February 9, 2009


The following is an annotated list of artists, curators, academics with areas of expertise that include:
new media
sound art
interactive art
experimental art
art and technology
participatory modalities
art, science and technology
art, technology and architecture
experimental and socially engaged forms that reside outside the traditional gallery context.

Each includes a description of the artist/academic
with contact information accessible upon clicking the "continue reading" section.

Steve Dietz

Steve Dietz is a serial platform creator. He is the Founder and Executive Director of Northern Lights. He was the Founding Director of the biennial 01SJ Global Festival of Art on the Edge in 2006 and is currently Artistic Director of its producing organization, ZERO1: the Art and Technology Network. He is the former Curator of New Media at the Walker Art Center in Minneapolis, Minnesota, where he founded the New Media Initiatives department in 1996, the online art Gallery 9 and digital art study collection. He also co-founded, with the Minneapolis Instite of Arts the award-winning educational site ArtsConnectEd, and the artist community site mnartists.org with the McKnight Foundation. Dietz founded one of the earliest, museum-based, independent new media programs at the Smithsonian American Art Museum in 1992.

Dietz has organized and curated numerous new media art exhibitions, including Beyond Interface: net art and Art on the Net (1998); Shock of the View: Artists, Audiences, and Museums in the Digital Age (1999); Digital Documentary: The Need to Know and the Urge to Show (1999); Cybermuseology for the Museo de Monterrey (1999); Art Entertainment Network (2000); Outsourcing Control? The Audience As Artist for the Open Source Lounge at Medi@terra (2000); Telematic Connections: The Virtual Embrace (2001-02); a nationally traveling exhibition; Open_Source_Art_Hack (2002), with Jenny Marketou, at the New Museum, New York City; Translocations (2003), part of “How Latitudes Become Forms� at the Walker Art Center; State of the Art: Maps, Games, Stories, and Algorithms from Minnesota at the Carleton Art Gallery (2003); Database Imaginary (2004), with Anthony Kiendl and Sarah Cook, Walter Philips Gallery, Banff Center for the Arts; Fair Assembly, web-based projects for Making Things Public: Atmospheres of Democracy (2005), with Peter Weibel and Bruno Latour, ZKM, Karlsruhe, Germany; The Art Formerly Known As New Media (2005), with Sarah Cook, Walter Philips Gallery, Banff Centre; Container Culture (2006), with Deborah Dormer-Lawler, Zhang Ga, Alice Ming Wei Jim, Gunalan Nadarajan, Ellen Pau, Johan Pijnappel, Soh Yeong Roh, Yukiko Shikata at the 01SJ Festival; Edge Conditions (2006), at the San Jose Museum of Art; and selected projects for the Ingenuity Festival in Cleveland, Ohio, July 19-22, 2007. Dietz was artistic director of the 2nd Biennial 01SJ Global Festival of Art on the Edge and curated its lead exhibition Superlight. Through Northern Lights he initiated the UnConvention, August 30 - September 4, 2008, a multi-organization collaboration, and he curated Spontaneous Storefronts (2008) for Forecast Public Art. In June 2009, he will co-curate with Christiane Paul, Angel of History at Laboral in Spain. In September 2010, he will again be the artistic director of the 3rd 01SJ Biennial.

He speaks and writes extensively about new media, and his interviews and writings have appeared in Parkett, Artforum, Flash Art, Design Quarterly, Spectra, Salmagundi, Afterimage, Art in America, Museum News, BlackFlash, Public Art Review, Else/Where and Intelligent Agent; in exhibition catalogs for Walker Art Center, Centro Parago, Site Santa Fe, San Francisco Art Institute, and aceart; and in publications from MIT Press, University of California Press, and Princeton University Press. Many of his writings are online at http://www.yproductions.com/writing/.

He has taught about curating and digital art at California College of the Arts, Carleton College, the University of Minnesota, and the Minneapolis College of Art and Design.

Prior to the Walker Art Center, Dietz was founding Chief of Publications and New Media Initiatives at the Smithsonian American Art Museum and editor of the scholarly journal, American Art.

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Rachel Mayeri

Associate Professor of Media Studies at Harvey Mudd College, Rachel Mayeri, is a video and installation artist whose work often deals with the intersection of science, art, and society.

STORIES FROM THE GENOME was supported by Creative Capital and won a 2004 "International Media Art Prize Top 50 Nominees" prize, sponsored by ZKM. As Guest Curator at the Museum of Jurassic Technology she contributed to the production of the permanent exhibit, MIRACLES AND DISASTERS IN RENAISSANCE AND BAROQUE THEATER MECHANICS. She recently compiled a DVD of videos by artists and scientists entitled SOFT SCIENCE (www.soft-science.org), which is distributed by Video Data Bank.

Her previous video work includes THE ANATOMICAL THEATER OF PETER THE GREAT (1999), animations for BIOSPHERIA: AN ENVIRONMENTAL OPERA (2001), and THE ELECTROPATHIC SANITARIUM (1992). Mayeri's work has been screened at numerous venues nationally and internationally, including including Pacific Film Archive, P.S.1 Contemporary Art Center and Ars Electronica. She has received funding from the Getty Institute, the University of California, and the California Council on the Humanities.
Her previous video work includes Stories from the Genome and The Anatomical Theater of Peter the Great (1999). Mayeri's work has been screened at numerous venues, including ZKM in Karlsruhe (October 2004), Museum of Jurassic Technology in Culver City (December 2004), MOMA at P.S.1 Contemporary Art Center in New York and Ars Electronica in Linz. She is currently Associate Professor of Media Studies at Harvey Mudd College and curates art and media events in Los Angeles.

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Amy Youngs

Amy M. Youngs is Associate Professor and Co-Area Coordinator of the Art and Technology area of the Department of Art at Ohio State University. She uses electronics, kinetics, insects, plants and pixels to create artwork about the changing relationships between technology, nature and self. Her work has been exhibited nationally and internationally and her essays about art and biology have been published in Leonardo and Nouvel Objet.

She creates biological art, interactive sculptures and digital media works that explore the complex relationship between technology and our changing concept of nature and self. She has exhibited her works nationally and internationally at venues such as the Biennale of Electronic Arts (Perth, Australia), Te Papa Museum (Wellington, New Zeland), John Michael Kohler Arts Center (Sheboygan, Wisconsin), the Tweed Museum (Duluth, MN), Circulo de Bellas Artes (Madrid, Spain), the Visual Arts Museum, Pace Digital Gallery (New York, NY), the Art Institute of Chicago's Betty Rymer Gallery, Vedanta Gallery, Northern Illinois University Art Gallery (Chicago, IL), Blasthaus, (San Francisco, CA) and Works (San Jose, CA).

Her artwork has been reviewed in publications such as, The Chicago Reader, Toronto Star, San Francisco Bay Guardian, RealTime and Artweek. Youngs has published several essays, including one on genetic art in the journal Leonardo and another on art, technology and ecology in the international art publication Nouvel Objet in 2001. Her work was profiled in the recent book, Art in Action, Nature, Creativity & our Collective Future. She has lectured on her work widely, including at Columbia College, (Chicago, IL), the Massachusetts Institute of Technology (Boston, Massachusetts), the Australian Center For the Moving Image (Melbourne, Australia) and the Walker Art Center (Minneapolis, MN) and has participated in panels at professional conferences such as the Women’s Caucus for the Arts and the College Arts Association. In 2002, Youngs was awarded an Individual Artist Fellowship Grant from the Ohio Arts Council. Youngs received a BA from San Francisco State University, graduating Summa Cum Laude and Art Student Honoree of her class. She was awarded a full Merit Scholarship to study at The School of the Art Institute of Chicago, where she completed her MFA in 1999. Youngs is currently an Associate Professor in the Department of Art at The Ohio State University. She was born in 1968 in Chico, California.

artist statement:
Through the intermixing of synthetic, natural, animal and human substances I explore the conflicted relationship our culture has constructed relative to nature. This was originally inspired by a nine-year experiment in selectively breeding my own specialized line of show rabbits. My obsession with the pursuit of the "perfect rabbit" was a way in which I could feel I was affecting the natural world. It was a powerful feeling; however, the fact that I was directly shaping these animals according to a human agenda was disconcerting. Selective breeding requires the "non-selection" of many animals. I quit the rabbit-breeding project long ago, but my interest in the desire to experience an idealized version of nature by technologically controlling it remains. My work engages viewers in a visual, tactile and auditory realm, to elicit a dialogue regarding the relationship between technology and our changing concept of nature and self. I am interested in the way that our increasingly enhanced and extended human capabilities allow us to perceive the world in micro and macro modes, explore it more thoroughly and even make attempts to remedy past ecological errors. That technology can simultaneously ruin, reveal, reinvent and repair nature is a paradox I investigate in my work.

– amy m. youngs

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Stephen Wilson

Professor Stephen Wilson is Head of the Conceptual/Information Arts program at San Francisco State University. He is a San Francisco author, artist and professor who explores the cultural implications of new technologies. His interactive installations and performances have been shown internationally in galleries and SIGGRAPH, CHI, NCGA, Ars Electronica, and V2 art shows. His computer mediated art works probe issues such as the World Wide Web and telecommunications; artificial intelligence and robotics; hypermedia and the structure of information; GPS and the sense of place; synthetic voice; and biological & environmental sensing. He won the Prize of Distinction in Ars Electronica's international competitions for interactive art and several honorary mentions.

He was selected as artist in residence at Xerox PARC and NTT Research labs. He has been a developer for Apple, Articulate Systems and other companies and principal investigator in National Science Foundation research projects to investigate the relationship of new technologies to education.

Why should scientific research and technological innovations belong only to technicians? Research is at the white hot center of cultural foment. It is affecting everything from the gizmos of everyday life to basic philosophical notions about the nature of reality and what it is to be human. Stephen Wilson challenges the conventions that push Art to the edge of culture. He believe Art can occupy an independent zone of research, undertaking investigations ignored or discredited by commercial interests and academic science. The talk presents examples including Wilson's own artworks in areas such as GPS, body sensing, telepresence, and AI. It will also highlight new areas of technology and scientific inquiry that call out for artist attention. The presentation will draw from material from Wilson's recently released book, Information Arts: Intersections of Art, Science, and Technology. (MIT Press, 2001), a comprehensive survey of artists, theorists, and researchers working in technical fields.

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Jen Hall

Jen Hall is Professor and Coordinator of the Art, Education and New Media Program at the Massachusetts College of Art. She is also the founding Director of Do While Studio.

Jennifer Hall is an artist who has been working with interactive media for over twenty-five years. She is experienced in a variety of media related forms, and is currently engaged in the re-focusing of biological material as an art medium.

Ms. Hall received her Bachelor of Fine Arts (B.F.A) at the Kansas City Art Institute in 1980, and her Masters of Science in Visual Studies (M.S.V.S.) from the Massachusetts Institute of Technology (M.I.T.) in 1985. Ms. Hall is the Founding Director of the Do While Studio, a Boston-based, not-for-profit organization dedicated to the fusion of art, technology, and culture. She has taught at the Visible Language Workshop at the Massachusetts Institute of Technology, The School of the Museum of Fine Arts, Boston, Massachusetts, the Institute de Arte de Frederico Brandt, Caracas, Venezuela, and is currently a Professor and Coordinator of the Masters of Science in Art, Education, and New Media at the Massachusetts College of Art, Boston.

In 2000, Ms Hall received the first Rappaport Prize, the largest purse for an individual New England artist. In both 1984 and 1985, Ms. She received the IBM Home Computing Award administrated by the Media Lab at M.I.T. for developing gesture driven interfaces. In 1995 she received Woman of the Year from the Boston Chapter of the National Epilepsy Association for her work with Art and Epilepsy, and in 1998 was awarded the first Anne Jackson Award for Teaching from the Massachusetts College of Art. Ms. Hall has installed work at numerous international locations such as the Contemporary Museum of Sydney, Australia; the Museum de Belle Arts, Caracas, Venezuela; and St. Johns Island, Newfoundland.

Jennifer has co-written a chapter of Blaze with Ellen S. Ginsburg, PhD., medical anthropologist and Associate Professor of Anthropology/Sociology at Massachusetts College of Pharmacy and Health Sciences, Boston, MA. The title of their chapter is: “The Tipping Point Project: A Case Study in the Collaboration between Medical Anthropology and Art,� which is a case study evaluation of an interactive art installation they opened at the Boston Center for the Arts last year. The “Tipping Point Project� brings together the collaborative efforts of Professor Ginsburg and Professor Hall, Information Artist, to create a new paradigm that merges art practices with anthropological investigation.

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Pauline Oliveros

Professor Paulie Oliveros serves as Distinguished Research Professor of Music at Rensselaer Polytechnic Institute, Darius Milhaud Composer in Residence at Mills College and mentor in the Bard College summer MFA program. Pauline Oliveros is acclaimed internationally as a composer, performer and humanitarian. An important pioneer in American Music, she has explored sound for five decades, forging new ground for herself and others. Through improvisation, electronic music, ritual, teaching and meditation she has created a body of work with such breadth of vision that it profoundly affects those who experience it and eludes many who try to write about it.

Oliveros has been honored with awards, grants and concerts internationally. Whether performing at the John F. Kennedy Center in Washington D.C., in an underground cavern, or in the studios of West German Radio, Oliveros' commitment to interaction with the moment is unchanged. Through Deep Listening Pieces and earlier Sonic Meditations Oliveros introduced the concept of incorporating all environmental sounds into musical performance through listening. She can make the sound of a sweeping siren into another instrument of the ensemble. To make a pleasurable experience of this requires focus, concentrated, musicianship and strong improvisational skills, which are the hallmarks of Oliveros' form.

Pauline Oliveros is the author of four books, Initiation Dream, Software for People, The Roots of the Moment, and Deep Listening: A Composer's Sound Practice.

In performance Oliveros plays an accordion that has been re-tuned in two different systems of just intonation. Additionally she uses electronics to alter the sound of the accordion and to incorporate and transform room acoustics.

Pauline Oliveros has built a loyal following in response to her many concerts, recordings, and publications. She has written numerous musical compositions for soloists and ensembles in music, dance, theater and inter-arts companies. She has also provided leadership within the music community.
She was the first Director of the Center for Contemporary Music (formerly the Tape Music Center at Mills College), and she was Director of the Center for Music Experiment during her 14 year tenure as professor of music at the University of California at San Diego. She frequently acted in an advisory capacity for organizations such as The National Endowment for the Arts, The New York State Council for the Arts, and many private foundations.

Oliveros has been vocal about representing the needs of individual artists of all ages, about the need for diversity and experimentation in the arts, and promoting cooperation and good will among people.

A central figure in post-war electronic art music, Oliveros is one of the original members of the San Francisco Tape Music Center, which was the resource on the U.S. west coast for electronic music during the 1960s. The Center later moved to Mills College, where she was its first director, and is now called the Center for Contemporary Music. Oliveros often improvises with the Expanded Instrument System, an electronic signal processing system she designed, in her performances and recordings.

In 1967, Oliveros left Mills to take a faculty music department position at the University of California, San Diego (UCSD).[1] While at UCSD, Oliveros met theoretical physicist and karate master Lester Ingber with whom she collaborated in defining the attentional process as applied to music listening.[2] Oliveros also studied karate under Ingber, achieving black belt level. In 1973, Oliveros conducted studies at UCSD's one-year-old Center for Music Experiment; she served as the Center's director from 1976 to 1979. In 1981, to escape creative constriction,[3] she left her tenured position at UCSD[4] and relocated to upstate New York to become an independent composer, performer and consultant.[4]

Oliveros coined the term "Deep Listening" in 1991,[1] a term which she then applied to her group The Deep Listening Band and to the Deep Listening program of Deep Listening Institute, Ltd. (formerly The Pauline Oliveros Foundation), which she founded in 1985. The Deep Listening program includes annual listening retreats in Europe, New Mexico and in upstate New York, as well as apprenticeship and certification programs. The Deep Listening Band, which includes Oliveros, David Gamper, and Stuart Dempster, specializes in performing and recording in resonant or reverberant spaces such as caves, cathedrals and huge underground cisterns. They have collaborated with Ellen Fullman and her Long String Instrument, as well as countless other musicians, dancers, and performers.

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Gail Wight

Professor Gail Wight is a practicing artist and the Director of Experimental Media Arts and the Director of Graduate Studies in Studio Practice at Stanford University.

Her specialty is experimental media art, with a focus on art & science.

Working primarily with installation, computer, text, and performance work, conceptual artist Gail Wight investigates issues of cognitive science and the history of scientific theory and technology. Over a decade ago, her initial investigation into issues surrounding mental illness led to successive works addressing areas of research in the neurosciences and their historical influences on our current views of illness and health.

Today, Wight's work embraces contemporary and historical neurology, scientific pedagogy, the culture and practice it creates, and aspects of artificial intelligence as her subjects. While technology often plays a role, Wight's work is more insistent in its attention to biology and it's complicity in our conceptions - and misconceptions - of "humanity."

Gail Wight believes that by engaging and teasing out the irrational, the irreverent, and the unreasonable aspects of communication, we can begin to discover ways of interacting that lie outside familiar territory and broaden our conception of understanding. In particular, our attempts to communicate with machines and other animals offer valuable insights into our assumptions about this interchange. Visual art has offered me a playful way to explore ways in which we interact within these vastly dissimilar realms, and I attempt to situate these engagements within a history of science.

She describes her work in this way:

In attempts to understand thinking, I have:
made maps of various nervous systems, practiced art while under hypnosis, designed an artificial intelligence to read my tarot, read for hours to fish, conducted biochemical experiments on myself and others, executed medical illustrations in black velvet, worked on cognitive research projects, documented dissections of humans, dissected machines and failed to put most of them back together, freely made up vocabulary as needed, removed my teeth to model information systems, self-induced phobias concerning consciousness in the plant kingdom, donated my body to science and then requested it be returned, observed nerve development in vivo, choreographed synaptic responses, translated EEGs into music, conducted a cartesian exorcism on myself, and attempted to create cognitive models of my own confused state.

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Lowry Burgess

Having been educated at the Pennsylvania Academy of the Fine Arts and the University of Pennsylvania and at the Instituto Allende in San Miguel Mexico, Lowry Burgess is an internationally renowned artist and educator who created the first official art payload taken into outer space by NASA in 1989 among his many Space Art works. He is considered one of the few pioneers of the Space Art movement that now has grown to hundreds of artists all over the world.

After the destruction of the Buddhas in Bamiyan, Afghanistan in 2001, he authored the "Toronto Manifesto, The Right to Human Memory" that received worldwide endorsement. One of the provisions of the Manifesto has led to the creation of a new global value/incentive for the protection of cultural sites throughout the world. This new value/incentive is in the process being implemented by UNESCO and the World Bank.

His artworks are in museums and archives in the US and Europe. He has exhibited widely in art and science museums in the US, Canada, throughout Europe, as well as Japan including various internationals such as Documenta, the Vienna Biennal and his recent solo exhibition at the Carnegie Museum of Art. Art Historian Raymond Vezina, at the University of Quebec, states that "He shares this utopic, visionary tradition extending from Saint Augustine, through Dante, Thomas Moore to William Blake and the American transcendentalists of the 19th century: Henry David Thoreau, Ralph Waldo Emerson and, more recently Gyorgy Kepes."

He is Professor of Art and former Dean of the College of Fine Arts and Distinguished Fellow in the STUDIO for Creative Inquiry at Carnegie Mellon University. He has founded and administrated many departments, programs and institutions during his 45 years as an educator in the arts. He has created curricula in the arts and humanities in the US and Europe while serving for twelve years on the National Humanities Faculty.

For 27 years he has been a Fellow, Senior Consultant and Advisor at the Center for Advanced Visual Studies at MIT in Cambridge, Massachusetts where he created and directed large collaborative projects and festivals in the US and Europe.

"First Night", the international New Year's arts festival, was created and founded by him. He originated the first "Arts in the Subways" program for the Department of Transportation and has developed and advised in more than a dozen major city scale projects.

He has received awards from the American Academy of Arts and Letters, the National Institute of Arts and Letters, the Guggenheim Foundation, the Rockefeller Foundation and several awards from the National Endowment for the Arts and the Massachusetts Artists Foundation, and the Kellogg Foundation and the Berkmann Fund. He received the Leonardo Da Vinci Space Art Award from the National Space Society. His book, "Burgess, the Quiet Axis" received the Imperishable Gold Award from Le Devoir in Montreal.

Among his hundreds of exhibitions and performances, most recently, his artworks have been exhibited at SETI in Mountain View, CA., the Festival of Art Outsiders, and the CNES, the French Space Agency in Paris, as well as a solo exhibition at the Carnegie Museum of Art in Pittsburgh and with his newly formed "Deep Space Signaling Group" in an artwork involving the International Space Station and NASA in April 2008. He continues work on new aspects of his lifework, the "Quiet Axis".

He has been featured in television and radio broadcasts in the US, Europe, Canada and Japan. (NOVA, "Artists in the Lab"; Smithsonian World, "Elephant on a Hill", "Artists of Earthwatch": "Arts and New Technologies" (Tokyo 12); "Artransition" (Austrian, German National Television and 24 other state television systems); "The Quiet Axis" (Hungarian State Television), and more than two hundred national and international radio broadcasts including 3 NPR broadcasts on his works. He has appeared on CBS Today Show and in numerous other appearances on television in Canada and Europe and has been widely published in numerous newspapers and magazines.

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February 7, 2009

Shelia Pinkel

Professor and Chair of Art and Art History Department
Pomona College

International Co-Editor

Artist Statement:
Since 1973, all of my work has been about making visible the invisible in nature and in culture. Initially, I used many light sensitive emulsions and technologies to reveal the infinite potential for form in nature and the landscape of my imagination. After 1980, as I became increasingly concerned about the growth of the military industrial complex, my work included themes related to the nuclear industry, foreign military sales and the destructiveness of war.

In 1990, after learning that half a million people were in refugee camps in Thailand, I photographed in five Cambodian and Hmong camps in Thailand and began a longitudinal project on the aftermath of war and its effect on the peoples who survive. This project, “Indochina Document� includes two large works, “Remember Cambodia� and “Hmong In Transition.� Since 1994, I have also done numerous documentary projects including photographing museum guards, tribal peoples of Balochistan, Pakistan, the garment industry in Los Angeles and Bangkok, Thailand.

Most recently I have done a large body of work about the growth of incarceration in the United States and the loss of civil liberties. I have come to think of all of my work as “Site Unseen� and have titled all of these bodies of work using this term: “Site Unseen: Light Works�; “Site Unseen: Incarceration�; “Site Unseen: Museum Guards�; �Site Unseen: The Garment Industry�, etc. In this way, not only do I reference realities we normally can’t see, but I invite viewers to imagine their own.

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Alan Brody

Alan Brody is an American playwright and academic, currently Professor of Theater at Massachusetts Institute of Technology. As a playwright, he has won numerous awards. He has also directed plays and written two novels, Coming To and Hey Lenny, Hey Jack. From 2000 to 2006 he served as Associate Provost for the Arts at MIT.

Professor Brody is an accomplished playwright; his plays have won numerous awards and had productions at such theaters as the Cincinnati Playhouse in the Park, the Aspen Playwrights Conference, the Live Oak Theater in Austin, Texas, the Berkshire Theater Festival, and Theater Forty in Beverly Hills. His play, Invention for Fathers And Sons, was the first winner of the annual Rosenthal Award at the Cincinnati Playhouse in the Park in 1989. It was subsequently produced at the American Jewish Theater in New York City. The Company of Angels was the recipient of the 1990 Eisner Award from the Streisand Center for Jewish Culture in Los Angeles. It had its world premiere at the New Repertory Theater in Massachusetts in the spring of 1993, and has been produced at the T. Schreiber Studio in New York and Theater Emory in Atlanta. The Housewives of Mannheim was cited as the Best Play of 1995 at the Harvest Festival of Plays at the Live Oak Theater in Austin, Texas and was produced at the Playwright’s Theater, Boston, in January 1998. Three of his plays, Five Scenes From Life, Greytop in Love and One-on-One were developed at the Missouri Repertory Theater. Greytop in Love was subsequently seen at the Walnut Street Theater, Philadelphia, in 1998 starring Kim Hunter. The dramatic oratorio, Reckoning Time: A Song of Walt Whitman, which he wrote in collaboration with composer Peter Child, had its world premiere at Jordan Hall with the John Oliver Chorale in March of 1995. Among his credits as a director are Vinie Burrows’ internationally acclaimed one-woman show, Sister! Sister! and the world premieres of two operas, T.J. Anderson’s Soldier Boy, Soldier and Ken Guilmartin’s The Marriage of Heaven and Hell. Mr. Brody is also the author of two novels, Coming To (1973) and Hey Lenny, Hey Jack (1975).

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Sara Diamond

Sara Diamond received her post-secondary education in Canada and the United Kingdom as a social historian, communications and new media theorist and practitioner. Diamond came to the Ontario College of Art & Design from The Banff Centre, Canada's national and international premier professional development institution. Diamond began her work there in 1992 and served as the Artistic Director of Media and Visual Art until 2003, and then as Director of Research for the entire Banff Centre from 2003 to 2005. She created the renowned Banff New Media Institute (BNMI) in 1995 and led this research and development centre for ten years. Diamond developed international summits and workshops that explored the near future of new media. She built alliances between artists, designers, architects, scientists, social scientists, and international and Canadian businesses. She led research teams and received significant research awards in data visualization, mobile new media content and engineering, fashion and technology, distance learning, collaborative methods and tools for collaboration, and art and technology. Diamond established new media and business development models. Diamond created and was Editor-in-Chief of www.horizonzero.ca, an on-line showcase for new media art and design, in collaboration with Heritage Canada.

Diamond taught at Emily Carr Institute of Art & Design, The California Institute for the Arts and remains Adjunct Professor, University of California, Los Angeles in the Design/Media Department. Diamond is a practicing artist and new media designer and new media curator. She has represented Canada in international biennials and festivals and her art and design work has won awards in Canada and abroad. Her work resides in collections such as the National Gallery of Canada and the Museum of Modern Art in New York. She regularly contributes to scholarly journals and books, and speaks about media history and practice around the world. She has acted as a new media and arts consultant to the Ontario Government, the City of Toronto, Heritage Canada, and DFAIT, as well as international governments, institutions and agencies as diverse as China, United Kingdom, Argentina, Finland, Australia, Brazil and the USA. She serves on the Board of Directors for the Toronto Arts Council Foundation and on the advisory board of NextMedia. She is on the steering committee of CONCERT, a culture and entertainment research and development consortium. Diamond is active in several task forces on sustainability.

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Victoria Vesna

Victoria Vesna is a media artist, professor at the department of Design | Media Arts at the UCLA School of the Arts. She is also director of the recently established UCLA Art|Sci center and the UC Digital Arts Research Network. Her work can be defined as experimental creative research that resides between disciplines and technologies. She explores how communication technologies affect collective behavior and how perceptions of identity shift in relation to scientific innovation. Her most recent installations -- Blue Morph, Mood Swings and Water Bowls, all aim to raise consciousness around the issues of our relationship to natural systems. Other notable works are Bodies INCorporated, Datamining Bodies, n0time and Cellular Trans_Actions.

Victoria has exhibited her work in 18 solo exhibitions, over 70 group shows, published 20+ papers and gave a 100+ invited talks in the last decade. She is recipient of many grants, commissions and awards, including the Oscar Signorini award for best net artwork in 1998 and the Cine Golden Eagle for best scientific documentary in 1986. Vesna's work has received notice in numerous publications such as Art in America, National Geographic, the Los Angeles Times, Spiegel (Germany), The Irish Times (Ireland), Tema Celeste (Italy), and Veredas (Brazil) and appears in a number of book chapters on media arts. She holds a PhD from the University of Wales and is the North American editor of AI & Society and author of Database Aesthetics.

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