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Clocktower Productions is a non-profit art institution working in the visual arts, performance, music, and radio. Founded in 1972 in Lower Manhattan by MoMA PS1 Founder Alanna Heiss, Clocktower is the oldest alternative art project in New York, and its radio station, Clocktower Radio, was founded in 2003 as one of the first all-art online museum radio stations in the world. The institution functions as a laboratory for experimentation, working closely and collaboratively with artists, musicians, curators, writers and producers to develop, realize and present innovative and challenging work in all media, ranging from installation to performance and from experimental music to radio theater. By engaging both the physical resources of its partner organizations and Clocktower Radio’s access to a broad and international online audience, Clocktower disseminates experimental work to numerous communities, and promotes a rich cultural and social dialogue between artists, audiences, and institutions worldwide.[1]

Clocktower produces multidisciplinary art projects all over the city through creative collaborations with Pioneer Works in Red Hook, Knockdown Center in Queens, and Times Square Arts, Red Bull Studios, and Jones Day in Manhattan. These spaces host Clocktower exhibitions, performances, residencies, radio, and administrative activities. While Clocktower examines opportunities for a permanent long-term home, administrative offices are located in the Jones Day office building on East 41st Street, with a satellite studio for full-time radio production and broadcast at Pioneer Works, in Red Hook.[1]

V2, Lab for the Unstable Media is an interdisciplinary center for art and media technology in Rotterdam (the Netherlands). V2 presents, produces, archives and publishes research at the interface of art, technology and society. Founded in 1981, V2 offers a platform for artists, designers, scientists, researchers, theorists, and developers of software and hardware from various disciplines to discuss their work and share their findings. In V2's view, art and design play an essential role in the social embedding of technological developments. V2 creates a context in which issues regarding the social impact of technology are explored through critical dialogue, artistic reflection and practice-oriented research.[1]

V2 organizes public programs ranging from exhibitions to workshops, presentations, and community events. These V2events showcase the most exciting developments in the field of art and technology, present V2's research and development, and function as a platform for debate. V2's events offer artists opportunities to present new work to our audience and to exchange ideas with other artists, researchers and technicians. Besides events that take place at V2's venue in Rotterdam, V2 also organizes events at parter institutes and participates in international festivals and symposiums.[2]

V2 has published a number of books on interactive art and related subjects like sociology, media theory, biology, and technological innovation.[3]

Stan Vanderbeek Stan VanDerBeek in front of his environmental movie theatre Movie-Drome at Stoney Point, New York, c. 1966

Stan VanDerBeek (January 6, 1927 – September 19, 1984) was an American experimental filmmaker known for his collage works. [1]

A pioneer in the development of experimental film and live-action animation techniques, Stan VanDerBeek achieved widespread recognition in the American avant-garde cinema. An advocate of the application of a utopian fusion of art and technology, he began making films in 1955. In the 1960s, he produced theatrical, multimedia pieces and computer animation, often working in collaboration with Bell Telephone Laboratories. In the 1970s, he constructed a 'Movie Drome' in Stony Point, New York, which was an audiovisual laboratory for the projection of film, dance, magic theater, sound and other visual effects. His multimedia experiments included movie murals, projection systems, planetarium events and the exploration of early computer graphics and image-processing systems.[1]

VanDerBeek wrote: It is imperative that we quickly find some way for the entire level of world human understanding to rise to a new human scale. The scale is the world' The risks are the life or death of this world. The technological explosion of this last half-century, and the implied future are overwhelming, man is running the machines of his own invention… while the machine that is man… runs the risk of running wild. Technological research, development, and involvement of the world community has almost completely out-distanced the emotional-sociological (socio-'logical') comprehension of this technology. The 'technique-power' and 'culture-over-reach' that is just beginning to explode in many parts of the earth, is happening so quickly that it has put the logical fulcrum of man’s intelligence so far outside himself that he cannot judge or estimate the results of his acts before he commits them. The process of life as an experiment on earth has never been made clearer. It is this danger — that man does not have time to talk to himself — that man does not have the means to talk to other men. The world hangs by a thread of verbs and nouns. Language and cultural-semantics are as explosive as nuclear energy. It is imperative that we (the world’s artists) invent a new world language…'[1]

Jack Straw Cultural Center is the Northwest's only non-profit multidisciplinary audio arts center. A community-based resource since 1962, we provide a production facility that is unlike any other in the region for local artists who work creatively with sound. Jack Straw focuses on annual artist residencies through our Artist Support Program, our Writers Program, and our Gallery Residency Program; art and technology education for all ages; arts and heritage partnerships; and radio and podcast production. Our full-service recording studio is also available for a range of arts projects.[1]

Mission

Jack Straw Cultural Center exists to foster the communication of arts, ideas, and information to diverse audiences through audio media. We provide creation and production opportunities in audio media, including radio, theater, film, video, music, and literature. Dedicated to the production and presentation of all forms of audio art, Jack Straw 1) produces high quality, innovative audio presentations; 2) commissions independent artists of all disciplines to create sound and audio productions; 3) provides arts and technology education programs for youth and adults; 4) collaborates with arts and heritage organizations to integrate sound and music into their programs; and 5) presents audio productions through events, exhibits, radio, film and the internet.[1]

Jack Straw New Media Gallery

The Jack Straw New Media Gallery opened in 1999 to support artists working with visual and installation art, with an emphasis on sound. The Gallery is one feature of the New Media Gallery Program, and is one of three residency programs at Jack Straw. The New Media Gallery exhibits artists' work through an open call process like the Artist Support Program and Writers Program. As one of a handful of exclusively sound art spaces in the world, it has been attracting applicants nationally and internationally, however Jack Straw has a commitment to local artists.[2]

Gallery residencies include an exhibition of up to three months in the gallery; 20 hours of studio assistance with one of our engineers; access to Jack Straw Cultural Center's audio recording, production, and presentation equipment; two public events - the opening and an artist talk; and an interview podcast. This residency is for exhibiting and performing artists in any medium who would like to incorporate sound into their work.[2]

Manfred Mohr is considered a pioneer of digital art based on algorithms. After discovering Prof. Max Bense's information aesthetics in the early 1960's, Mohr's artistic thinking was radically changed. Within a few years, his art transformed from abstract expressionism to computer generated algorithmic geometry. Further encouraged by discussions with the computer music composer Pierre Barbaud whom he met in 1967, Mohr programmed his first computer drawings in 1969. Since then all his artwork is produced exclusively with the computer. Mohr develops and writes algorithms for his visual ideas. Since 1973, he generates 2-D semiotic graphic constructs using multidimensional hypercubes. [1]

References: 1. https://www.emohr.com/

VIVO Media Arts Centre, a member of British Columbia Museums Association, brings together artists, video and filmmakers, researchers and activists interested in the history of video-making and its evolution towards the art form. VIVO’s educational program extends beyond the boundaries of video distribution and video archiving. The workshops program offers beginner and intermediate level classes on programming, projection mapping, lighting, sound recording by local experts. VIVO accepts research applications to work closely with the Crista Dahl Media Library and Archive thus contributing to the local and international art and research community and encouraging curatorial collaborations.[1]

VIVO’s mandate is to directly support artists and independent community-based producers to develop, exchange, and disseminate their skills in a supportive environment through accessible services and programs. Our vision is a robust, diverse, and vibrant media arts sector: a catalyst for critical and innovative engagement with the material forms and cultural meanings of media and technology. VIVO’s programs offer a broad range of services and opportunities to artists and the public. They include:

  • Access to the material necessities for quality production through affordable equipment rentals, editing 
facilities, software, and production space.
  • A broad range of skill development and education opportunities that encourage the exploration of 
technology and aesthetics within a critical, artistic framework.
  • Public programming: events, exhibitions, residencies, co-productions, and critical forums.
  • International distribution, work exchange, and media art preservation which supports the aspirations and 
livelihood of artists.
  • Western Canada’s largest public reference library and archive of media art, independent video, and 
related publications, documents, audio recordings, and photographs.

[2]

Heath Bunting is a British artist based in Bristol, UK. His work focuses on the development of open democratic and communication systems and social structures on the internet and in the public space. He has has worked in graffiti, performance, intervention, pirate radio, fax/ mail art, and BBS systems to become an active participant in the explosion of the internet.[1]

He is the founder of the site irational.org (with Daniel García Andújar, Rachel Baker and Minerva Cuevas) and was one of the early practitioners in the 1990s of Net.art. Bunting's work is based on creating open and democratic systems by modifying communications technologies and social systems. His work often explores the porosity of borders, both in physical space and online.[2]

Established by artists in 1968, SPACE runs 20 artist studio buildings across 7 London boroughs and Colchester, providing affordable creative workspace plus support programmes, such as exhibitions, artists residencies, bursaries and training opportunities, to enable artists to be sustainable. SPACE also delivers Learning projects for schools, young people and communities neighbouring SPACE studio sites, to promote engagement with creativity and the arts.[1]

SPACE Art + Technology provides a test ground and critical exchange platform for artists and thinkers whose work engages with technology. We do this by offering artists residencies as well as regular events and workshops, enabling the public to gain a deeper insight into the challenges and opportunities that technology presents us with today.[2]

Claudia Hart (born 1955 in New York, NY) is an artist and associate professor in the Department of Film, Video, New Media, Animation at the School of the Art Institute of Chicago, Chicago, Illinois. She is represented by bitforms gallery, New York. Hart has been active as an artist, curator and critic since 1988. She creates virtual representations that take the form of 3D imagery integrated into photography, animated loops and multi-channel animation installations. [1]

Hart's work applies a feminist perspective to a discussion of digital technology and a critique of the media. Much of her work attempts to introduce women into a male-dominated technological culture and condemn the violent impulses of a masculine digital production environment. In her artist statement, Hart says, "By creating virtual images that are sensual but not pornographic within mechanized, clockwork depictions of the natural, I try to subvert earlier dichotomies of woman and nature pitted against a civilized, "scientific" and masculine world of technology. In my own way, I am staging a romantic rebellion against technocratic and bureaucratic culture." [1]

Alexei Shulgin, born in 1963 in Moscow. Since mid 80’s e has been working in the fields of photography, media and contemporary arts. In the 90’s he was one of the pioneers of Net Art. His cyberpunk rock band, 386 DX has toured extensively all over the world. Alexei has participated in numerous exhibitions, media art and music festivals in Russia and internationally. He was teaching at Proarte Institute in St. Petersburg in 2000-2001 and performed as a guest teacher at a number of art schools in Europe and the US. Alexei has curated several exhibitions; in 2001-2004 he was a co-organizer of Readme software art festival (Moscow-Helsinki-Aarhus-Dortmund). He is a co-admin of Runme.org software art repository on the Internet. In 2004 he has co-founded Electroboutique gallery in Moscow. At present, he teaches at Rodchenko school of Photography and Media Art in Moscow. Alexei Shulgin lives and works in Moscow.[1]

Particularly involved with software art and internet art, he is a part of the readme culture and uses code as a form of art. In 1997, he released his first interactive work, Form Art, in which only minimum factors are programmed in the form of HTML. Shulgin describes this page as a "formalistic" aesthetic art site - a play on words taking into account the clean composition as well as the tools of its creation. Navigating this site requires aimless click-throughs of blank boxes and links, which lead the viewer through 19 pages of "form art" animations. Behavioral expectations are subverted by frequently overriding default functionality of basic form elements such as radio buttons and list boxes.[2]

Many links on his site are now 404, selected online works: