department & PhD Tutor / Media and Communications / Goldsmiths University of London / UK), Univ.-Prof. Dr. habil. Dr.h.c. Oliver GRAU (Head of Dept & Chair Professor in Image Science / Danube University / AT), Dr. Linda Dalrymple HENDERSON (David Bruton, Jr. Centennial Professor in Art History / Dept of Art + Art History / University of Texas at Austin / US), Prof. Dr. Erkki HUHTAMO (Departments of Design Media Arts, and Film, Television, and Digital Media / University of California Los Angeles / US), Prof. Dr. Douglas KAHN (Professor of Media and Innovation / National Institute of Experimental Arts (NIEA) / University of New South Wales, Sydney / AU), Prof. Dr. Martin KEMP (Emeritus Professor of the History of Art / Oxford University / UK), Prof. Dr. Machiko KUSAHARA (School of Letters, Arts and Sciences / Waseda University / Tokyo, Japan), Prof. Dr. Tim LENOIR (Kimberly J. Jenkins Chair for New Technologies in Society / Duke University / US), Prof. Dr. Gunalan NADARAJAN (Dean / Stamps School of Art & Design / University of Michigan / US), Prof. Dr. Paul THOMAS (Director / Fine Arts at College of Fine Art / University of New South Wales /AU)

MISSION
Recognizing the increasing significance of media art for our culture, this conference series for the Histories of Media Art discusses the history of media art within the interdisciplinary and intercultural contexts of the histories of art.

Apologies for cross-posting

CALL FOR PAPERS

Discovering Collections, Discovering Communities 2015: Exploring new digital destinations for heritage and academia

When: Monday 12th - Wednesday 14th October 2015 

Call for papers deadline: 1st May 2015

Where: The Lowry, Pier 8, Salford Quays, Manchester, M50 3AZ

Conference fee: Registration for DCDC15 will open soon. There is no fee to attend the conference, however, a modest fee applies for the networking drinks reception on Monday 12 October and the conference evening reception on Tuesday 13 October.

Call for Papers:

This year’s conference will look at the varied and innovative ways in which archives, museums, libraries and academia can engage with audiences in the digital age.

The last two decades have witnessed a flourishing of digital content across the heritage and academic sectors. Whether through the creation of digital discovery tools, mass digitisation and online delivery of content, or the creation of new virtual user interfaces; digital technology has come to complement traditional analogue formats to create an altogether richer user experience. The creation, delivery and curation of digital content provides great opportunities for audiences more actively to engage in, and enrich, both collections and the research based on them. 

In doing so, our audiences have gone from being consumers of heritage content to active creators and curators, helping us to contextualise and interpret our rich and diverse collections. Crowd-sourced content has revealed the many hidden secrets behind heritage collections, giving them greater contemporary relevance and adding an increased complexity and diversity to established narratives. Digital platforms have democratised the experience and interpretation of heritage collections, not replacing the richness and importance of a physical encounter, but complementing these and widening their appeal. Finally, galleries and search rooms have been pebble-dashed with touch screens, hashtags, and barcodes. Our visitors are now as likely to leave with a mobile-phone app as they are with an exhibition poster. In doing so, the development of digital technologies have presented new opportunities for collaboration not only between our institutions, academics and sectors, but also new ways of collaborating with our users, whatever their purposes.   

Digital platforms have provided many new and exciting opportunities, yet they have also presented new challenges for heritage and academic organisations. In what ways can we ensure that digital engagement is truly ‘engaging’? What is the relationship between online ‘hits’ and actual footfall? How can we better capture the meaningful ‘impact’ of engagement via digital means? And during a time of austerity, how can all sectors make the case for innovative digital engagement, not as an indulgent luxury, but as a necessity to preserve the broader relevance and wider-recognition of collections? This conference aims to explore the possibilities and also the pitfalls of digital engagement.

CALL FOR PAPERS AND WORKSHOPS

Papers: The conference organisers invite 300 word abstracts to be submitted by Friday 1st May 2015 for the delivery of 20 minute presentations. 10 minutes will be allowed for questions after every presentation. 

Workshops: The conference organisers also invite the submission of 300 word abstracts for more focused 1.5 hour workshops. These will be designed and delivered by those submitting a proposal. Where possible, workshops should focus on the exchange of concepts, ideas or practical solutions, in order to identify or overcome common challenges. 

Abstracts should be sent to both melanie.cheung@rluk.ac.uk and matt.greenhall@nationalarchives.gov.uk, by Friday 1st May 2015.

Abstracts should include a title and also an indication of preferred delivery method (for both papers and workshops):
            
•	Oral presentation with visual aids (e.g. powerpoint)

•	Oral presentation with interactive element (e.g. audience participation)

•	Oral presentation followed by open discussion   

•	Interactive workshop

The main conference themes will include, but are not limited to, the following:

•	The ways and means of digitally engaging with audiences

•	Funding for digital collaboration

•	The interrelation of the virtual and physical visitor

•	The creation of digital spaces for discourse, dissemination and delivery

•	Gameification and edutainment: how can we use video games and interactive learning to engage younger audiences? 

•	Digital analytics and impact: measuring digital audiences to better understand their needs and behaviour, and to persuade decision-makers to commit resource.
  
•	Online fundraising: the potential of crowdfunding to support campaigns and individual appeals. 

•	Supporting the Digital Humanities

•	Creating Citizen Humanists: the role of the amateur-virtual researcher in better understanding collections

•	Digital without borders: international research and outreach through the digital

Further Information: is available from www.rluk.ac.uk/dcdc15, and from melanie.cheung@rluk.ac.uk and matt.greenhall@nationalarchives.gov.uk.

Best,

Matt

Apologies for cross-posting

Have you been using social media in new and innovative ways to attract new audiences? Have you brought collections to life through virtual reality, mobile technologies or online gaming? or have you used a new online catalogue or digitisation project to transform how your collections are seen, researched, and understood?  

CALL FOR PAPERS

Discovering Collections, Discovering Communities 2015: Exploring new digital destinations for heritage and academia

When: Monday 12th - Wednesday 14th October 2015 

Call for papers deadline: 1st May 2015

Where: The Lowry, Pier 8, Salford Quays, Manchester, M50 3AZ

Conference fee: Registration for DCDC15 will open soon. There is no fee to attend the conference, however, a modest fee applies for the networking drinks reception on Monday 12 October and the conference evening reception on Tuesday 13 October.

Call for Papers:

This year’s conference will look at the varied and innovative ways in which archives, museums, libraries and academia can engage with audiences in the digital age.

The last two decades have witnessed a flourishing of digital content across the heritage and academic sectors. Whether through the creation of digital discovery tools, mass digitisation and online delivery of content, or the creation of new virtual user interfaces; digital technology has come to complement traditional analogue formats to create an altogether richer user experience. The creation, delivery and curation of digital content provides great opportunities for audiences more actively to engage in, and enrich, both collections and the research based on them. 

In doing so, our audiences have gone from being consumers of heritage content to active creators and curators, helping us to contextualise and interpret our rich and diverse collections. Crowd-sourced content has revealed the many hidden secrets behind heritage collections, giving them greater contemporary relevance and adding an increased complexity and diversity to established narratives. Digital platforms have democratised the experience and interpretation of heritage collections, not replacing the richness and importance of a physical encounter, but complementing these and widening their appeal. Finally, galleries and search rooms have been pebble-dashed with touch screens, hashtags, and barcodes. Our visitors are now as likely to leave with a mobile-phone app as they are with an exhibition poster. In doing so, the development of digital technologies have presented new opportunities for collaboration not only between our institutions, academics and sectors, but also new ways of collaborating with our users, whatever their purposes.   

Digital platforms have provided many new and exciting opportunities, yet they have also presented new challenges for heritage and academic organisations. In what ways can we ensure that digital engagement is truly ‘engaging’? What is the relationship between online ‘hits’ and actual footfall? How can we better capture the meaningful ‘impact’ of engagement via digital means? And during a time of austerity, how can all sectors make the case for innovative digital engagement, not as an indulgent luxury, but as a necessity to preserve the broader relevance and wider-recognition of collections? This conference aims to explore the possibilities and also the pitfalls of digital engagement.

CALL FOR PAPERS AND WORKSHOPS

Papers: The conference organisers invite 300 word abstracts to be submitted by Friday 1st May 2015 for the delivery of 20 minute presentations. 10 minutes will be allowed for questions after every presentation. 

Workshops: The conference organisers also invite the submission of 300 word abstracts for more focused 1.5 hour workshops. These will be designed and delivered by those submitting a proposal. Where possible, workshops should focus on the exchange of concepts, ideas or practical solutions, in order to identify or overcome common challenges. 

Abstracts should be sent to both melanie.cheung@rluk.ac.uk and matt.greenhall@nationalarchives.gov.uk, by Friday 1st May 2015.

Abstracts should include a title and also an indication of preferred delivery method (for both papers and workshops):
            
•	Oral presentation with visual aids (e.g. powerpoint)

•	Oral presentation with interactive element (e.g. audience participation)

•	Oral presentation followed by open discussion   

•	Interactive workshop

The main conference themes will include, but are not limited to, the following:

•	The ways and means of digitally engaging with audiences

•	Funding for digital collaboration

•	The interrelation of the virtual and physical visitor

•	The creation of digital spaces for discourse, dissemination and delivery

•	Gameification and edutainment: how can we use video games and interactive learning to engage younger audiences? 

•	Digital analytics and impact: measuring digital audiences to better understand their needs and behaviour, and to persuade decision-makers to commit resource.
  
•	Online fundraising: the potential of crowdfunding to support campaigns and individual appeals. 

•	Supporting the Digital Humanities

•	Creating Citizen Humanists: the role of the amateur-virtual researcher in better understanding collections

•	Digital without borders: international research and outreach through the digital

Further Information: is available from www.rluk.ac.uk/dcdc15, and from melanie.cheung@rluk.ac.uk and matt.greenhall@nationalarchives.gov.uk.

Best,

Matt