MEDIAMODES: A GRADUATE STUDENT CONFERENCE ON CRITICAL THINKING AT THE INTERSECTION OF ART AND TEC

full name / name of organization: 
SCHOOL OF VISUAL ARTS
contact email: 
info@mediamodes.com

SCHOOL OF VISUAL ARTS PRESENTS MEDIAMODES:
A GRADUATE STUDENT CONFERENCE ON CRITICAL THINKING AT THE INTERSECTION OF ART AND TECHNOLOGY
KEYNOTE ADDRESS BY NOTED CRITIC AND SCHOLAR JONATHAN CRARY

Saturday, November 14, 2009

Jonathan Crary Keynote Address: 4 — 5:30pm
Book signing and reception to follow
SVA Theatre, 333 West 23 Street, New York City

Conference Panels: 10am — 3:30pm
133/141 West 21 Street, 10th floor, New York City
All events are free and open to the public
www.mediamodes.com

School of Visual Arts (SVA) presents MediaModes, an interdisciplinary graduate conference examining the contemporary dialogue between art and technology. Co-sponsored by the MFA Computer Art and the MFA Art Criticism and Writing
Departments at SVA, MediaModes provides a critical forum for current
scholarship exploring the juncture of media, theory, criticism and the
visual arts. Jonathan Crary, Meyer Schapiro Professor of Modern
Art and Theory at Columbia University, will deliver the keynote
address, commenting on the human and social consequences of 24/7
technological culture.

Jonathan Crary has written extensively on the confluence of
art, technology and mass media. His books include Techniques of the
Observer: On Vision and Modernity in the Nineteenth Century (MIT Press,
1992), Suspensions of Perception: Attention, Spectacle, and Modern
Culture (MIT Press, 2001) and Incorporations (Zone Books, 1992). He is
also a founding editor of Zone Books, widely noted for its publication
of major works in philosophy, criticism, art, social theory and
history. Crary has been the recipient of National Endowment for the
Arts, Mellon, Getty and Guggenheim fellowships and was a member of the
Institute for Advanced Study at Princeton.

Twenty-five current students and recent alumni from graduate
programs throughout North America, South America, Europe and Asia will
present on the following six topics: Body, Identity and the Virtual
Space; Spatial Experience and Social Networking; Perception,
Information and Temporality; The Spectator and the Spectacle: Mediating
Differences/Technology and Politics; Processes and Aesthetics of
Digital Art; and Sound Junctures. SVA faculty members will moderate. A
complete list of participants is attached. Additional details can also
be found at www.mediamodes.com.
MediaModes conference participants represent a wide cross-section of
disciplines, ranging from visual and cultural studies to interactive
media arts; from criticism to curatorial practice; and from performance
art to art history. They will address critical and analytical issues
related to the connection between art and technology from a
multiplicity of viewpoints, methodologies and theoretical approaches.
The MFA Art Criticism and Writing Department at SVA offers a two-year
course of study leading to an MFA degree. For students who want to
improve their writing and advance their knowledge of contemporary art,
theory, literature, and history, this concentrated program offers
seminars by practicing critics, editors, philosophers, poets, and
artists. The focus in writing is on the essay as form, as well as on
shorter forms of review, through intensive writing practicums.

The MFA Computer Art Department at SVA emphasizes creative
experimentation and a multidisciplinary approach. Dedicated to
producing digital artists of the highest caliber, the department guides
each student in the development of a personal artistic style and a
course of study that is individually tailored to meet his/her needs.
The program also offers concentrations in animation, digital
video/motion graphics, installation and digital fine art, interactive
media, sound art and performance.

School of Visual Arts (SVA) in New York City is an established
leader and innovator in the education of artists. From its inception in
1947, the faculty has been comprised of professionals working in the
arts and art-related fields. SVA provides an environment that nurtures
creativity, inventiveness and experimentation, enabling students to
develop a strong sense of identity and a clear direction of purpose.

Media Contact: For more information, please contact info@mediamodes.com.

Session 1: 10 — 11:30am

SPATIAL EXPERIENCE AND SOCIAL NETWORKING
ROOM 1022

• Amanda Graham, The Body of the Text: Dispersion and Its Implications
in Shelley Jackson’s Skin: A Mortal Work of Art (University of
Rochester, Graduate Program in Visual and Cultural Studies, PhD)

Nipun Kumar, Intervention or Interference of Digital Technologies in
Interior Design–Developing Spatial Digital Experience (Rhode Island
School of Design, Digital + Media)
• Ellen Hartwell Alderman, Phenomenal Translucency in Toyo Ito’s T House (Art Institute of Chicago, MFA)
• Graham Smith, Digital Painting: Social Network (School of Visual Arts, MFA Computer Art)
• Respondent: Grahame Weinbren

BODY, IDENTITY AND THE VIRTUAL SPACE
ROOM 1024

• Jaime
Austin, Space, Identity, and Embodiment in Lynn Hershman Leeson's The
Dante Hotel and Life Squared (California College of the Arts,
Curatorial Practice, MA)
• Jenny Keane, Fragmented Fetishes: Monstrosity and Desire in Women's
Contemporary Time-Based Art (University of Ulster, Belfast)
• Aleksandra Przegalinska, Identity Negotiation in Human-Avatar Relations (The New School, Sociology, MA)
• Klara Seddon, Bento Blogs: Women’s Expression in Japanese Visual
Culture (Bard Graduate Center for Studies in Decorative Arts, Design
and Culture, MA)
• Respondent: Russet Lederman

Session 2: 11:45am — 1:15pm

PROCESSES AND AESTHETICS OF DIGITAL ART
ROOM 1022


Zach Blas, Queer Technologies: Toward a Viral Aesthetic (Duke
University, Literature & Information Science and Information
Studies, PhD)
• Dustin Grella, Processing Prayers for Peace (School of Visual Arts, MFA Computer Art)
• Aimee Walleston, The Aesthetics of Pixelation (School of Visual Arts, MFA Art Criticism and Writing)
• Respondent: Kathy Brew

PERCEPTION, INFORMATION AND TEMPORALITY
ROOM 1024


Lorne Blythe, Cartesian Illusions: Cognitive Science and
Representations of Subjective Time in Visual Art (School of Visual
Arts, MFA Photography, Video and Related Media)
• Pierre Leichner, From Transcendence to ‘Altercendence’? (University of Concordia, Faculty of Fine Arts, MFA)

Kurt Ralske, Data and Time: Information Storage and Paradigms of
Temporality (School of Visual Arts, MFA Art Criticism and Writing)
• Nina Wenhart, The Grammar of New Media (Danube University
Krems/Austria, Department for Image Science, Media Art Histories
Programme, MA)
• Respondent: Suzanne Anker

Session 3: 2 — 3:30pm

BETWEEN THE SPECTATOR AND THE SPECTACLE
ROOM 1022

• LaTanya Autry, In and Out of the Margins — “Click!: A Crowd-Curated Exhibition?” (University of Delaware, Art History)

Matthias De Groof, The Assimilation of Cinematographic Techniques by
African Filmmakers. In Order to be Not Assimilated? A Plea for
Anthropophagy (University of Antwerp, Filmstudies + Visual Culture, PhD
candidate)
• Elaine W. Ho and Sean Smith, Unlayering the Relational:
Microaesthetics and Micropolitics (European Graduate School, Media and
Communications Program PhD)
• Doug Jarvis, Ghosts as an Audience (University of Guelph, Ontario, School of Fine Arts and Music)
• Respondent: Ken Johnson

SOUND JUNCTURES
ROOM 1024

• Kelly Jaclynn Andres, Shells, Membranes and Bicycle Horns (Concordia University, Montréal, Interdisciplinary Studies, PhD)
• Song-Min Ang, Operations and Institutions (Goldsmiths, University of London, Department of Visual Cultures)
• Michael Capio, Wall Systems: Notes on Post-Digital Tendencies in
Sound and Design (School of Visual Arts, MFA Art Criticism and Writing)
• Jelani Gould-Bailey, Harmonics (School of Visual Arts, MFA Computer Art)
• Respondent: Tom Huhn

cfp categories: 
graduate_conferences