Interactive Multimedia composition opportunity…

Via my colleagues Kevin Patton & Maria del Carmen Montoya:

The Mexican Center for Music and Sonic Arts (CMMAS) announces a summer residency program in Interactive Multimedia Composition with Ken Ueno, Kevin Patton, Maria del Carmen Montoya, and Rodrigo Sigal together with other guest lecturers. Students will have the opportunity to learn the concepts and techniques of interactivity, multimedia production, and composing for interactive systems. Software approaches and packages developed by the faculty will be given to students to help with the process of learning to compose wit this exciting new vocabulary. Students can choose between a five-week immersive program or a 15 day program.

CMMAS, housed in a majestic 16th century monastery in the heart of colonial Mexico, in the world heritage city of Morelia, and provides students with state of the art technology and production studios while being immersed in the vibrant cultural scene of one of Mexico’s most historic cities.

http://composinginteractivemultimedia.org/

Composing Interactive Multimedia Residency – Seeking Composers, Musicians, and Artists
Deadline: March 15, 2010
Deadline Type: Postmark
Open To: Composers, Musicians, and Artists age 18 and older.
Application: Application materials to include letter project proposal and at least one work in the area of interest. i.e. scores, recordings, animations, documentation of installations or performance art.

REGISTER ONLINE

Contact:  Kevin Patton or Rodrigo Sigal, info@composinginteractivemultimedia.org or
CMMAS at 011-52-443-317-5679

A&AA web preview performance

Last night, an experimental/improv/noise group I’m in helped create the sonic environment for a preview party connected to the launch of a new website for the School of Architecture & Allied Arts. While I suppose sound clips would serve as appropriate documentary evidence, here are some photos a friend of mine snapped (Thanks, Steven!).

Chemically Restrained members J. Fenn & Don Benjamin

Full band: Vivian Fuego, J. Fenn, Don BenjaminAir-J, the internet v-jay

The top two are the group in action, while the last image is of Air-J, the ‘internet v-jay’ who mixed live web feeds as a visual component to the event, serving to contextualize the new A&AA site. Thanks to everyone who attended and said nice things about our music! Special thanks to the A&AA web team for inviting us to perform.

On networks, media, and learning

I rang in the new year, in part, by catching up on all the blog reading I managed to not do over the break. Two posts stood out, and connected in interesting ways re: the media management area of concentration in the Arts and Administration Program that I’ll more ‘officially’ launch this term by actually teaching a course!

Both posts are essentially about networks and the ways in which we use them—technically as well as socio-culturally. In reading these posts, I was struck by how they aligned with, overlapped, and adumbrated the primary concepts I’ve been articulating as constituting “media management”: media as communication tools (technology) on the one hand, and media as communication strategy or mechanism (culture) on the other hand. There are certainly other dimensions of “media management,” and I intend that course I’m teaching this term to help myself, students, and colleagues map it all out in a preliminary way. On to the posts…

The first one is a republishing of an essay by Mitchell Whitelaw on the art of HC Gilje. The full essay can be read here, but the main point that I took away from it had to do with the dynamic relations between “generalities” and “specificities” as manifest in the structural workings of networks. Whitelaw does a great job of drawing on Gilje’s work to illustrate how networks generalize points in space by not ‘caring’ where two nodes actually exist (eg. in transmitting an email from someone in Austrailia to someone in Norway), or, as he puts it, by “absorbing” specificities—those physical details such as what kind of computer someone is using, what chair they happen to be sitting in, or what kind of coffee they are drinking (or not). Whitelaw’s argument is not that specificities ultimately do not matter, but rather that they emerge through dynamic interaction with the logic of networks. In a way, I suppose, this is a rearticulation of the structure-agency problem (here for the Wikipedia overview) within the framework of the aesthetics of digital media/art.

The second posting is by Howard Rheingold, and can be found on the DMLCentral blog. Rheingold has been instrumental in highlighting how ‘network literacy‘ has become a crucial component of our 21st century social tool kit, and his relationship to online communities and discourse about them constitutes a significant contribution to the ongoing unfolding of digital media. His recent forays into teaching at Stanford and UC Berkely have led him to develop the Social Media Classoom, and the post on the DMLCentral blog is a reflection on the route he took in bringing his vision to fruition. Read against the post by Whitelaw, Rheingold’s observations bring theory of networks (generalities and specificities) into the realm of education—not just classroom-based education, but broader creation and social dissemination of knowledge in today’s networked worlds.

Ideas from both of these posts—if not the posts themselves—will certainly filter into my own teaching this term (and beyond), and the critical insights presented by each will inform my ongoing understanding of what “media management” means to work in the arts and cultural sectors. I highly recommend checking out the posts and bringing your own perpsectives to them.

Another facet of media management

A post on Henry Jenkins’ blog this morning pushed me toward thinking about media management in yet one more way (find the full post here). I’ve been concentrating on the relationship between two aspects of “management” as I move forward with establishing the media management area of concentration in the AAD program. On the one hand there is the technical and practical sense of the term, by which I refer to the administrative wrangling of media—the tech know-how, use skills, or savvy that we have about various media with which we are quite familiar. On the other hand, I’ve thought about “management” in relation to meaning and interpretation. That is, I’ve tried to focus on the ways in which people draw meaning from and invest identity in various mediated forms of culture. Running through both of these conceptualizations of “management,” I’ve emphasized a pluralistic sense of “media”: the term refers to technology as much as commuicative strategies, old or legacy forms as much as new and emergent forms.

The post on Jenkins’ blog—introduced by Jenkins himself, but largely penned by Anna Van Someren as an initial report on a new research project—focuses on what I’m thinking of as another facet of media management: the ways in which participation in media intersects with civic engagement. Van Someren briefly outlines two unrelated “flashmob” efforts: one ‘rewards’ business owners who attempt to incorporate ecologically-sound practices into their buisnesses (Carrotmob), the other sought to save the television show Chuck by having people buy Subway sandwiches (for more details on either of these, read the full post on Jenkins’ blog…). Van Someren says this about the two efforts:

These two projects have entirely different goals, and some might say Save Chuck is a far cry from civic engagement, but it’s interesting to note that the skills and strategies being used are so similar. We began to wonder if participants in campaigns like Save Chuck might stand to gain some of the skills and knowledge needed to become active citizens. With so many young people so engaged with popular culture, this potential is critical to understand. In Convergence Culture, Henry describes how popular culture can function as a civic playground, where lower stakes allow for a greater diversity of opinions than tolerated in political arenas. “One way that popular culture can enable a more engaged citizenry is by allowing people to play with power on a microlevel …popular culture may be preparing the way for a more meaningful public culture.”

As I read through the post a bit more, the idea crystallized that the socially-concerned components of media participation culminating in what Jenkins, Van Someran, and others look at as forms of civic engagement or citizenry might constitute another facet of media management. I’ll certainly be thinking more about this (especially as course prep kicks into high gear…) and am looking forward to sorting through these ideas with students in the winter term. In the meantime, I encourage everyone to read the post by Jenkins/Van Someran, take a look  at the examples they reference, and push ahead with thinking about the multiple roles media have in our lives.

Media Management Praxis course blog

I’ve started setting up the course blog through which I’ll run the Media Management Praxis course this winter term (2010). The blog can be found here. Please feel free to poke around in the blog, but I’ll warn you now that it is not fully populated. I’ll get more up as we move toward the beginning of the term, especially with regards to content related to the first few weeks of the class. For those of you enrolled in the course, be aware that there are some readings to do for the first meeting connected to our guest for that day, Richard Herskowitz. As of right now, I’ve set up a password-protected page for all readings (to maintain ‘fair use’ on copyrighted materials), but I’ll get a post up with links to the readings Richard has recommeded since they are all online articles anyway.

Art & Culture iPhone apps

I know not everyone is an iPhone nut, but this post from Technology In the Arts caters to those of us who are and also happen to move around in the arts/culture sectors. Even if you do not have an iPhone, I think the subtext of the post is relevant: people with mobile devices are wanting to engage programming with/through/on/via those devices. Here is the video embedded in the post, in case you are not interested in reading…
[youtube]http://www.youtube.com/watch?v=Yjs5QopL0Pc[/youtube]

digital "natives" and interactive design

I found this post today that focuses on a private museum in Korea dedicated to providing children with interactive experiences incorporating technology, art, architecture. The question in the title of the post—When is an art museum a workshop?—speaks to questions of convergence and participation that seem to be piling up all around us these days. At this point, I’m not sure answers are in order (i.e. not the goal) as the question (and others along similar lines) give rise to intellectual space for inquiry and the development of pedagogic & critical practice I can only hope will inspire all generations: from analog to digital ‘natives.’

The blog this post comes from—DMLcentral—is relatively new, emerging from a previous new media literacies project. There are some great thinkers writing on the blog, so I recommend checking it out.

The mobile factor…

A recent series of posts on the Technology In The Arts blog explores the question of mobile phones in arts audiences by pitching the “good or evil” debate as the core issue. Ultimately, the second post goes beyond “good or evil” and points toward other questions. First, is cellular telephone etiquette something arts programmers must navigate beyond the ‘on/off’ binary that has been the norm up until now. And, second, what sort of “responsibilities” come along with the rather marked increase in mobile computing & communicating power that has come to define (in many ways) the contemporary world (not for everyone, certainly, but it’s a dominant concept).

Here is the full second post in the series, the one that explores the “pros” of cellular telephone technology in the contexts of arts audiences.

I’m not sure where I stand on this, as I’m certainly guilty of employing my phone while in ‘audience’ settings. But, I’m also one to get irritated when someone is blabbing away on their phone while I (and presumably others) are trying to listen, appreciate, engage with whatever programming happens to be going on at the moment. And while not everyone has them, smart/powerful phones are steering cultural discourse at the moment and will likely continue to do so for the time being.

A little tune, just for fun…

Ran across this song the other day on my hard drive. Back before graduate school (and even into the first couple years of it), I did a lot of 4-track recording, putting quirky little songs to tape. This one was my effort to capture that sort of gut reaction a lot of us have to “theory” when we first run into it. It was also part fantasy about what would happen if a Freudian and Jungian were actually roomates…Enjoy.

Fearing Theory