Collaborative research projects:
Performing Presence: from the Live to the Simulated - http://www.ex.ac.uk/performing-presence/and http://presence.stanford.edu/
Orienting the Future: Design for Non-Places - http://ace.caad.ed.ac.uk/NonPlace/
Amy Alexander will be Artist in Residence this summer at Digital Research Unit at The Media Centre in Huddersfield, UK. She'll be working on her upcoming software/live video performance project (codename: "AI to the People"), which looks at the subjective aspects of technology by developing unconventional computer vision techniques and using them to generate live videos. Project collaborators include CSE PhD candidate Vincent Rabaud and incoming ECE PhD candidate Nikhil Rasiwasia.
Some other recent and current sightings of Amy's work: Scream software was released in May; Extreme Whitespace was exhibited in the "Ghost in the Shell" exhibition at Sonar '05 in Barcelona in June; theBot is currently being exhibited at the "Rhizome ArtBase 101" show at the New Museum in New York; collaborative project Runme.org was included in the Open Line exhibition in Maribor, Slovenia in May; and CyberSpaceLand will receive an Honorary Mention from Prix Ars Electronica this September in Linz.
other links and projects http://plagiarist.org/
biography from http://visarts.ucsd.edu/user/view/19
Amy Alexander has worked in film, video, and digital media. She received a BA in Communications: Film/Video from Glassboro State College (now Rowan University), and an MFA in Film/Video and New Media from California Institute of the Arts. Prior to coming to UCSD, she taught at CalArts and USC, as well as working commercially in television and digital media. With a background in music and information technology as well as in visual media, her work encompasses live performance, real-time software and hardware processes, and critique of software and its relationship to contemporary culture and politics.Alexander’s graduate work focused on historical studies of abstract animation (visual music) and its practice in real-time analog video synthesis and computer graphics. Her early live action films and abstract animated videos four (1995) and unbroken pieces (1996), and installation “ants under a mushroom” (1997) mixed-and-matched the formal aspects of media with narrative and representation.Much of Alexander's subsequent work has been in software art, net art, and live performance - with an orientation toward visual music and real-time processes. Her early net projects made use of computer programming and time-based structures acting upon material from the Internet. The Multi-Cultural Recycler (1996) performed realtime compositing on webcams as a tongue-in-cheek commentary on Internet celebrity culture and the tension between net art and the conventions of traditional art exhibition. TheBot (one infesting the horse) (2000), and Netsong (2001 with Peter Traub), feature an Internet search engine robot as a character who, through speech synthesis, dynamically converts internet text to poetry and song, following links to reveal the "narrative" of the web. As Cue P. Doll she developed the subversive barcode-scanning software CueJack (2001) and co-produced software projects with The Yes Men including Reamweaver (2002). Alexander was also a founding member and developer of the Discordia.us media culture community weblog project, also launched in 2003. More recently, Alexander has focused on the performative and "meatspace" as well as in the humorous possibilities of media and software art and a critical look at the overflow of computer and business cultures into pop culture and leisure. She has created several live performance software projects: CyberSpaceLand (full-length text-based VJ performance) 2003/2004, The Thingee (live coding performance VJ tool) 2004, The Typewriter (music/software/hardware performance) 2004, Extreme Whitespace (visual performance of a Unix shell) 2003, b0timati0n (text-based performance) 2000/2002, and netaesthesia (text/generated visual performance) 2001. The projects have been performed at venues ranging from nightclubs to art exhibitions and media art conferences. Most of the performances involve a prominent physical element, involving the performative misuse of office and game peripherals as musical and visual instruments, and so humorously examine the ways in which music, VJ and club culture have been influenced by the “officeness” of computer culture - and vice versa. Besides these onstage performance projects, Alexander’s recent software project “Scream” (2005) confronts expectations for desktop software applications with the realities of human screaming.In recent years, Alexander has been active in the curation of software art and development of software art discourse, with a particular interest in how software influences contemporary culture and vice versa. She is a founding member, developer, and moderator of the Runme.org software art repository and has been involved with the Read_Me software art festival as a juror and reviewer since its inception. She has written texts for Runme.org and the Read_Me 2003 and 2004 software art festivals, Low-fi.org and others, as well as participating in software art panels at Transmediale/Kuenstlerhaus Bethanien in Berlin and at Ars Electronica in Linz. She served on the software art juries for the Read_Me 2002 and Transmediale 2003 festivals. Alexander is currently a member of the Toplap.org livecoding music and visual performance organization. In 2004, she curated the exhibition, "Softside: A selection of projects from Runme.org" at the Sonar festival in Barcelona and was a co-organizer of the Runme-Dorkbot City Camp / Read_Me festival in Aarhus.Alexander’s current work combines her interests in popular visual performance with the cultural implications of software and algorithms In collaboration both with other video artists and with computer vision researchers, she is developing "AI to the People" (codename), a real-time video performance system that takes a humorous but critical look at artificial intelligence surveillance algorithms by developing techniques that detect when people look like rock stars instead of criminals. In summer of 2005 she worked on development of "AI to the People" as Artist-in-Residence at the Digital Research Unit of The Media Centre in Huddersfield, England.Alexander's website, plagiarist.org (1998 present), includes links to most of her projects as well as housing a number of other older, mostly text based projects on topics including corporate dominance, ownership, digital primacy and digital culture. Her deprogramming.us site, launched in 2003, is comprised of software projects addressing the intersections - real and imagined - of software culture and algorithmic thinking with politics and contemporary culture. Cyberspaceland.org (2004) highlights the CyberSpaceLand show and some of Alexander’s other performance projects. Alexander's work has been presented in both art venues and mainstream settings. Exhibitions include ISEA, SIGGRAPH, Arts Electronica, Sinking Creek, New York Digital Salon, Steirischer Herbst, Transmediale, European Media Art Festival, net.congestion, Santa Monica Museum of Art, pARTS Gallery, Werkleitz Biennale, Digital Is Not Analog, Read_Me, Next Five Minutes, Sonar, The Tirana Biennale, The New Museum and The Whitney Museum's "Artport" – as well as in nightclubs and on the Internet. Her projects have been reviewed in publications including Leonardo, ArtNews, Neural.it, Furtherfield.org, Rhizome, USA Today, The New York Times, Wired, Slashdot, Libération, The Boston Globe, The Independent, and the book Internet Art by Rachel Greene. A more complete listing of exhibition venues can be found on her bragsheet.
Research Interests:Live audiovisual performance, cultural and political implications of technology, software art, computer vision.
Work in Progress:"AI to the People." See the work in progress website.
University of California, San Diego, Department of Visual Arts, is currently accepting applications to its MFA and PhD programs in digital media.Rated as one of the top graduate program in new media arts in the U.S., our program is also among the largest, with eight full-time faculty. It is also one of the oldest: we started teaching computer art in 1973. Today our research interests and teaching cover the full range of areas in digital arts, including net art, software and generative art, online and live performance, distributed virtual worlds, computer games, net activism and tactical media, critical engineering, media installation, digital cinema, location based media. We also have a very strong commitment to theory and a number of our faculty are known for their critical writing as well as their art projects.Since the new media track exists within the larger framework of the Visual Arts Department with its thirty full-time faculty, graduate students benefit from access to top studio artists, media artists, art and media historians teaching in the same department. We have close relationships with a number of faculty in the Music department working on computer music, as well as top artists and critics teaching in other new media programs in Southern California. The additional unique resources available on campus to support faculty and student research include CRCA (Center for Research in Computing and the Arts) and CAL-IT(2) (California Institute for Telecommunication and Information Technology). CAL-IT(2)'s new building, which opens in the Spring of 2005, features one of the best set of research labs and technical resources for digital arts work anywhere in the world, as well as a gallery, screening rooms, and studios for visiting artists and graduate students and faculty.Further information and application procedures are available from:http://visarts.ucsd.edu-----UCSD Visual Arts Computing Faculty Amy Alexander Adriene Jenik Sheldon Brown Natalie Jerimijenko Jordan Crandall Lev Manovich Ricardo Dominguez Brett Stalbaum
link correlati http://www.crca.ucsd.edu/
FRAMES OF MIND The theory of multiple language
T/Th 3:15-4:45 Wallenberg Hall, Room 127
Stanford University, Winter 2006
Instructor: Howard Rheingold Email: email@example.com
Office Hours: 2:00-3:00 and by appointment
Over the past two decades, shifts in media technologies, corporate structure and the organization of public life have combined to change the practice of journalism. This course explores these shifts, with an eye to seeing how they affect journalism's role in society. At the same time, the class will introduce you to the techniques of journalism in digital media and offer you conceptual and practical tools with which to join the fray. By the end of the course, you should have a clear sense of the various ways journalists have taken up digital media and a sense of how you might use those media yourself. You should also gain a broad understanding of the ways in which recent social and economic developments have changed both the practices of journalists and the nature of the publics with whom they communicate.
Pablo J. Boczkowski, Digitizing The News: Innovation in Online Newspapers. Cambridge, MA: MIT Press, 2004.
Dan Gillmor, We the Media: Grassroots Journalism by the People, for the People. Sebastopol, CA: O'Reilly, 2004
Bill Kovach and Tom Rosenstiel. The Elements of Journalism: What Newspeople Should Know and the Public Should Expect. New York: Crown Publishers, 2001.
Academic Computing Resources at Stanford: While this course has a strong analytical character, direct experience with online publishing skills will require a basic familiarity with Stanford's resources for creating and posting materials to the web. These can be found online at http://academiccomputing.stanford.edu/pubs/index.html
Part 1: The social and Technological Contexts of Digital Journalism: Hierarchy Meets Heterarchy
1: Tuesday, January 10, 2006
Introductions: Where are we, where are we going?
Key Questions: Who are we and why are we in this class? Where is "news" in the digital environment? How do we characterize the present moment and the immediate future in regard to the practice of journalism?
2: Thursday, January 12:
What was journalism? What was "the public?" What are digital media? What are its publics?
Robert Darnton, "Writing news and telling stories," Daedalus 104 Spring 1975: 175-197.
Bocszowski, Digitizing the News, Chapter 1.
Bruno Giussani, "A new media tells different stories." First Monday 2.4 (199). Available online at: http://firstmonday.org/issues/issue2_4/giussani/index.html
Key Questions: How are journalistic routines, industry structures, and technology related to journalism's public role? How are changes in technology, editorial philosophies, roles of producer and consumer of information, changing the nature of news and journalism?
Part 2: Mass Journalism in Transition
3: Tuesday, January 17
When old journalism met new media
Mark Deuze, "The web and its journalisms: considering the consequences of different types of newsmedia online." New Media & Society 5.2 (2003): 203-230.
Jay David Bolter and Richard Grusin, Remediation, Ch's 1, 11, 12
Bocszowski, Digitizing the News, Chapter 3.
Timothy L. O'Brien, The Newspaper of the Future, New York Times, June 26, 2005
Bob Baker, "It just doesn't MATTER," Newsthinking.com November 9, 2005, http://www.newsthinking.com/story.cfm?SID=226
Charles Cooper, "All the news that's fit to blog," News.com, November 11, 2005,
Key Questions: What kinds of news forms have emerged in the digital environment? How do they shift mass journalism's relationship to its audience?
4: Thursday, January 19
Writing for digital media:
Chip Scanlan, "What is 'Narrative" Anyway?" Poynteronline, October 7, 2003: http://www.pointer.org/
Amazoning The News (see site too: http://www.hypergene.net/ideas/amazon./html )
Reporters without Borders, "Handbook for Bloggers and Cyber-Dissidents" http://www.rsf.org/rubrique.php3?id_rubrique=542 Chapters 1-3
Resources for Web Design:
http://www.webstyleguide.com/ A Web style guide put together by Yale University's Center for Advanced Instructional Media.
Vincent Flanders' legendary site, http://www.webpagesthatsuck.com/ with examples of all that can go wrong…
Key Question: How can you "tell a story" in digital media?
Due: Blog entry describing Wikipedia edits
5: Tuesday, January 24
Telling Personal Stories in Digital Media:
· Philip E. Agre, “Find Your Voice: Writing For a Webzine” Available online at: http://polaris.gseis.ucla.edu/pagre/zine.html (AVAILABLE ONLINE ONLY)
· J.D. Lasica, "Digital Tools Easier to Grasp," Online Journalism Review, October 8, 2002, http://www.ojr.org/ojr/lasica/1034121182.php
· Tony Pierce, "How to blog,"
· The elements of digital storytelling, http://www.inms.umn.edu/elements/
· Center for Digital Storytelling web site: http://www.storycenter.org/
· see especially: http://www.storycenter.org/canada/storytelling.html
· WBEZ Chicago, “This American Life” see http://www.thislife.org/
Key Questions: What innovative strategies have journalists used to bring non-journalists into the storytelling process? How have they used digital media to do so?
6: Thursday, January 26
Organization, Technology and Multi-Mediated Storytelling:
· Bozckowski, Digitizing the News, Chapters 5, 6 and 7
· Terry Heaton, "TV News in a Postmodern World: The Unbundled Newsroom," Terry Heaton's Weblog, November 9, 2005 http://www.donatacom.com/papers/pomo49.htm
Key Questions: As pre-digital media organizations adopt digital media, how do organizational issues and new technologies shape the work they do?
Due: Critical Paper #1
7: Tuesday, January 31
Speedy Networks, New Gatekeepers:
David Manning White, “The 'gate keeper': a case study in the selection of news.” Journalism Quarterly 29.4 (1956): 383-390.
Christopher Harper, “Journalism in a digital age.” Democracy and New Media. Eds. David Thorburn and Henry Jenkins. Cambridge, MA: MIT Press, 2003. 271-280.
John Hartley, “The frequencies of public writing: tomb, tome, and time as technologies of the public.” New Media and Democracy. Eds. David Thorburn and Henry Jenkins. Cambridge, MA: MIT Press, 2003. 247-269.
Key Questions: How do the ways that digital media increase the speed of news production and enhance the use of networks as news producers challenge pre-digital journalistic ideals?
Due: Critical Paper #1
8: Thursday, February 2
Show Me the Money: Networked Technology and Financial Concentration:
Elisia L. Cohen “Online journalism as market-driven journalism.” Journal of Broadcasting & Electronic Media 46.4 (2002).
Robert McChesney “So much for the magic of technology and the free market: the world wide web and the corporate media system.” The world wide web and contemporary cultural theory. Eds. Andrew Herman and Thomas Swiss. New York and London: Routledge, 2000. 5-36.
Key questions: How do financial pressures shape the potential of online journalism to serve the public? Do new media free us from the problems of media consolidation?
9: Tuesday, February 7
The Emergence of Collaborative Citizen Journalism:
Bernard Moon, "Open It Up, New York Times, Chicago Tribune, San Francisco Chronicle!" http://www.alwayson-network.com/printpage.php?id=11051_0_11_C
CommonTimes: A Community Driven Web News Site, http://www.commontimes.org/
Yu, Yeon-Jung, "OhMyNews Makes Every Citizen a Reporter" http://www.japanmediareview.com/japan/internet/1063672919.php
Moore, James, "The Second Superpower Rears Its Beautiful Head," http://cyber.law.harvard.edu/people/jmoore/secondsuperpower.html
News in 2014 http://www.broom.org/epic/
Freedom Forum: http://www.freedomforum.org/
Jim Romenesko at Poynter: http://www.poynter.org/column.asp?id=45
Editor and Publisher: http://www.editorandpublisher.com/editorandpublisher/
Jeff Jarvis: http://www.buzzmachine.com/
Key Questions: What role do networks of individuals, think tanks and other intermediaries play in shaping the news? What news-shaping forces are emerging from search, tagging, blogging, and other Web-based media?
10: Thursday, February 9
“Personal” journalism: Pundits, Freelancers and Public Intellectuals:
Dan Gillmor, We The Media, Introduction, Chapters 1, 2, 3, 6, 7, 9, 12
John Rockwell, “Conversing on the arts by clicking a mouse”, New York Times, July 9, 2003 http://www.artsjournal.com/about/nytstory.html
Key Question: What’s the difference between a blogger, a journalist, a pundit and an intellectual? Or is there one anymore?
Part Three: New Publics, New Journalistic Forms:
11 Tuesday, February 14
Rethinking "The Public": The Origins and Nature of the Public Sphere
Nancy Fraser. “Rethinking the public sphere: a contribution to the critique of actually existing democracy.” Habermas and the Public Sphere. Ed. Craig Calhoun. Cambridge, MA: M.I.T. Press, 1991. 109-142.
David Zaret, Origins of Democratic Culture: Printing, Petitions, and the Public Sphere in Early-Modern England, Princeton: Princeton University Press, 2000, Pp 3-17
Rosen, Jay, "The Action of the Idea," The Idea of Public Journalism, Theodore L. Glasser, ed., New York: Guilford, 1999, pp 21-48
Habermas, the Public Sphere, and Democracy: A Critical Intervention http://www.moveon.org/
Key Questions: What are the relationships among publics, media, and democracy? What might the role of journalism be in a world of multiple publics?
12 Thursday, February 16
The Public Sphere in The Internet Era
Michael Schudson, “Click here for democracy: a history and critique of an information-based model of citizenship.” Democracy and new media. Eds. Henry Jenkins, David Thorburn and Brad Seawell. Cambridge: MIT Press, 2003. 49-60.
Philip E. Agre, “Growing a democratic culture: John Commons on the wiring of civil society.” Democracy and New Media. Eds. Henry Jenkins and David Thorburn. Cambridge, MA: MIT Press, 2003. 61-67.
Pieter Boeder, "Habermas Heritage: the future of the public sphere in the network society," First Monday, volume 10, number 9 ( September 2005): http://firstmonday.org/issues/issue10_9/boeder/
Alinta Thornton, "Does Internet Create Democracy?" Masters Thesis, University of Technology, Sydney, 2002, http://www.zip.com.au/~athornto/thesis2.htm
Howard Dean’s Campaign Site: http://www.deanforamerica.com/
City of Palo Alto: http://www.city.palo-alto.ca.us/
Acción Zapatista: http://studentorgs.utexas.edu/nave/
Deliberative Polling: http://cdd.Stanford.edu/polls/docs/summary/
Key Questions: What kinds of “publics” are emerging in and around digital media? What kinds of power struggles erupted when broadcast channels were confronted by the emergence of many-to-many media? What role does online discourse play in the future of democracy – and what role does journalism play in digital debate and deliberation?
Due: Critical Paper #2
13 Tuesday, February 21
New Communities, New Routines: Early Alternatives:
Nina Eliasoph, “Routines and the making of oppositional news.” Critical Studies in Mass Communication 5.December (1988): 313-334.
Leon V. Sigal, Sources Make The News, in Manoff & Schudson, Reading the News, pp. 9-37
“Indymedia.org: A New Communications Commons” Dorothy Kidd in McCaughey, Martha, and Michael D. Ayers. Cyberactivism: online activism in theory and practice. New York: Routledge, 2003, pp. 47-70.
“Emerging Alternatives: Edging away from anarchy: Inside the Indymedia Collective,” Gal Beckerman, CJR 2003
Key Question: How do the politics of community news producers, news routines and new technologies interact?
14 Thursday, February 23
To be announced
Due: Critical Paper #2
14 Tuesday, February 28
New Communities, News Communities:
· Howard Rheingold, “A slice of my life in my virtual community.” High noon on the electronic frontier: conceptual issues in cyberspace. Ed. Peter Ludlow. Cambridge, MA: MIT Press, 1992/1996. 413-436.
· humdog. “pandora's vox: on community in cyberspace.” High noon on the electronic frontier: conceptual issues in cyberspace. Ed. Peter Ludlow. Cambridge, MA: MIT Press, 1996. 437-444.
· Fred Turner, "Where the Counterculture Met the New Economy: the WELL and the Origins of Virtual Community," Technology and Culture, vol 46 no 3, July 2005, 485-512.
Key Questions: How do network forums work? What roles do they play in the creation and circulation of news? Do online communities erode or augment face to face communities?
15 Thursday, March 2
Social Software and We Media
J.D. Lasica, "News That Comes to You," Online Journalism Review, January 23, 2003, http://www.ojr.org/ojr/lasica/1043362624.php
Jon Udell, "Tag Mania Sweeps the Web," Jon Udell, , July 20, 2005, http://www.infoworld.com/article/05/07/20/30OPstrategic_1.html
Timo Hannay, "Tagging and Participative Journalism," You're It – a Blog on Tagging,
Howard Rheingold, "Moblogs Seen as a Crystal Ball for a New Era in Online Journalism," Online Journalism Review, July 9, 2003,
Yuki Noguchi, "Camera Phones Lend Immediacy to Images of Disaster," Washington Post, July 8, 2005, p 1 16
16 Tuesday, March 7
Reputation Economies and Information Networks:
Howard Rheingold, Smart Mobs, “The Evolution of Reputation”
Gary Rivlin, “Leader of the Free World” Wired 11.11 (November, 2003)
Thomas Goetz, “Open Source Everywhere” Wired 11.11 (November, 2003)
Cass Sunstein, “The Daily We” The Boston Review, Summer, 2001. http://bostonreview.mit.edu/BR26.3/sunstein.html
Open Source Journalism:
Slashdot: News for Nerds: http://slashdot.org/
Reputation Mechanisms: http://ccs.mit.edu/dell/reputation.html
Key Question: How are the dynamics of open source production processes affecting the ways journalists serve the public?
17 Thursday, March 9
Code as Law, Architecture as Politics
· Lawrence Lessig, Code: and Other Laws of Cyberspace. New York, NY: Basic Books, 1999: Ch. 1, “Code is Law” (3-8), Ch. 6 “Cyberspaces” (63-84), Ch. 7 “What Things Regulate,” (85-99).
· David Isenberg, The Rise of the Stupid Network, 1997: http://www.hyperorg.com/misc/stupidnet.html
· Manuel Castells, "Why Networks Matter," Network Logic: Who Governs in an Interconnected World?, Helen McCarthy, Paul Miller, Paul Skidmore, eds, London: Demos, 2004, pp 221-224,
Lessig Blog: http://www.lessig.org/blog/
Architectural Principles of the Internet: ftp://ftp.isi.edu/in-notes/rfc1958.txt