BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Art and Science Connect - ECPv6.15.20//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:Art and Science Connect X-ORIGINAL-URL:https://artscienceconnect.gc.cuny.edu X-WR-CALDESC:Events for Art and Science Connect REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:America/Halifax BEGIN:DAYLIGHT TZOFFSETFROM:-0400 TZOFFSETTO:-0300 TZNAME:ADT DTSTART:20250309T060000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0300 TZOFFSETTO:-0400 TZNAME:AST DTSTART:20251102T050000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0400 TZOFFSETTO:-0300 TZNAME:ADT DTSTART:20260308T060000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0300 TZOFFSETTO:-0400 TZNAME:AST DTSTART:20261101T050000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0400 TZOFFSETTO:-0300 TZNAME:ADT DTSTART:20270314T060000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0300 TZOFFSETTO:-0400 TZNAME:AST DTSTART:20271107T050000 END:STANDARD END:VTIMEZONE BEGIN:VTIMEZONE TZID:UTC BEGIN:STANDARD TZOFFSETFROM:+0000 TZOFFSETTO:+0000 TZNAME:UTC DTSTART:20200101T000000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=America/Halifax:20260408T183000 DTEND;TZID=America/Halifax:20260408T193000 DTSTAMP:20260503T065721 CREATED:20260323T220134Z LAST-MODIFIED:20260324T020205Z UID:1621-1775673000-1775676600@artscienceconnect.gc.cuny.edu SUMMARY:Concert: Saariaho with Electronics DESCRIPTION:overdrive|5 – Saariaho with Electronics \n\nThis concert is dedicated to chamber music with electronics by the Finnish composer Kaija Saariaho. It will serve as the closing concert of the conference Voicing Innocence\, presented by the Barry S. Brook Center for Music Research and Documentation\, and as the opening concert of the fifth edition of the Overdrive Festival for Experimental Electronic Music and Multimedia Art. \nProgram\nLonh (1996)\nFall (version for harpsichord\, 1995)\nJardin secret I (1984)\nJardin secret II (1986)\nPetals (1988)\nIm Traume (1980) \nTuija Hakkila | harpsichord\, piano\nJoann Whang | violoncello\nHannah Collins | violoncello\nOlga Heikkilä | soprano\noverdrive|5 concert poster featuring Kaija Saariaho working in IRCAM’s Studio 8\, 1982. \nThe concert is hosted by the Overdrive Festival and the Art and Science Connect Initiative\, in collaboration with the Barry S. Brook Center for Music Research and Documentation. \nThe event is free and open to the public. URL:https://artscienceconnect.gc.cuny.edu/event/concert-saariaho-with-electronics/ LOCATION:Elebash Recital Hall\, 365 5th Ave\, New York\, NY\, 10016\, United States ATTACH;FMTTYPE=image/png:https://artscienceconnect.gc.cuny.edu/files/2026/03/SaariahoConcert2.png END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20260408 DTEND;VALUE=DATE:20260418 DTSTAMP:20260503T065721 CREATED:20260321T182945Z LAST-MODIFIED:20260321T200133Z UID:1596-1775606400-1776470399@artscienceconnect.gc.cuny.edu SUMMARY:overdrive|5 DESCRIPTION:overdrive|5 — Festival for Experimental Electronic Music and Multimedia Art\n\n\n\n\nFounded in 2024 by Itzá García and Tobias Fandel as a concert and exhibition event in Midtown Manhattan\, overdrive aims to bring artistic practices into contact with contemporary and cutting-edge media technologies\, challenging the established boundaries of artistic disciplines.\n\n\n  \n\n\nThis year’s Spring edition features a concert dedicated to works with electronics by Finnish composer Kaija Saariaho\, co-hosted with the Barry S. Brook Center and presented in collaboration with the conference “Voicing Innocence.” It also features three ensembles from the New York City scene committed to technologically demanding\, cross-disciplinary experimentation: [Switch~ Ensemble]\, PinkNoise Ensemble\, and Noise Catalogue. \n\n\nFor more information: https://overdrive.nyc/ \nAll events are free and open to the public. \nApril 8th\, 2026\nOpening Concert: Saariaho with Electronics\nwith Tuija Hakkila\, Olga Heikkilä\, Joann Whang\, and Hannah Collins\nHosted in collaboration with the Barry S. Brook Center\nElebash Recital Hall\, The Graduate Center\n365 5th Ave\, New York\, NY\n6:30 PM\n  \nApril 8th–14th\, 2026\nExhibition: Fine Art and New Media\nElebash Recital Hall Lobby\, The Graduate Center\n365 5th Ave\, New York\, NY\n  \nApril 9th\, 2026\nConcert: [Switch~ Ensemble] I\nwith Grant Beale\, Louis Goldford\, and Teté Leguía\nElebash Recital Hall\, The Graduate Center\n365 5th Ave\, New York\, NY\n7:30 PM\n  \nApril 10th\, 2026\nConcert: [Switch~ Ensemble] II\nwith Jason Thorpe Buchanan & Christopher Chandler\, Itzá García\,\nKitty Xiao\, and Tobias Fandel\nElebash Recital Hall\, The Graduate Center\n365 5th Ave\, New York\, NY\n7:30 PM\n  \nApril 11th\, 2026\nConcert with PinkNoise Ensemble\nwith Michael Beil\, Cathy van Eck\, Kanzler & Uesaka\, and Itzá García\nElebash Recital Hall\, The Graduate Center\n365 5th Ave\, New York\, NY\n3:30 PM\n  \nApril 14th\, 2026\nExhibition Closing with Reception\nElebash Recital Hall Lobby\, The Graduate Center\n365 5th Ave\, New York\, NY\n6:30 PM\n  \nApril 14th\, 2026\nConcert & Screening\nwith Janet Biggs\, Noise Catalogue\, and Tobias Fandel\nElebash Recital Hall\, The Graduate Center\n365 5th Ave\, New York\, NY\n7:30 PM\n  \nApril 15th\, 2026\nConcert: Live Electronics\nwith winners of the call\nSkylight Room\, The Graduate Center\n365 5th Ave\, New York\, NY\n7:30 PM\n  \nApril 17th\, 2026\nConcert: Live Electronics with Percussion\nwith winners of the call\nPresented in collaboration with Sō Laboratories\nSō Percussion Space\n20 Grand Ave #205\, Brooklyn\, NY\n7:30 PM URL:https://artscienceconnect.gc.cuny.edu/event/overdrive5/ LOCATION:Elebash Recital Hall\, 365 5th Ave\, New York\, NY\, 10016\, United States ATTACH;FMTTYPE=image/png:https://artscienceconnect.gc.cuny.edu/files/2026/03/overdrive-logo-ASC3.png END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20260407 DTEND;VALUE=DATE:20260409 DTSTAMP:20260503T065721 CREATED:20260323T213515Z LAST-MODIFIED:20260325T054440Z UID:1626-1775520000-1775692799@artscienceconnect.gc.cuny.edu SUMMARY:Conference: Voicing Innocence DESCRIPTION:Voicing Innocence: Trauma\, Memory\, and Contemporary Opera in the Work of Kaija Saariaho \n\nVoicing Innocence is an international public conference that explores how music and sound give voice to trauma\, vulnerability\, and ethical responsibility in contemporary culture. It brings together scholars\, composers\, performers\, and cultural thinkers for lectures\, panel discussions\, and performances designed for both specialist and general audiences. The conference takes its point of departure from the Metropolitan Opera’s premiere of Kaija Saariaho’s Innocence on April 6. Building on the artistic and ethical concerns raised by this landmark work\, Voicing Innocence expands the conversation to broader historical\, social\, and aesthetic contexts. Themes include childhood and loss\, collective trauma\, justice\, memory\, and the ways music mediates moral experience. Central to the conference is the participation of Scandinavian artists and scholars\, whose work has been instrumental in shaping contemporary discourse around these themes. Participants will contribute perspectives rooted in composition\, performance\, musicology\, and cultural analysis\, situating Kaija Saariaho’s artistic work within an international framework of exchange. As a public project\, Voicing Innocence emphasizes accessibility and engagement beyond the academy. \n  \n\n Register for Voicing Innocence\n\n \nVoicing Innocence Poster \nThe conference is hosted by the Barry S. Brook Center for Music Research and Documentation in collaboration with the Art and Science Connect Initiative and the Overdrive Festival. \nAll events will be open to the public and documented through recordings and digital materials for wider dissemination. \n  URL:https://artscienceconnect.gc.cuny.edu/event/conference-voicing-innocence/ LOCATION:The Skylight Room (9100) and Elebash Recital Hall\, The Graduate Center\, CUNY\, 365 5th Avenue\, New York\, NY\, 10016\, United States ATTACH;FMTTYPE=image/jpeg:https://artscienceconnect.gc.cuny.edu/files/2026/03/BrookCenter3.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20250326 DTEND;VALUE=DATE:20250330 DTSTAMP:20260503T065721 CREATED:20250219T161023Z LAST-MODIFIED:20260321T185237Z UID:1559-1742947200-1743292799@artscienceconnect.gc.cuny.edu SUMMARY:overdrive3 DESCRIPTION:overdrive3 — Festival for Experimental Electronic Music and Multimedia Art\n\n\n\n\nFounded in 2024 by Itzá García and Tobias Fandel as a concert and exhibition event in Midtown Manhattan\, overdrive aims to bring artistic practices into contact with contemporary and cutting-edge media technologies\, challenging the established boundaries of artistic disciplines.\n\n\n\n  \n\n\nThe inaugural edition of the festival presented multichannel electroacoustic compositions\, interactive performances\, and ensembles with live electronics\, alongside video artworks\, sculptural and sonic installations. \n\n\n\n\n  \n\n\nOverdrive seeks to enrich the international community of artists and creative researchers and to redefine the possibilities at the intersection of electronic sound and visual media. \n\n\n\nFor more info: https://overdrive.nyc/\n\n\nMarch 26th\, 2025\nopening reception\nElebash Recital Hall Lobby\, The Graduate Center\n365 5th Ave\, New York\, NY\n7:00 PM\n\nMarch 26th\, 2025\nconcert with piano and electronics\nElebash Recital Hall\, The Graduate Center\n365 5th Ave\, New York\, NY\n7:30 PM\n\nMarch 27th\, 2025\nartist talk\nJames Gallery\n365 5th Ave\, New York\, NY\n5:30 PM\n\nMarch 27th\, 2025\nconcert with flute and electronics\nElebash Recital Hall\, The Graduate Center\n365 5th Ave\, New York\, NY\n7:30 PM\n\nMarch 28th\, 2025\nconcert\nElebash Recital Hall\, The Graduate Center\n365 5th Ave\, New York\, NY\n2:00 PM\n\nMarch 28th\, 2025\nconcert\nElebash Recital Hall\, The Graduate Center\n365 5th Ave\, New York\, NY\n7:30 PM\n\nMarch 29th\, 2025\nconcert with octophonic loudspeaker array\nSilver Center for Arts and Sciences\, NYU\n31 Washington Pl\, New York\, NY\n6:00 PM\n\n\nAll events are free and open to the public. URL:https://artscienceconnect.gc.cuny.edu/event/overdrive-festival-for-experimental-electronic-music-and-multimedia-art/ LOCATION:CUNY Graduate Center and Silver Center for Arts and Sciences NYU ATTACH;FMTTYPE=image/png:https://artscienceconnect.gc.cuny.edu/files/2025/02/overdrive-logo-ASC4.png END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20241029 DTEND;VALUE=DATE:20241031 DTSTAMP:20260503T065721 CREATED:20241009T154913Z LAST-MODIFIED:20250224T181549Z UID:1536-1730160000-1730332799@artscienceconnect.gc.cuny.edu SUMMARY:Symposium: How AI is Changing Art and the Humanities\, and To What Ends DESCRIPTION:AI Symposium Youtube Playlist \n\n\nClick here for full schedule of panels \nArt Science Connect presents a two-day interdisciplinary symposium “How AI is Changing Art and the Humanities\, and To What Ends” at the CUNY Graduate Center to explore recent developments and uses of AI. \nGenerative AI is at the forefront of emerging artificial intelligence technologies that are rapidly transforming art\, the humanities\, and cultural economies worldwide. It is fundamentally changing how we write\, research\, and teach\, and what it means to be creative. Yet we know little about where this might lead us. The CUNY Graduate Center will present an interdisciplinary symposium to explore recent developments and uses of AI. The two-day symposium will present a range of topics that address the ethical and political considerations around AI\, creative collaborations between humans and AI\, the early history of “machines with intelligence\,” and AI’s biases and applications. \nSymposium participants include scholars who are specialists in AI aesthetics and the history of machine learning\, multi-media artists and computational researchers experimenting with AI. \n  \n  \nAI and Technology in the Arts: A panel discussion on interactions and emerging dialogues between AI\, technology\, and the arts. Organized by CUNY Academy for the Humanities and Sciences on November 21\, 2024 \n\n  \nIf you enjoy ASC’s events and like what we do\, please make a donation to help us keep our program running and our events free. URL:https://artscienceconnect.gc.cuny.edu/event/symposium-how-ai-is-changing-art-and-the-humanities-and-to-what-ends/ LOCATION:The Skylight Room (9100) and Elebash Recital Hall\, The Graduate Center\, CUNY\, 365 5th Avenue\, New York\, NY\, 10016\, United States ATTACH;FMTTYPE=image/png:https://artscienceconnect.gc.cuny.edu/files/2024/10/AI-conference-image.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20241015T060000 DTEND;TZID=UTC:20241015T190000 DTSTAMP:20260503T065721 CREATED:20241009T150432Z LAST-MODIFIED:20241009T150432Z UID:1539-1728972000-1729018800@artscienceconnect.gc.cuny.edu SUMMARY:The Art of Activism and the Activism of Art DESCRIPTION:Please join Gregory Sholette\, Ph.D. and Jennifer Jones for a discussion about the role of art in political and social movements and how art can function as a site of resistance and a tool for societal change. This conversation will explore some of the themes of his most recent book\, “The Art of Activism and the Activism of Art” such as the concept of “dark matter” in the art world\, the dynamics between institutionalized art and grassroots activism\, and the evolving role of artists in contemporary social struggles. \nDr. Gregory Sholette is a New York-based artist\, writer\, activist and teacher\, as well as a co-founder of the art collectives Political Art Documentation/Distribution (PAD/D: 1980-1988)\, REPOhistory (1989-2000)\, and Gulf Labor Coalition (2010-). Sholette’s books include The Art of Activism and the Activism of Art\, Dark Matter: Art and Politics in the Age of Enterprise Culture\, and Delirium and Resistance: Art Activism and the Crisis of Capitalism. He is a co-director with Chloë Bass of Social Practice City University of New York (SPCUNY) and Affiliated Faculty with the Earth and Environmental Sciences Program at the CUNY Graduate Center. \nBlog: https://gregorysholette.substack.com/ \nThis event is the third in a series of public conversations on embodied artistic research organized by Andrew W. Mellon Foundation James Gallery Fellow Jennifer Jones (Ph.D. Program in Art History). Prior conversations were with Deborah Thomas and Black Gotham Experience. \nA Collaboration of the James Gallery and SPCUNY. Made possible with support from the Andrew W. Mellon Foundation. \nThe event is free and open to the public. More information can be found here. URL:https://artscienceconnect.gc.cuny.edu/event/the-art-of-activism-and-the-activism-of-art/ LOCATION:James Gallery\, CUNY Graduate Center\, 365 5th Ave\, New York\, NY\, 10016\, United States ATTACH;FMTTYPE=image/png:https://artscienceconnect.gc.cuny.edu/files/2024/10/Screenshot-2024-10-09-at-10.47.33-AM.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20240926T180000 DTEND;TZID=UTC:20240926T200000 DTSTAMP:20260503T065721 CREATED:20240923T153925Z LAST-MODIFIED:20240923T153925Z UID:1528-1727373600-1727380800@artscienceconnect.gc.cuny.edu SUMMARY:Before...After: A Two Part Exhibition by Elva Mulchrone DESCRIPTION:Please join Urban Education\, Theatre\, and the Graduate Center on September 26 from 6-8pm for the first part of an exhibition\, Before\, by Elva Mulchrone. The exhibition’s second part\, After\, will open on November 20. More information on the event and scheduling can be found here. \nThrough paper\, wood\, canvas\, linen\, and video Mulchrone’s pieces\, explore medium and color and feature disconnected and obstructed mapping\, which allude to both personal narratives and photographs made by children who face social immobility and inequality from multiple perspectives. She will speak about how her work is inspired by research and produced during her Dublin City Council Incubation Space Award in 2024\, and whilst she was Artist in Residence at Dublin City University 2022/23. \nThis event is free and open to the public. \n  \n  \n  URL:https://artscienceconnect.gc.cuny.edu/event/before-after-a-two-part-exhibition-by-elva-mulchrone/ LOCATION:Graduate Center Room 4201\, 365 5th Ave\, New York\, United States ATTACH;FMTTYPE=image/jpeg:https://artscienceconnect.gc.cuny.edu/files/2024/09/before-after-two-part-exhibition-2130x1200-1.jpeg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20240913T180000 DTEND;TZID=UTC:20240913T200000 DTSTAMP:20260503T065721 CREATED:20240911T151500Z LAST-MODIFIED:20240911T151500Z UID:1522-1726250400-1726257600@artscienceconnect.gc.cuny.edu SUMMARY:Conversation between artist Oliver Ressler and Professor Ashley Dawson DESCRIPTION:Join the James Gallery for Art & Collaborative Inquiry\, CUNY Graduate Center\, for a conversation between the renowned artist and social movements researcher Oliver Ressler and CUNY Professor Ashley Dawson on September 13\, 2024 @6pm. RSVP for the talk here. \nJames Gallery for Art & Collaborative Inquiry\, CUNY Graduate Center\, presents a collection of films and graphic works of Oliver Ressler\, the renowned artist and social movements researcher\, in his first-ever solo exhibition in New York; on exhibition Sept. 12-Nov. 1 \nSince 2008\, Austria-based Oliver Ressler has dedicated his art to exploring diverse activist approaches in response to the climate crisis that has pushed our world to the precipice of multiple catastrophic “tipping points.” These critical thresholds\, once crossed\, unleash colossal and often irreversible changes within our climate system. Climate activists around the world confront corporations producing fossil fuel\, while demanding more action from their governments to curb carbon emissions. Ranging from poetic to documentary\, and often interventionist representations\, Ressler’s works focus on communities and activist groups in Austria\, Germany\, Spain\, and Ecuador\, who resist construction projects and mining operation that cause destruction of natural forests\, ancestral land\, and water. \nIn many of his films\, Ressler documents the assemblies and working group meetings of global climate activists – a mix that includes artists and poets. These dynamic gatherings serve as crucibles of discussion\, where the participants deliberate on the methods and objectives that will guide their collective struggle for a future that transcends mere survival. “Barricade Cultures for the Future” and “Overturn the Present\, Barricade the Future\,” presented in the exhibition\, feature activists with a background as artists and cultural workers questioning the widespread habit of treating “art” and “activism” as separate categories\, when in practice\, they often overlap and influence each other. \nRessler’s graphic works passionately advocate for immediate action. In the series of drawings titled “Contours of the Coming World\,” presented in the exhibition\, the artist intertwines his visionary depictions of everyday activities aimed at safeguarding the environment with the practices he has witnessed and actively engaged in alongside activists from around the globe. These illustrations serve as a bridge between his imaginative insights and the tangible realities of environmental activism. \nFor more information please see A Life Worth Surviving For. \nA Life Worth Surviving For is organized by independent curator Olga Kopenkina \nJames Gallery for Art & Collaborative Inquiry Curator/Head: Katherine Carl \nExhibition Installation Production: LanningSmith \nThis exhibition made possible in part with support from the Austrian Cultural Forum. With thanks to SPCUNY and Earth and Environmental Studies Program\, CUNY Graduate Center. URL:https://artscienceconnect.gc.cuny.edu/event/conversation-between-artist-oliver-ressler-and-professor-ashley-dawson/ LOCATION:James Gallery\, CUNY Graduate Center\, 365 5th Ave\, New York\, NY\, 10016\, United States ATTACH;FMTTYPE=image/png:https://artscienceconnect.gc.cuny.edu/files/2024/09/Screenshot-2024-09-11-at-11.14.11 AM.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20240828T180000 DTEND;TZID=UTC:20240828T200000 DTSTAMP:20260503T065721 CREATED:20240813T160851Z LAST-MODIFIED:20260321T185418Z UID:1505-1724868000-1724875200@artscienceconnect.gc.cuny.edu SUMMARY:An Evening of Music and AI Collaboration with George Lewis DESCRIPTION:On August 28\, ASC presents the opening event for our 2024 AI Symposium (October 29-30): An Evening of Music and AI Composition with George Lewis. This presentation will include a conversation with Lewis and author Adam Shatz. \nLewis is widely regarded as a pioneer in the creation of computer programs that improvise in concert with human musicians. He started composing with AI in the 1980s. His central areas of scholarship include the history and criticism of experimental music\, computer music\, interactive media\, and improvisation\, particularly in relation to race and gender. He will perform with the International Contemporary Ensemble at Carnegie Hall on January 30\, 2025. \nWe invite you to join us for this exciting evening in the Segal Theatre at the Graduate Center from 6pm-8pm. This event is free and open to the public. \n  \nPC Maurice Weiss \nGeorge Lewis is an American composer\, musicologist and trombonist. He is Professor of Music at Columbia University and Area Chair in Composition. He is a member of the Association for the Advancement of Creative Musicians\, a Fellow of the American Academy of Arts and Sciences and the American Academy of Arts and Letters\, and a Corresponding Fellow of the British Academy\, as well as a member of the Akademie der Künste Berlin. Further honors include the Doris Duke Artist Award\, a MacArthur Fellowship\, and a Guggenheim Fellowship (2015). He is the author of A Power Stronger Than Itself: The AACM and American Experimental Music (University of Chicago Press)\, and is regarded as a pioneer in the creation of improvising computer programs.  Lewis holds honorary doctorates from the University of Edinburgh\, Harvard University\, and the University of Pennsylvania\, among others. (https://music.columbia.edu/bios/george-e-lewis). \n  \n  \nAdam Shatz is the U.S. Editor of the London Review of Books. He is the author of the acclaimed biography\, The Rebel’s Clinic: The Revolutionary Lives of Frantz Fanon. Shatz is also an expert on jazz and is currently at work on a book about jazz. URL:https://artscienceconnect.gc.cuny.edu/event/an-evening-with-george-lewis/ LOCATION:Segal Theater\, CUNY Graduate Center\, 365 5th Ave\, New York\, NY\, 10016\, United States ATTACH;FMTTYPE=image/jpeg:https://artscienceconnect.gc.cuny.edu/files/2024/08/Lewis-by-Maurice-Weiss-210204mw114417High-crop-300-dpi-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20240809 DTEND;VALUE=DATE:20240810 DTSTAMP:20260503T065721 CREATED:20240417T183547Z LAST-MODIFIED:20240813T163208Z UID:1496-1723161600-1723247999@artscienceconnect.gc.cuny.edu SUMMARY:AI Symposium: Call for Papers DESCRIPTION:How is AI Changing Art and the Humanities and To What Ends? \nGenerative AI (GenAI) is at the forefront of emerging AI technologies that are rapidly transforming the humanities\, the arts\, education\, and the cultural economies of many societies worldwide.  It is fundamentally changing how we write\, research\, make art\, teach and learn\, and perform tasks in the workplace\, and yet we know little about where this might lead us.  This symposium will provide an opportunity to discuss the application of generative AI in the humanities\, the arts\, the University\, and in technology industries. How does AI challenge what we know about the humanities and creative arts? How does it work in the lecture theatre and seminar\, and how is it transforming research methods? Does it posit new modes of human-machine collaboration? What are the ethical implications of AI learning\, and what does it mean to “translate” human cognition and creativity? \nArt Science Connect invites submissions from faculty\, staff\, and students for a symposium to explore the significance and influence of recent developments in AI in and on their work. \nWe seek papers\, presentations and other presentational formats on the topic\, including (but not limited to) the following: \n\nHow should we think about credit in AI collaborations?\nIs AI art Theft? The history of AI art.\nWhere does the creative and intellectual property that feeds AI come from?\nCan computers be creative?\nDoes AI art have aura?\nAlgorithmic bias in AI learning\nIssues surrounding deep fakes\nAI and the attention economy\, and the desire for immersive experiences\nResearch: going deep and close readings or multiple sites\, frames and contexts\nHow artists\, poets\, and composers are engaging with AI\nA discussion between techno-optimists and de-accelerationists on the future of AI\nThe relationship between natural language processing and translation\nWhat does it mean to be human in an increasingly posthuman era?\nArt and industry from BIPOC creators\nAI and Immersive Technologies (XR) that are transforming the meaning of liveness\nHow do we use AI in the lecture theatre and seminar; how are students using AI\nArchives\, research methods. and the future of data\n\nHow to Apply: \nPlease email your abstract and a brief CV to Helen Koh\, Director of Art Science Connect\, by August 9\, 2024. hkoh@gc.cuny.edu. Also indicate a date of preference between October 21 and November 1. \nSymposium Dates: \nWe will choose a date between October 21 and November 1\, 2024. Topics or panels that fall outside the date chosen may be considered for a stand-alone program during the fall semester. \nHonorariums will be paid to presenters. Transportation and\, in some cases\, accommodation can also be provided. The symposium will be in person\, free and open to the GC and NYC university communities along with the general public. If you have questions\, please contact Helen Koh hkoh@gc.cuny.edu. URL:https://artscienceconnect.gc.cuny.edu/event/ai-symposium-call-for-papers/ LOCATION:NY ATTACH;FMTTYPE=image/jpeg:https://artscienceconnect.gc.cuny.edu/files/2024/04/AI.jpeg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20240116T160000 DTEND;TZID=UTC:20240116T210000 DTSTAMP:20260503T065721 CREATED:20240107T131648Z LAST-MODIFIED:20240107T131711Z UID:1484-1705420800-1705438800@artscienceconnect.gc.cuny.edu SUMMARY:BIOADAPTED DESCRIPTION:See BIOADAPTED at the Graduate Center’s Elebash Recital Hall on January 16\, 2024! \nBIOADAPTED is a theatre reenactment investigative documentary with actors portraying real people and scientists\, paired with humorous and eerie fictional pieces about what our future might look like if AI propagates in unethical ways that don’t serve humankind. \nBIOADAPTED employs texts about AI\, some of which have been generated by GPT-3. An EEG headset will generate BCI (brain-computer-interface) instructions for the movement of an actor linked with a haptic vest and LED lights sewn into the costume. In the grand finale\, the audience will put GPT-4 on trial and interrogate it directly in real-time. The show ran September 7-24th at Culture Lab LIC and was hailed by the New York Times as “maverick creativity” and “sleekly designed\, thoughtfully assembled.” Now it’s making a comeback at APAP. \nWe investigate\, interrogate\, and educate\, all while delivering a unique\, interactive\, science-enhanced experience. Our process blending of art and science makes scientific\, political\, social\, and sustainability issues “digestible\,” empowering audiences to become active decision-makers and alert citizens protecting their agency and human sovereignty. \nReserve a spot here. \nPerformances: \nTuesday\, January 16th 2024 at 4pm AND 7.00pm\, followed by a talkback with Heidi Boisvert (TED\, MIT)\, Julie Scelfo (NYTimes and Get Media Savvy)\, Tjaša Ferme (creator and director\, Transforma) moderated by Tess Howsam (Culture Lab LIC’s art. dir). \n  \n  URL:https://artscienceconnect.gc.cuny.edu/event/bioadapted/ LOCATION:Elebash Recital Hall\, 365 5th Ave\, New York\, NY\, 10016\, United States ATTACH;FMTTYPE=image/jpeg:https://artscienceconnect.gc.cuny.edu/files/2024/01/BIOADAPTED-APAP-jpeg-scaled.jpeg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20231206T120000 DTEND;TZID=UTC:20231206T133000 DTSTAMP:20260503T065721 CREATED:20231116T143528Z LAST-MODIFIED:20231120T154402Z UID:1463-1701864000-1701869400@artscienceconnect.gc.cuny.edu SUMMARY:Performance in the Age of Nonhuman: Artist Talk with Kris Verdonck DESCRIPTION:Art Science Connect invites you to attend an artist talk with performance and installation artist Kris Verdonck and Professor Peter Eckersall from the Theatre and Performance program at the Graduate Center. We will discuss Kris’s approach to devising performances that show human and nonhuman worlds in new relationships\, and we will explore how his creative practices bridge art and the sciences in completing and transformative ways.  Kris’s work explores the compelling symbioses of nonhuman and human worlds that lead us to consider new forms of subjectivity\, new knowledge\, and the paradoxical experience of always being connected to machines while generating moments of inventiveness and flow. This event will take place on Zoom on December 6\, 2023 at 12pm EST. Please register in advance on Zoom or at Eventbrite to attend! \nKris’s work often addresses questions of human vulnerability\, and he explores themes relating to climate change\, technology\, and AI\, and how we are living in an age of mass extinctions.  Kris is a prolific artist who has produced more than 40 theatre productions and art installations\, and his work has been shown widely in Europe\, Australia\, Japan\, and the US.  His work has been written about by scholars and critics in journals and art magazines\, and in books\, New Media Dramaturgy (Palgrave\, 2017) and Machine Made Silence: The Art of Kris Verdonck (Performance Research Books\, 2020). \n  \nKris Verdonck is a performance and installation artists based in Brussels\, Belgium.  He is the founder and artistic director of A Two Dogs Company.  His works have been seen in Europe\, the US\, Asia and Australia and his is the subject of books and critical essays.  His most recent works include ENTITIES (2022 KANAL Centre Pompidou)\, PREY (2023\, Muziektheater Transparant) and DEMO (2023). \n  \nPeter Eckersall is Professor of Theatre Studies at The Graduate Centre\, City University of New York.   His research concentrates on Japanese theatre\, dramaturgy and trends in contemporary performance.   He was the cofounder of Dramaturgies and is the resident dramaturg for the performance group Not Yet It’s Difficult. \n  URL:https://artscienceconnect.gc.cuny.edu/event/performance-in-the-age-of-nonhuman-artist-talk-with-kris-verdonck/ LOCATION:Zoom\, The Graduate Center ATTACH;FMTTYPE=image/jpeg:https://artscienceconnect.gc.cuny.edu/files/2023/11/DANCER-2-.jpeg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20231106T090000 DTEND;TZID=UTC:20231107T180000 DTSTAMP:20260503T065721 CREATED:20231101T153335Z LAST-MODIFIED:20231101T153335Z UID:1458-1699261200-1699380000@artscienceconnect.gc.cuny.edu SUMMARY:Climate Theatre: Understanding the Relation between Ecology and Performance in a Climate Emergency DESCRIPTION:Join Art Science Connect with the Ph.D. Program in Theatre and Performance at Climate Theatre on November 6-7\, 2023 to explore how the performing arts are responding to the climate emergency. The symposium will explore how performance mediates the impacts of ecological concerns including large-scale weather events\, species endangerment or extinction\, pandemics\, food\, and water insecurity for its audiences over time and to what effect. \n\nRSVP is required to attend\, so please register to reserve a spot here. \n\nCheck out the event program here. URL:https://artscienceconnect.gc.cuny.edu/event/climate-theatre-understanding-the-relation-between-ecology-and-performance-in-a-climate-emergency/ LOCATION:The Skylight Room (9100) and Elebash Recital Hall\, The Graduate Center\, CUNY\, 365 5th Avenue\, New York\, NY\, 10016\, United States ATTACH;FMTTYPE=image/png:https://artscienceconnect.gc.cuny.edu/files/2023/11/Screen-Shot-2023-11-01-at-11.20.16-AM.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20230929T130000 DTEND;TZID=UTC:20230929T180000 DTSTAMP:20260503T065721 CREATED:20230913T135306Z LAST-MODIFIED:20240117T174833Z UID:1432-1695992400-1696010400@artscienceconnect.gc.cuny.edu SUMMARY:Art Science Connect Graduate Student Showcase DESCRIPTION:On September 29\, Art Science Connect will proudly host a showcase of research by Graduate Center students working at the intersection of art and science at the Martin E. Segal Theatre. Ten students\, representing a wide range of disciplines\, will present on exciting topics\, such as visualization\, politics\, new media aesthetics and temporality. Keynotes will be delivered by Felicity Scott (Professor of Architecture\, Columbia University) and Denis Pelli (Professor of Psychology and Neural Science\, NYU)\, both of whom serve as models of interdisciplinary scholarship. This event is free and open to the public. A reception will be held following the presentations from 5pm-6pm. \n  \nFelicity D. Scott is Professor of Architecture\, Director of the PhD program in Architecture (History and Theory)\, and Co-Director of the program in Critical\, Curatorial and Conceptual Practices in Architecture (CCCP) at the Graduate School of Architecture\, Planning and Preservation\, Columbia University. Her work as a historian and theorist focuses on articulating genealogies of political and theoretical engagement with questions of techno-scientific\, environmental\, and geopolitical transformation within modern and contemporary architecture\, art\, and media\, as well as upon the discourses\, institutions and social movements that have shaped and defined these disciplines\, sometimes evidently\, sometimes less so. \n  \n\n\n\n\n\n\n\n\n\n\nAs a professor of psychology and neural science at NYU\, Pelli has spent decades interrogating the way neurons analyze visual stimuli — that is\, how our brains make sense of what our eyes see — to learn how we recognize shapes\, read\, and even experience beauty. As a visual artist\, he has applied his scientific understanding to create works that blur the lines between art and science. Pelli completed his undergraduate studies in applied math at Harvard and earned his Ph.D. in physiology at Cambridge University. \n\n\n\n\n\n  \n  \nGraduate Student Showcase Paper Titles: \nJessica Das\, Biology\, “Our Collective Fabric // The Microbiome – demystifying science with socially engaged art practices.” \nAlicia Gallant\, Art History\, “Romare Bearden’s Figures: Intersections of Art and Dance\, 1976-1982.” \nBenjamin Diehl\, History\, “The Swastika and the Three Arrows: Sergei Chakhotin and the Struggle for Germany’s Minds.” \nTobah Auckland-Peck\, Art History\, “Crude Oils: Petroleum Culture in Postwar Britain.” \nQuinn Schoen\, Art History\, “From Above and Below: The Iconography and Aerial Visual Logics of the Helicopter in Mexico City.” \nTobias Fandel\, Music\, “Multiplication and Diffusion as intrinsic principles in the context of art within a digitized culture.” \nDaniel McKemie\, Music\, “Structures and Musical Applications of Otoacoustic Emissions.” \nJianing Qi\, Computer Science\, “Methods of AI Image Generation for Architecture Design.” \nSydney Harvey\, Philosophy\, “Creative Geography Through Sound Design.” \nSami Seif\, Music\, “How Time Passes: Musical Time and Clock Time.” URL:https://artscienceconnect.gc.cuny.edu/event/art-science-connect-graduate-student-showcase/ LOCATION:Segal Theater\, CUNY Graduate Center\, 365 5th Ave\, New York\, NY\, 10016\, United States ATTACH;FMTTYPE=image/png:https://artscienceconnect.gc.cuny.edu/files/2023/09/Screen-Shot-2023-09-13-at-9.33.17-AM.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20230928T163000 DTEND;TZID=UTC:20230928T163000 DTSTAMP:20260503T065721 CREATED:20230830T152531Z LAST-MODIFIED:20230830T221916Z UID:1421-1695918600-1695918600@artscienceconnect.gc.cuny.edu SUMMARY:Arthur I. Miller - Creative Machines: The Future is Now DESCRIPTION:Join our friends at Science & the Arts and The CUNY Academy for the Humanities and Sciences for a lecture on creative machines by Arthur I. Miller. What is creativity? Is it the same in humans and machines? Machines running programs like AlphaZero\, DeepDream\, GANs and radical new developments like ChatGPT\, GPT-4 and Dalle-2 have shown creativity\, opening up new vistas in AI-created art\, music\, and literature.  Machines can create art\, but are they artists? In the future will there be machines with consciousness and emotions\, machines capable of falling in love? Will this lead to a world where machines and ‘humans’ will co-exist? Sponsored by Science & the Arts\, The CUNY Academy for the Humanities and Sciences\, and Art Science Connect. \n  \nArthur I. Miller is Emeritus Professor of History and Philosophy of Science at University College London.  He is a CCNY Physics graduate\, and was awarded the PhD from MIT.  In 1991\, after faculty positions at U of Massachusetts and Harvard\, he became Professor of History and Philosophy of Science at University College London.  He is the author of a groundbreaking theory of creativity which applies to both humans and machines. He has written many critically acclaimed books\, including the Pulitzer Prize-nominated Einstein\, Picasso. Other books include: Space\, Time\, and the Beauty that Causes Havoc; 137: Jung\, Pauli\, and the Pursuit of a Scientific Obsession; and The Artist in the Machine: The World of AI-Powered Creativity. http://www.arthurimiller.com/ In 2022 he wrote a science-based play Synchronicity about physicist Wolfgang Pauli and psychoanalyst Carl Jung which was developed and performed by Break A Leg Productions in New York. \n  \n  URL:https://artscienceconnect.gc.cuny.edu/event/arthur-i-miller-creative-machines-the-future-is-now/ LOCATION:Graduate Center\, Black & Schwartz Science Program Center\, Room 4102\, 365 5th Ave\, New York\, New York\, 10016 ATTACH;FMTTYPE=image/jpeg:https://artscienceconnect.gc.cuny.edu/files/2023/08/Picture2.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20230911T190000 DTEND;TZID=UTC:20230911T203000 DTSTAMP:20260503T065721 CREATED:20230822T151546Z LAST-MODIFIED:20231208T204504Z UID:1405-1694458800-1694464200@artscienceconnect.gc.cuny.edu SUMMARY:The Metaverse is a Contested Territory\, an Evening of Virtual Talks and Performances by Mindy Seu\, Todd Anderson\, and Tiri Kananuruk DESCRIPTION:Art Science Connect presents an evening of virtual talks and performances by Mindy Seu\, Todd Anderson and Tiri Kananuruk. Seu’s lecture titled “The Metaverse is a Contexted Territory\,” commissioned and published by Pioneer Works Press\, extends our thinking of networked multi-person digital scapes into new creative territory. \nThis event is curated by Tommy Martinez and is free and open to the public. Reserve a spot here to attend. \n“The Metaverse is a Contested Territory\,” lecture by Mindy Seu \nThe term “metaverse” originated in the 1992 science-fiction novel Snow Crash as a portmanteau of “meta” and “universe.” This root word—universe—is the territory at stake: a single\, universal virtual world. While Facebook trademarks all variations of “Meta” and “Metaverse” and pushes billions towards VR RnD\, others wonder… What is the metaverse\, anyway? Originally written for Software for Artists: Untethering the Web and adapted from the eponymous essay\, “The Metaverse is a Contested Territory” traces the development of hardware alongside “hard” science fiction and suggests the need for new perceptual structures and soft approaches to worlding. \n  \nMindy Seu (b. 1991\, California) is a designer and technologist based in New York City. Her expanded practice involves archival projects\, techno-critical writing\, performative lectures\, design commissions\, and close collaborations. Her latest writing surveys feminist economies\, historical precursors of the metaverse\, and the materiality of the internet. Mindy’s ongoing Cyberfeminism Index\, which gathers three decades of online activism and net art\, was commissioned by Rhizome\, presented at the New Museum\, and awarded the Graham Foundation Grant. She has lectured internationally at cultural institutions (Barbican Centre\, New Museum)\, academic institutions (Columbia University\, Central Saint Martins)\, and mainstream platforms (Pornhub\, SSENSE\, Google)\, and been a resident at MacDowell\, Sitterwerk Foundation\, Pioneer Works\, and Internet Archive. Her design commissions and consultation include projects for the Serpentine Gallery\, Canadian Centre for Architecture\, and MIT Media Lab. Her work has been featured in Frieze\, Dazed\, Gagosian Quarterly\, Brooklyn Rail\, i-D\, and more. Mindy holds an M.Des. from Harvard’s Graduate School of Design and a B.A. in Design Media Arts from the University of California\, Los Angeles. She is currently Assistant Professor at Rutgers Mason Gross School of the Arts and Critic at Yale School of Art. \n  \nChatroom Performance by Todd Anderson and Tiri Kananuruk \nTodd Anderson and Tiri Kananuruk will invite the audience into a collaborative chatroom-based performance. An emergent set of interactions will unfold between attendees through a special set of instructions. This performance builds off of work created for Todd and Tiri’s class ‘Experiments in Networked Performance’ which they led at School for Poetic Computation this summer. \n  \n \nTodd Anderson is a digital poet\, software artist and educator based in New York City where he organizes and teaches for the School for Poetic Computation. He has been making experimental software art for over 10 years including the live interactive poetry project Hotwriting\, the Chrome Extension ARG ‘An Experience’\, the performance-inside-the-browser extension HitchHiker\, and multiple plays and performances with the multidisciplinary group H0t Club. He is perhaps best known as the host and curator of WordHack\, the monthly language+technology talk series in NYC running every third Thursday since 2014.  \n  \nBangkok-born\, New York-based Tiri Kananuruk is a performance artist and educator. Her works focus on the manipulation of sound\, the disruption of time. How technologies change the meaning and the ways we communicate. She utilizes mistakes\, both human and machine\, as means of improvisation. She holds a BA in Exhibition Design from Chulalongkorn University in Bangkok\, and a Master in Interactive Telecommunications from New York University. Tiri has lectured at the University of the Arts in Philadelphia and the School for Poetic Computation. She is currently an adjunct professor at Collaborative Arts\, New York University. She was a new media artist resident at Mana Contemporary (2019)\, CultureHub New York (2020)\, Barnard Movement Lab (NUUM)(2020)\, and Media Art Exploration (NUUM)(2021). She is a founding member of NUUM Collective. She is a co-founder of MORAKANA along with Sebastián Morales. URL:https://artscienceconnect.gc.cuny.edu/event/the-metaverse-is-a-contested-territory-an-evening-of-virtual-talks-and-performances-by-mindy-seu-todd-anderson-and-tiri-kananuruk/ LOCATION:Zoom ATTACH;FMTTYPE=image/jpeg:https://artscienceconnect.gc.cuny.edu/files/2023/08/The-Metaverse.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20230516T190000 DTEND;TZID=UTC:20230516T190000 DTSTAMP:20260503T065721 CREATED:20230515T152434Z LAST-MODIFIED:20230515T154322Z UID:1371-1684263600-1684263600@artscienceconnect.gc.cuny.edu SUMMARY:Brad Fox Presents The Bathysphere Book\, in conversation with Madhu Kaza DESCRIPTION:Our friends at McNally-Jackson are hosting former Art Science Connect Fellow\, Brad Fox\, to introduce The Bathysphere Book (click to RSVP):  \nIn the summer of 1930\, aboard a ship floating near the Atlantic island of Nonsuch\, marine biologist Gloria Hollister sat on a crate\, writing furiously in a notebook with a telephone receiver pressed to her ear. The phone line was attached to a steel cable that plunged 3\,000 feet into the sea. There\, suspended by the cable\, dangled a four-and-a-half-foot steel ball called the bathysphere. Crumpled inside\, gazing through three-inch quartz windows at the undersea world\, was Hollister’s colleague William Beebe. He called up to her\, describing previously unseen creatures\, explosions of bioluminescence\, and strange effects of light and color. \nFrom this momentous first encounter with the unknown depths\, The Bathysphere Book widens its scope to explore a transforming and deeply paradoxical America\, as the first great skyscrapers rose above New York City and the Great Plains baked to dust. In prose that is magical\, atmospheric\, and entirely engrossing\, Brad Fox dramatizes new visions of our planetary home\, delighting in tales of the colorful characters who surrounded\, supported\, and participated in the dives—from groundbreaking scientists and gallivanting adventurers to eugenicist billionaires. \n  \nAs an 2020-21 Art Science Connect Fellow\, Brad Fox’s research focussed on the bathysphere logbooks\, the first eyewitness account of the deep ocean\, dispatched from a steel ball suspended a half mile below the ocean’s surface. Based on original archival work and field research on the Atlantic island of Nonsuch\, Brad established the bathysphere logbooks as objects of major historical and scientific importance\, unique records of secular mysticism\, and foundational materials for today’s ecological and oceanic imagination. \n  URL:https://artscienceconnect.gc.cuny.edu/event/brad-fox-presents-the-bathysphere-book-in-conversation-with-madhu-kaza/ LOCATION:McNally-Jackson\, 4 Fulton st\, New York\, NY\, 10038\, United States ATTACH;FMTTYPE=image/jpeg:https://artscienceconnect.gc.cuny.edu/files/2020/04/Else-Bostelmann-Bathysphaera-Intacta-Circling-the-Bathysphere-Bermuda-1934.--e1587999234466.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20230502T183000 DTEND;TZID=UTC:20230502T200000 DTSTAMP:20260503T065721 CREATED:20230419T190602Z LAST-MODIFIED:20230420T164115Z UID:1336-1683052200-1683057600@artscienceconnect.gc.cuny.edu SUMMARY:elva mulchrone: Collaborative seeing and the uncharted territory of visual response and knowledge DESCRIPTION:  \n \nFrom our friends and partners: \nVisual artist Elva Mulchrone will describe her research-based practice and the transformative agency of interdisciplinary research and education based on several series of work\, including her visual response and interpretive translation of large scale economic data about inequality into visual arts. She will discuss the parallels between artists\, researchers and educators as creators of new ways of seeing\, questioning\, and producing world changing knowledge and action. \nMay 2nd 2023 – 6.30 – 8pm EDT\nThe Graduate Center\, Room 9207 \n  \nEvent Co-sponsored by Urban Education; Theater and Performance; Critical Psychology; Art Science Connect; PublicsLab\, Humanities Center\, Public Science Project\, Earth and Environmental Sciences URL:https://artscienceconnect.gc.cuny.edu/event/elva-mulchrone-collaborative-seeing-and-the-uncharted-territory-of-visual-response-and-knowledge/ LOCATION:Graduate Center\, Room 9207\, 365 5th Avenue\, New York\, NY\, 10016\, United States END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20230501T180000 DTEND;TZID=UTC:20230501T193000 DTSTAMP:20260503T065721 CREATED:20230424T170102Z LAST-MODIFIED:20230424T170313Z UID:1359-1682964000-1682969400@artscienceconnect.gc.cuny.edu SUMMARY:From our friends at NYPL: Kyueun Kim on How VR Technology is Changing Theatre DESCRIPTION:From our friends at the NYPL\, an event featuring Art Science Connect Fellow: \n \nThe NYPL’s inaugural Theatre and Technology Fellow\, Kyueun Kim\, will discuss her project to document the oral histories of those who performed in the metaverse during the Covid-19 pandemic using the very virtual reality technologies that served as the platform for the original works. \nIn 2022\, the Library for the Performing Arts welcomed Kyueun Kim as the inaugural Theatre and Technology Fellow. In this lecture\, Kim discusses the work she has completed through this fellowship to document oral histories of those who performed in the metaverse during the Covid-19 pandemic using the very virtual reality technologies that served as the platform for the original works. URL:https://artscienceconnect.gc.cuny.edu/event/kyueun-kim-on-how-vr-technology-is-changing-theatre/ LOCATION:New York Public Library for the Performing Arts\, 111 Amsterdam Ave\, New York\, NY\, 10023-7498 ATTACH;FMTTYPE=image/jpeg:https://artscienceconnect.gc.cuny.edu/files/2023/04/2023_05-01_how-vr-technology-shifted_kyueun-kim-scaled-e1682355621332.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20230415T100000 DTEND;TZID=UTC:20230415T120000 DTSTAMP:20260503T065721 CREATED:20230228T190547Z LAST-MODIFIED:20230419T183943Z UID:1295-1681552800-1681560000@artscienceconnect.gc.cuny.edu SUMMARY:innovation:SOUND:technology (IST) #2: Philippe Kocher and Marc Yeats DESCRIPTION:The innovation:SOUND:technology (IST) series is centered on creative approaches and novel technological advances with aesthetic implications for music\, instrument design\, performance art\, sound art\, and digital art. \nIn the second virtual event of the IST series\, composers and researchers Philippe Kocher and Marc Yeats introduce their creative works\, artistic thinking\, and research surrounding synchronicity\, complex time structures\, polytemporal music\, and technological advances enabling new temporal and spatial musical experiences. \nThe Event will take place on Zoom. \nRSVP Here \nPhilippe Kocher (born 1973) is a musician\, composer and researcher. He studied piano\, electroacoustic music\, music theory\, composition and musicology in Zurich\, Basel\, London and Bern. His work encompasses instrumental and electroacoustic music as well as sound installations. His artistic and scientific interests lie in algorithmic composition and computer-generated music and art. He conducts research at the Institute for Computer Music and Sound Technology (ICST) in Zurich and teaches music theory\, composition and computer music at the Zurich University of the Arts. \n  \nDr. Marc Yeats is an internationally performed\, commissioned\, and broadcast British composer\, abstract landscape painter and practice researcher. His work as a painter and composer is closely linked to techniques developed over many years\, with compositions influencing new approaches to painting and techniques in painting influencing musical development. Marc continues to push his compositional horizons through the incorporation of mobile phone technologies employing user-responsive materials in geolocated contexts – compositions audiences can walk through and explore – and live performance formats through a range of polytemporal structural approaches\, including his timecode-supported polytemporal composition method developed as an AHRC funded PhD research project at the School of Music\, University of Leeds between 2017 and 2021. \nHosted and programmed by Itzá García and Tobias Fandel. URL:https://artscienceconnect.gc.cuny.edu/event/innovationsoundtechnology-ist-2-philippe-kocher-and-marc-yeats/ LOCATION:NY ATTACH;FMTTYPE=image/png:https://artscienceconnect.gc.cuny.edu/files/2023/02/ASC_IST_April15-Itza-Garcia.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20230403T180000 DTEND;TZID=UTC:20230403T200000 DTSTAMP:20260503T065721 CREATED:20230228T191737Z LAST-MODIFIED:20230309T230055Z UID:1300-1680544800-1680552000@artscienceconnect.gc.cuny.edu SUMMARY:AI Art and Care: Chloë Bass & Hannah Zeavin DESCRIPTION:A  conversation between artist Chloë Bass and scholar and critic Hannah Zeavin about the greater recognition of the need for care in our social infrastructure\, our relationships with each other\, and our relationships with ourselves\, while facing the simultaneous reality that modes of care have become increasingly technological and at screen’s length from our embodied lives. The follow-up to a talk hosted by the Brooklyn Public Library and the Art World Conference in 2021\, this talk brings Bass and Zeavin together for continued conversation about the many meanings of care\, care’s potential violence both in IRL and AFK arenas\, and the ongoing importance of translating between digital and material form. The conversation builds on Zeavin’s engagement with technology as a simultaneous mediating support and form of surveillance with respect to familial care (her book Mother’s Little Helpers is forthcoming from MIT Press)\, dovetailing with Bass’ ongoing artistic research project Obligation to Others Holds Me in My Place\, a study of intimacy at the scale of the immediate family \nChloë Bass is a multiform conceptual artist working in performance\, situation\, conversation\, publication\, and installation. Her work uses daily life as a site of deep research to address scales of intimacy: where patterns hold and break as group sizes expand. Chloë has held numerous fellowships and residencies: she is a Faculty Fellow for the Seminar in Public Engagement at the Center for Humanities (CUNY Graduate Center)\, a Lucas Art Fellow at Montalvo Art Center\, and was a 2021 – 2022 Future Imagination Fellow at NYU Tisch. Her projects have appeared nationally and internationally\, including recent exhibits at The Skirball Cultural Center\, Art + Practice\, Henry Art Gallery\, The Pulitzer Arts Foundation\, The Studio Museum in Harlem\, Kunsthalle Wilhelmshaven\, BAK basis voor actuele kunst\, the Knockdown Center\, the Kitchen\, the Brooklyn Museum\, CUE Art Foundation\, Elizabeth Foundation for the Arts Project Space\, The Southeastern Center for Contemporary Art\, the James Gallery\, and elsewhere. Reviews\, mentions of\, and interviews about her work have appeared in Artforum\, The New York Times\, Hyperallergic\, The Brooklyn Rail\, BOMB\, Temporary Art Review\, and Artnews among others. She is an Assistant Professor of Art at Queens College\, CUNY\, where she co-runs Social Practice CUNY with Gregory Sholette. \nHannah Zeavin is a scholar\, writer\, and editor\, and works as an Assistant Professor at Indiana University and a Visiting Fellow at the Columbia University Center for The Study of Social Difference. Zeavin is the author of The Distance Cure: A History of Teletherapy (MIT Press\, 2021) and at work on her second book\, Mother’s Little Helpers: Technology in the American Family (MIT Press\, 2024). Essays and criticism have appeared or are forthcoming from differences\, Dissent\, The Guardian\, Harper’s Magazine\, n+1\, The New York Review of Books\, The New Yorker\, Technology & Culture\, and elsewhere. In 2021\, Zeavin co-founded The Psychosocial Foundation and is the Founding Editor of Parapraxis\, a new popular magazine for psychoanalysis on the left. URL:https://artscienceconnect.gc.cuny.edu/event/1300/ LOCATION:Segal Theater\, CUNY Graduate Center\, 365 5th Ave\, New York\, NY\, 10016\, United States ATTACH;FMTTYPE=image/jpeg:https://artscienceconnect.gc.cuny.edu/files/2023/02/Exterior-How-much-of_no-tree.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20230401T100000 DTEND;TZID=UTC:20230401T120000 DTSTAMP:20260503T065721 CREATED:20230228T181756Z LAST-MODIFIED:20230419T184530Z UID:1291-1680343200-1680350400@artscienceconnect.gc.cuny.edu SUMMARY:innovation:SOUND:technology (IST) #1: Kathrin Hunze & Rob Hamilton DESCRIPTION:innovation:SOUND:technology (IST) series is centered on creative approaches and novel technological advances with aesthetic implications for music\, instrument design\, performance art\, sound art\, and digital art. \nIn the first virtual event of the IST series\, artist Kathrin Hunze and composer Rob Hamilton introduce their creative works\, artistic thinking\, and research to engage in a lively conversation about Augmented Reality\, Virtual Reality\, and Digital Art in relation to music and sound.  \nKathrin Hunze studied communication design at the Hamburg University of Applied Sciences\, is a graduate and a master student of the Art and Media programme at the Berlin University of the Arts. She is board member of the Media Art Association Berlin and member of the collectives KateHack and raumperspektive. Lecturer for the departments of art and media\, fashion design at the Berlin University of the Arts and the Hamburg University of Applied Sciences.  Her work have been presented at the Ars Electronica\, Centre Pompidou and West Bund Museum. She lives and works in Berlin. \nRob Hamilton\, composer and researcher\, explores the converging spaces between sound\, music and interaction. His creative practice includes extended-reality performance works built within fully rendered networked game environments\, procedural music engines and mobile musical ecosystems. His research focuses on the cognitive implications of sonified musical gesture and motion and the role of perceived space in the creation and enjoyment of sound and music. Dr. Hamilton received his Ph.D. from Stanford University’s Center for Computer Research in Music and Acoustics (CCRMA) and currently serves as Associate Professor of Music and Media in the Department of Arts at Rensselaer Polytechnic Institute in Troy\, NY. \nThe event is hosted and programmed by Tobias Fandel and Itzá García. URL:https://artscienceconnect.gc.cuny.edu/event/the-innovationsoundtechnology-ist-1-kathrin-hunze-rob-hamilton/ LOCATION:NY ATTACH;FMTTYPE=image/png:https://artscienceconnect.gc.cuny.edu/files/2023/02/ASC_IST_April1st-Itzá-García.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20230330T180000 DTEND;TZID=UTC:20230330T190000 DTSTAMP:20260503T065721 CREATED:20230307T203401Z LAST-MODIFIED:20230419T183159Z UID:1317-1680199200-1680202800@artscienceconnect.gc.cuny.edu SUMMARY:Video Art and Social Change DESCRIPTION:Curator and writer Barbara London\, artists Martha Rosler and Tony Cokes\, and scholar Helen Koh join together to discuss how artists have championed video as an agent of social change for more than fifty years. The speakers will consider video’s prominence as presented in MoMA’s groundbreaking exhibition\, “Signals: How Video Transformed the World.” \nThe evening program looks at how changes in video and media art have accelerated through access to better and better tools\, as well as with faster access to impressive amounts of information\, coupled with the speedier flow of shared ideas through social media. The interdisciplinary artists with work featured in “Signals” have raised important questions about the impact that electronic media have had on such issues as identity politics and technological power. One might wonder\, why aren’t there readily categorical movements in the perpetually evolving young field of media and digital art? Perhaps it’s due to the fact that neat narratives don’t fit our fragmented and technologically mediated lives. \n  \n  \nMartha Rosler has been making videos since the early 1970s. Her work in that medium\, as well as in photography\, photomontage\, and writing\, centers on the public sphere and landscapes of everyday life\, especially as they affect women. From gender roles to housing and architecture\, to cities and systems of transportation\, to war and the national security climate\, she has investigated and challenged the way power is normalized through images and discourses. Her work in video largely follows the forms generated by the parent industry\, television\, subjecting it to parody\, fragmentation\, interruption\, or multiplication of sound and images\, but always skewing it toward criticality. Her work has been widely seen and exhibited. Rosler\, a graduate of Brooklyn College\, was born in Brooklyn\, where she currently lives and works. \n  \nTony Cokes lives and works in Providence\, Rhode Island\, where he serves as Professor in the Department of Modern Culture and Media at Brown University. In 2022\, he was the subject of a major survey jointly organized by the Haus der Kunst and Kunstverein in Munich. Other recent solo exhibitions include De Balie\, Amsterdam (2022); Greene Naftali\, New York (2022\, 2018); Memorial Art Gallery\, University of Rochester\, Rochester (2021); MACRO Contemporary Art Museum\, Rome (2021); CIRCA\, London (2021); Museu d’Art Contemporani de Barcelona\, Barcelona (2020); ARGOS centre for audiovisual arts\, Brussels (2020); Carpenter Center for the Visual Arts\, Harvard University\, Cambridge\, Massachusetts (2020); BAK – basis voor actuele kunst\, Utrecht\, Netherlands (2020); Luma Westbau\, Zurich (2019); Goldsmiths Centre for Contemporary Art\, London (2019); The Shed\, New York (2019); Kunsthall Bergen\, Norway (2018); and REDCAT\, Los Angeles (2012). His work is in the collections of the Art Institute of Chicago; Carnegie Museum of Art\, Pittsburgh; Centre Pompidou\, Paris; FRAC Lorraine\, Metz; Hammer Museum\, Los Angeles; Kunsthallen\, Copenhagen; Los Angeles County Museum of Art; The Museum of Modern Art\, New York; Queensland Art Gallery\, Brisbane; San Francisco Museum of Modern Art; The Studio Museum in Harlem\, New York; Wexner Center for the Visual Arts\, Columbus; and the Whitney Museum of American Art\, New York\, among others. \n  \nBarbara London is a curator and writer who founded the video and media exhibition and collection programs at The Museum of Modern Art\, where she worked between 1973 and 2013. She organized one-person shows with such media mavericks as Laurie Anderson\, Peter Campus\, Teiji Furuhashi\, Gary Hill\, Joan Jonas\, Shigeko Kubota\, Nam June Paik\, Song Dong\, Steina Vasulka\, Bill Viola\, and Zhang Peili. Currently she is producing Season 2 of her podcast series\, Barbara London Calling https://www.barbaralondon.net/. Her book\, Video/Art\, the First Fifty Years\, was published by Phaidon in January 2020. She curated the exhibition “Seeing Sound” (Independent Curators International)\, 2021-2026. She lives in Manhattan. \n  URL:https://artscienceconnect.gc.cuny.edu/event/video-art-and-social-change-2/ LOCATION:NY ATTACH;FMTTYPE=image/jpeg:https://artscienceconnect.gc.cuny.edu/files/2023/03/Movie-Drome-thumbnail.jpeg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20221123T130000 DTEND;TZID=UTC:20221123T130000 DTSTAMP:20260503T065721 CREATED:20221005T180222Z LAST-MODIFIED:20230123T213002Z UID:1167-1669208400-1669208400@artscienceconnect.gc.cuny.edu SUMMARY:Alexandra Juhasz and Nishant Shah: 5 Ways to Look at Misinformation DESCRIPTION:Digital media scholars Alexandra Juhasz and Nishant Shah\, authors of Really Fake* (University of Minnesota and meson presses\, 2021)\, discuss story\, poetry\, and other human logics of care\, intelligence\, and dignity\, to explore socio-technological and politico-aesthetic emergences in a world where information overload has become a new ontology of not-knowing. \nThe two will also discuss Shah’s upcoming book\, Overload\, Creep\, Excess (Institute for Network Cultures\, 2022)\, which offers an analytic framework – or at least opening up of curious pathways – to make sense of the state of the internet(s) today\, and Juhasz’s forthcoming My Phone Lies to Me (punctum press\, 2022)*\, which suggests that poetry is one way to counter dominant and dominating internet modes and values\, to fight the corrupt ways of being and knowing that use digital media to create\, fuel\, and weaponize fake news. \n \nDr. Alexandra Juhasz is a Distinguished Professor of Film at Brooklyn College\, CUNY and affiliated faculty with the ITP program at the Graduate Center. Her current work is on COVID and AIDS\, fake news\, online feminist pedagogy\, and other more radical uses of digital media. \nDr. Nishant Shah is a feminist\, humanist\, and technologist studying digital technologies\, narrative practices for collective action\, and cultural politics of Artificial Intelligence. Shah was the cofounder of The Centre for Internet & Society\, India. He is currently an endowed professor of aesthetics and cultures of technology at ArtEZ University  of the Arts and Radboud University in the Netherlands\, a Faculty Associate at the Berkman Klein Centre for Internet & Society at Harvard University\, and a Knowledge Partner with the Digital Asia Hub\, Hong Kong. \n*All 3 books will be available for free online: Really Fake (2020)\, My Phone Lies to Me (2022)\, Overload\, Creep\, Excess (2022)\n**The event is cosponsored by SPCUNY\n \n\n\n\nVisitors to the Graduate Center must provide proof that they are fully vaccinated against COVID-19 or have had a negative COVID-19 molecular (PCR) test performed no more than seven days prior to the visit. Faculty\, staff\, and students with verified proof of vaccination will use the CUNY Access Pass in Cleared4 to enter the Graduate Center. Please follow the steps outlined in the Building Entry Policy. URL:https://artscienceconnect.gc.cuny.edu/event/alexandra-juhasz-and-nishant-shah-5-ways-to-look-at-misinformation/ LOCATION:The Skylight Room (9100) and Elebash Recital Hall\, The Graduate Center\, CUNY\, 365 5th Avenue\, New York\, NY\, 10016\, United States ATTACH;FMTTYPE=image/png:https://artscienceconnect.gc.cuny.edu/files/2022/10/Really-Fake--e1664768276974.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20221114T180000 DTEND;TZID=UTC:20221114T200000 DTSTAMP:20260503T065721 CREATED:20220930T210651Z LAST-MODIFIED:20240117T174624Z UID:1146-1668448800-1668456000@artscienceconnect.gc.cuny.edu SUMMARY:The Art of Un-War: Screening & Discussion with Krzysztof Wodiczko DESCRIPTION:A special screening of the 60-minute award-winning documentary The Art of Un-War directed by Maria Niro. The film chronicles the life and work of artist and educator\, Krzysztof Wodiczko\, focusing on major themes in Wodiczko’s oeuvre such as war\, trauma\, and displacement. (https://un-war.com/)  \nPlease join us for a 5pm reception at the GC’s Segal Theater! \nFollowing the screening\, there will be a special discussion with Krzysztof Wodiczko\, director Maria Niro\, curator Micaela Martegani\, and artist and writer Gregory Sholette.  \nPlease RSVP for the event. Thank you!  \n \n\nKrzysztof Wodiczko combines media\, design\, and technology to create large-scale projections on monuments and institutional facades\, which explore the relationships between communities\, history\, and public space. Wodiczko is also known for interactive instruments and vehicles that empower marginalized individuals and communities and give light to societal injustices. He is former director of the Interrogative Design Group at MIT\, and Emeritus Professor in Residence at the Graduate School of Design at Harvard University. A recipient of the Hiroshima Art Prize in 1998 “for his contribution as an international artist to world peace\,” Since 1985 he held many major retrospectives at such institutions as the MIT List Visual Arts Center\, Boston\, Walker Art Center\, Minneapolis; Museum Sztuki\, Lodz; Fundacio Tapies\, Barcelona; Wadsworth Athenaeum\, Hartford CT; La Jolla Museum of Contemporary Art\, San Diego; Contemporary Art Center\, Warsaw; the Zacheta National Gallery of Art\, Warsaw\, DOX Contemporary Art Center\, Prague\, Muzeum Sztuki Lodz\, Poland ( 2015) and in FACT Foundation for Art Culture and Technology in Liverpool (2016). \nMaria Niro is a New York City-based artist\, filmmaker\, and a member of New Day Films – a filmmaker owned and run distribution company providing social issue documentaries to educators since 1971. Her work includes long-form documentaries and experimental Shorts. Niro’s films have screened and exhibited in galleries\, museums\, and theaters worldwide including the Teatro San Carlo in Naples Italy at Artecinema Festival\, National Gallery of Art in DC\, Harvard Art Museums\, Whitechapel Gallery\, Microscope Gallery\, Queens Museum\, Lincoln Center for the Performing Arts\, Anthology Film Archives\, Exit Art Gallery\, and many others. \n \nMicaela Martegani is an art historian\, teacher\, curator\, and producer. In 2004\, Martegani founded the nonprofit organization More Art as a way to make contemporary art more accessible to the general public and render it a tool for connection and empathy in fractured communities. Since then\, she has acted as Executive Director and Chief Curator for the organization\, curating over 60 community-based and socially-engaged art projects with both established and mid-career artists\, including Krzysztof Wodiczko\, Shimon Attie\, Mary Mattingly\, Andres Serrano\, Joan Jonas\, Kimsooja\, Xaviera Simmons\, Pablo Helguera\, Sari Carel\, Mary Mattongly\, and Fred Wilson. She earned undergraduate and graduate degrees in Art History at the Università Cattolica of Milan\, Italy\, and New York University\, respectively\, worked as a consultant to contemporary art galleries and collectors\, published in art magazines and catalogs and lectured extensively. She is Adjunct Professor at the School of Visual Arts in New York. \nGregory Sholette is a New York-based artist\, writer\, activist and curator of Imaginary Archive: a peripatetic collection of documents speculating on a past whose future never arrived. His art and research theorize and document issues of collective cultural labor\, activist art\, and counter-historical representation. Sholette received his PhD from the University of Amsterdam\, the Netherlands in 2017\, and is a graduate of the Whitney Independent Study Program in Critical Theory (1996); UC San Diego Visual Art Program (MFA: 1995). He is also co-founder of several art collectives including Political Art Documentation/Distribution (1980-1988); REPOhistory (1989-2000); and Gulf Labor Coalition (2010 ongoing)\, and author of Delirium and Resistance: Activist Art and the Crisis of Capitalism (2017); Dark Matter: Art and Politics in the Age of Enterprise Culture (2011); Art As Social Action (with Chloë Bass: 2018)\, and The Artist as Activist from Lund Humphries (2021). Along with his colleague Chloë Bass\, Sholette co-directs Social Practice CUNY (SPCUNY)\, a new\, Andrew W. Mellon Foundation-funded art and social justice initiative. \n\n  \nVisitors to the Graduate Center must provide proof that they are fully vaccinated against COVID-19 or have had a negative COVID-19 molecular (PCR) test performed no more than seven days prior to the visit. Faculty\, staff\, and students with verified proof of vaccination will use the CUNY Access Pass in Cleared4 to enter the Graduate Center. Please follow the steps outlined in the Building Entry Policy. \n\nThe event is supported by Social Practice Queens\, Galerie Lelong\, Polish Cultural Institute\, New York\, and the CUNY Central Office of Veteran Affairs. The Art of Un-War was made possible with additional funding by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature\, Galerie Lelong\, Museum of Modern Contemporary Art (Seoul S. Korea)\, Puffin Foundation\, The Polish Cultural Institute of NY\,  private donations and by the individuals who’ve contributed to the crowdfunding campaign for the film. \n  URL:https://artscienceconnect.gc.cuny.edu/event/the-art-of-un-war-a-screening-discussion-with-krzysztof-wodiczko/ LOCATION:Segal Theater\, CUNY Graduate Center\, 365 5th Ave\, New York\, NY\, 10016\, United States ATTACH;FMTTYPE=image/jpeg:https://artscienceconnect.gc.cuny.edu/files/2022/09/aouw.jpeg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20220428T120000 DTEND;TZID=UTC:20220428T130000 DTSTAMP:20260503T065721 CREATED:20220328T212038Z LAST-MODIFIED:20220516T205657Z UID:1081-1651147200-1651150800@artscienceconnect.gc.cuny.edu SUMMARY:Computer Art Festivals Panel #2: Digital Art and Institutional Models DESCRIPTION:Rebecca Cleman\, Auriea Harvey\, Kelani Nichole\, Lumi Tan\, Addie Wagenknecht\, and Tina Rivers Ryan discuss digital art and curation.\n\n\n\nAt the time of the Computer Art Festivals in the 1970s\, art made with computers was largely the domain of institutions. From university and private research laboratories to alternative arts organizations and galleries\, institutions were necessary to steward expensive equipment\, facilitate information exchange\, and build context for emerging forms. In the intervening decades\, computer art (now referred to as digital art) has transformed considerably alongside the rapid development of technology and digital culture\, and drastic shifts in public and private funding structures. With the advent of personal computing and ostensibly decentralized distribution\, the role of such institutions in producing and shaping the context of art made with computers has been questioned and reconfigured. This conversation will engage contemporary artists and institutional voices to consider the role of institutions in digital art today. Has technology made such institutions redundant\, or more critical than ever? What roles might institutions play in supporting emerging digital practices\, now and in the future? \n\nDr. Tina Rivers Ryan is a curator of contemporary art at the Albright-Knox Art Gallery (soon to be the Buffalo AKG Art Museum) and an expert in the field of art and technology from the 1960s to the present\, including digital and internet art. She has published widely on topics ranging from glitch art to virtual reality\, and is particularly interested in the institutional history of digital art and the practice of curating digital art in physical spaces. Her most recent projects include essays on the rise of NFTs for Artforum and Art Review and (with Paul Vanouse) the 2021 exhibition Difference Machines: Technology and Identity in Contemporary Art\, which surveyed thirty years of artworks that explore the relationship between digital tools\, representation\, and justice. She holds five degrees in art history\, including a BA from Harvard and PhD from Columbia. Her work can be found at www.TinaRiversRyan.com \n \nKelani Nichole is a technologist\, collector and founder of TRANSFER\, an experimental gallery focused on simulation in contemporary art since 2013. In addition to founding and running a leading digital art gallery\, Kelani has worked in the tech industry for 15 years with a specialty in UX and product development. In 2018 she invented a new model for distributed cultural infrastructure with The Current\, a non-profit museum collection rethinking patronage and access for Time-based Media Art. Her work over the past ten years has focused on expanding an understanding of conservation and preservation through applied research and experiments with a global community of artists and institutions. \nAuriea Harvey is an artist based in Rome. She works with 3D printing\, AR and physical sculptural processes to bridge the digital and physical\, the possible and impossible. The work is presented as sculptures\, drawings and simulations that blend digital and handmade production. Auriea is primarily concerned with mythology and storytelling through form\, interaction and immersion. Her work can be found in the permanent collections of the Walker Art Center\, San Francisco Museum of Modern Art\, the RF.C Collection\, and Rhizome’s Net Art Anthology. Her videogames and VR works have had international success\, including exhibitions at the Tinguely Museum\, Basel; the Victoria & Albert Museum\, London; the New Museum\, New York; and ZKM\, Karlsruhe. Auriea is represented by bitforms gallery\, NYC. \nLumi Tan is Senior Curator at The Kitchen in New York\, where she has organized exhibitions and produced performances with artists across disciplines and generations since 2010. Most recently\, Tan has worked with E. Jane\, Baseera Khan\, Autumn Knight\, Efraín Rozas\, Kenneth Tam and Alex Tatarsky. Previous projects include those with Kevin Beasley\, Half Straddle\, Sahra Motalebi\, Sondra Perry\, The Racial Imaginary Insitute\, Danh Vo and Xiu Xiu\, and Anicka Yi. Prior to The Kitchen\, Tan was Guest Curator at the Fonds Régional d’Art Contemporain Nord Pas-de-Calais in France\, director at Zach Feuer Gallery\, and curatorial assistant at MoMA/P.S.1. Her writing has appeared in The New York Times\, Artforum\, Frieze\, Mousse\, Cura\, and numerous exhibition catalogues. She was the recipient of 2020 VIA Art Fund Curatorial Fellowship.\n \nAddie Wagenknecht’s work explores the tension between expression and technology. She seeks to blend conceptual work with forms of hacking and sculpture. Previous exhibitions include MuseumsQuartier Wien\, Vienna\, Austria; La Gaîté Lyrique\, Paris\, France; The Istanbul Modern; Whitechapel Gallery\, London and MU\, Eindhoven\, Netherlands. In 2016 she collaborated with Chanel and I-D magazine as part of their Sixth Sense series and in 2017 her work was acquired by the Whitney Museum for American Art. Her work has been featured in numerous books\, and magazines\, such as TIME\, Wall Street Journal\, Vanity Fair\, Art in America\, and The New York Times. She holds a Masters degree from the Interactive Telecommunications Program at New York University\, and has previously held fellowships at Eyebeam Art + Technology Center in New York City\, Culture Lab UK\, Institute HyperWerk for Postindustrial Design Basel (CH)\, and The Frank-Ratchye STUDIO for Creative Inquiry at Carnegie Mellon University. \nRebecca Cleman is the executive director of Electronic Arts Intermix\, a leading international resource for video and media art. EAI’s core program is the distribution and preservation of a major collection of over 4\,000 new and historical media works by artists\, ranging from seminal videos by pioneering figures\, such as Nam June Paik\, Ulysses Jenkins\, and Joan Jonas\, to new digital works by Maggie Lee and Frank Heath. \n  \nImage Credit: Installation shot of Addie Wagenknecht\, XXXX.XXX\, 2014\, photograph by John Berens \nThe event is organized by Helena Shaskevich\, Ph.D. Candidate at the CUNY Graduate Center’s Art History Department.  \n  URL:https://artscienceconnect.gc.cuny.edu/event/computer-art-festivals-panel-2-digital-art-and-institutional-models/ LOCATION:The Skylight Room (9100) and Elebash Recital Hall\, The Graduate Center\, CUNY\, 365 5th Avenue\, New York\, NY\, 10016\, United States ATTACH;FMTTYPE=image/png:https://artscienceconnect.gc.cuny.edu/files/2022/03/image-3.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20220324T120000 DTEND;TZID=UTC:20220324T133000 DTSTAMP:20260503T065721 CREATED:20220328T212934Z LAST-MODIFIED:20220428T151346Z UID:1070-1648123200-1648128600@artscienceconnect.gc.cuny.edu SUMMARY:Computer Art Festivals Panel: A Conversation with Original Participants DESCRIPTION:First organized by Dimitri Devyatkin in 1973\, the Computer Art Festivals were an instrumental forum for the convergence of art and computing technology at a formative moment in the histories of computer art. Within the short span of their three years — taking place at The Kitchen in 1973 and ’74 before relocating to the CUNY Graduate Center in 1975 — the festivals brought together over 100 different artists\, showcasing prescient experiments with computers from a wide array of disciplines\, including music\, film\, video\, and graphic sculpture. \nIn this conversation with the festival’s early organizers and participants\, EAI and the CUNY Graduate Center will consider computer art’s early history and its entanglement with the multidisciplinary spirit of intermedia art\, as well as the role of institutions including public funding structures\, arts organizations\, and universities in cultivating a rich context and support network for emerging media art. \nDimitri Devyatkin is a native New Yorker\, a director\, producer\, screenwriter\, video artist\, and journalist. He earned a BA degree at CUNY. Dimitri worked closely with Woody and Steina Vasulka in The Kitchen video theater in 1971-73\, as well as with Nam June Paik\, Charlotte Moorman\, George Stoney\, and other luminaries in video art\, Fluxus\, and Avant Garde art. Devyatkin studied documentary film directing at VGIK\, the Moscow Cinema Institute\, and worked for CBS News\, Moscow bureau and WTN News. He produced several award winning documentaries for ABC\, PBS\, Channel Four UK\, FR3 French TV.\nLouise (Etra) Ledeen began working as a video artist in the early 1970s\, intrigued by the characteristics of transmitted light vs. the reflective color of painting and the ability to create kinetic and temporally evolving “canvases.” She worked with her then husband\, Bill Etra\, and partner Steve Rutt\, to build the Rutt/Etra analog video synthesizer which was the primary instrument for her video artwork. Her later computer art curatorial efforts culminated in the 1985 SIGGRAPH Art Show in San Francisco\, which later travelled to Spain and Japan. Louise has continued to work at the intersection of technology and media arts throughout her career. Her current area of research is to accelerate the restoration of scientific and cultural heritage films using AI and networked collaboration. \nAlison Knowles\, 1933\, New York City. From the early 1960’s to today\, Knowles made appearances and exhibitions throughout the Americas\, Europe and Asia. Her collaborators have included John Cage\, Marcel Duchamp\, Nam June Paik\, Dick Higgins & George Maciunas. She is a founding Member of Fluxus\, a participant in the inaugural Fluxus concerts\, Wiesbaden\, Germany\, 1962 & returned for the 50th anniversary in Wiesbaden\, 2012. Since the 1960’s her works have introduced chance combinatorial & relational interventions in everyday life. Knowles holds a BFA from Middlebury College\, Vermont; MFA Pratt Institute\, and Honorary Doctorates from PRATT Institute\, Columbia College & Main College of Art. In June\, 2021\, with the collaboration of tinyBe\, the Museum Wiesbaden & World’s Advanced Saving Project (WASP)\, she designed & produced a 3D printed mud building by combining her own artistic process with output from her computer generated work\, The House of Dust (1967/2021)\, Wiesbaden\, Germany. \nJoshua Selman\, 1958\, New York City\, is an artist & composer whose intermedia practice combines public space intervention\, large-scale installation\, cultural strategy\, and critical journalism. His sound work is archived on Westdeutscher Rundfunk\, Cologne\, Germany. He’s also known for viral activities\, performances and objects\, some of which were included in a Whitney Museum Ray Johnson retrospective. Collaborations include Fluxus founders Alison Knowles and late intermedia theorist Dick Higgins. He first exhibited as an intermedia artist at the Fluxus venue\, Emily Harvey Gallery\, Soho\, NYC\, 1994. His participation in several artist organized biennials known as Construction in Process led to a post as Executive Director of the International Artists Museum\, New York Center\, 1997. He’s also a commercial innovator in social networks\, and referenced for prior art in a Facebook patent\, 2008. In 2003\, Selman launched a a new media-based arts organization\, Artist Organized Art\, who later took over the publishing of New Observations magazine with a mandate to relaunch the seminal arts publication. \nCharles Dodge is recognized as an innovative composer\, a distinguished educator and\, lately\, an inventive wine and spirits maker. Dodge’s music used computers to enrich the range of sounds in music and to extend aspects of the compositional process itself. His Earth’s Magnetic Field (1970) was the first musical example of “Sonification\,” using a computer to “listen to” a collection of data. Dodge also made some of the first musical works where the computer sounds embodied synthesized speech. His compositional work was recognized with grants and awards from the Guggenheim Foundation\, the American Academy of Arts and Letters\, the Rockefeller Foundation and others\, and commissioned by the Fromm Music Foundation\, Nonesuch Records\, the Los Angeles Philharmonic\, the M.I.T. Experimental Music Studio\, the Bourges Electro-Acoustic Music Festival\, and others. As a professor of music\, Dodge initiated the graduate study of computer music at Columbia University and founded The Center for Computer Music at Brooklyn College\, CUNY. He is the co-author\, with Thomas A. Jerse\, of Computer Music: Synthesis\, Composition and Performance (Schirmer Books\, 1985; 2nd edition\, 1996). \nMichelle Kuo is an American curator\, writer\, and art historian. In 2018\, Kuo was appointed the Marlene Hess Curator of Painting and Sculpture at the Museum of Modern Art (MoMA)\, where she has organized several significant exhibitions including New Order: Art and Technology in the Twenty-First Century. Prior to MoMA\, Kuo was the editor-in-chief of Artforum magazine starting in 2010. URL:https://artscienceconnect.gc.cuny.edu/event/computer-art-festivals-panel-a-conversation-with-original-participants/ LOCATION:The Skylight Room (9100) and Elebash Recital Hall\, The Graduate Center\, CUNY\, 365 5th Avenue\, New York\, NY\, 10016\, United States ATTACH;FMTTYPE=image/png:https://artscienceconnect.gc.cuny.edu/files/2022/03/Computer-Art-Festival.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20220210T140000 DTEND;TZID=UTC:20220210T150000 DTSTAMP:20260503T065721 CREATED:20220127T185034Z LAST-MODIFIED:20220330T002108Z UID:1056-1644501600-1644505200@artscienceconnect.gc.cuny.edu SUMMARY:Atmospheric Memory: Barbara London in conversation with Rafael Lozano-Hemmer DESCRIPTION:Rafael Lozano-Hemmer: Atmospheric Memory. Photo: Antimodular \n  \nThe Graduate Center’s Art Science Connect is delighted to host curator and writer Barbara London in conversation with Rafael Lozano-Hemmer\, the celebrated media artist working at the intersection of architecture and performance art. Lozano-Hemmer creates platforms for public participation using technologies such as robotic lights\, digital fountains\, computerized surveillance\, media walls\, and telematic networks. Inspired by phantasmagoria\, carnival\, and animatronics\, his light and shadow works are “anti-monuments for alien agency”. London and Lozano-Hemmer will discuss the artist’s latest work\, “Atmospheric Memory\,” a hybrid exhibition-performance encompassing soundscapes\, kinetic sculptures\, immersive environments and interactive light installations\, all exhibited together with original 19th-century artifacts. \nRafael Lozano-Hemmer was born in Mexico City in 1967. In 1989 he received a B.Sc. in Physical Chemistry from Concordia University in Montréal\, Canada. During his dynamic career\, the artist has received many awards and his work has been exhibited internationally. In 2007\, he was the first artist to represent Mexico at the Venice Biennale. \n  \n Barbara London is a curator and writer who founded the video and media exhibition and collection programs at The Museum of Modern Art\, where she worked between 1973 and 2013. She organized one-person shows with such media mavericks as Laurie Anderson\, Peter Campus\, Teiji Furuhashi\, Gary Hill\, Joan Jonas\, Shigeko Kubota\, Nam June Paik\, Song Dong\, Steina Vasulka\, Bill Viola\, and Zhang Peili. Currently she is producing Season 2 of her podcast series\, Barbara London Calling https://www.barbaralondon.net/. Her book\, Video/Art\, the First Fifty Years\, was published by Phaidon in January 2020. She curated the exhibition “Seeing Sound” (Independent Curators International)\, 2021-2026. She lives in Manhattan. URL:https://artscienceconnect.gc.cuny.edu/event/atmospheric-memory-barbara-london-in-conversation-with-rafael-lozano-hemmer/ LOCATION:NY ATTACH;FMTTYPE=image/png:https://artscienceconnect.gc.cuny.edu/files/2022/01/image-2-1-1.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20211216T160000 DTEND;TZID=UTC:20211216T173000 DTSTAMP:20260503T065721 CREATED:20211129T231538Z LAST-MODIFIED:20220207T163431Z UID:1037-1639670400-1639675800@artscienceconnect.gc.cuny.edu SUMMARY:Transitional Environments: Patty Chang and Diane Burko in conversation with Jonathan Gilmore and Peter Eckersall DESCRIPTION:In our time\, environments are remade\, exploited\, terraformed\, and subjected to massive forces of extreme weather. Our landscapes — the fauna and flora\, as well as the geo-scene of mountains\, sea\, forests\, and glaciers — are all set in a constant state of transition. Some impacts of this transition are felt and seen everywhere. But others abide by nonhuman measures of deep time and slow transitions. They come into our focus only intermittently\, such as when an ice shelf collapses into the ocean. \n  \n\nWith Transitional Environments\, we ask how artists respond to such transitional environments and their decidedly nonhuman scales\, rhythms\, and implications. Artists  Diane Burko and Patty Chang will join GC professors Jonathan Gilmore and Peter Eckersall to consider art’s possibilities and strategies of engagement with climate science\, geology\, and meteorology. How does art help us to imagine environmental utopias or dystopias\, or mark changes to our environment and to our lives within it? If\, as Bifo Berardi claims\, the earth itself is “rebelling against the world\,” how do artists act as witnesses\, resisters\, and symbolic transformers in this struggle? \n\n\n  \nWhile Diane Burko’s artistic practice began with monumental geological phenomena\, in recent years she turned to focus exclusively on climate change: glacial melt and sea level rise\, coral reef ecosystems\, extraction\, deforestation\, and forest fires. Informed by scientific research as well as extensive witnessing trips\, Burko’s arresting art provocatively merges the panoramic and the intimate\, the scientific and the sensuous. Her work can be found in collections such as The Art Institute of Chicago\, the National Academy of Sciences\, the Philadelphia Museum of Art\, and the Zimmerli Museum. She is professor emerita from Community College of Philadelphia\, and has also taught at Princeton University\, ASU\, and PAFA. She has received numerous awards including from the NEA\, PA Council on the Arts Awards\, Independence Foundation\, and residences in Giverny\, Bellagio and the Arctic Circle. \n\nPatty Chang is a Los Angeles based artist and educator who uses performance\, video\, installation and narrative forms when considering identity\, gender\, transnationalism\, colonial legacies\, the environment\, large-scale infrastructural projects and impacted subjectivities. Her museum exhibition and book “The Wandering Lake” investigates the landscapes impacted by large scale human-engineered water projects such as the Soviet mission to irrigate the waters from the Aral Sea\, as well as the longest aqueduct in the world\, the North to South Water Diversion Project in China. In addition to numerous awards and fellowships\, her work has been exhibited at institutions such as the Museum of Modern Art\, Guggenheim Museum\, New Museum\, M+ Museum in Hong Kong\, and Moderna Museet in Stockholm\, Sweden. She teaches at the University of Southern California in Los Angeles\, CA. \n Jonathan Gilmore is Associate Professor of Philosophy at the Graduate Center and Baruch College and Co-Editor (as of 2023) of The Journal of Aesthetics and Art Criticism.  His work in the philosophy of art draws on both empirical research in cognitive science and historical and critical scholarship in the humanities.  He is also an art critic\, publishing regularly in major art journals and exhibition catalogs.  His 2020 book\, Apt Imaginings: Feelings for Fictions and Other Creatures of the Mind\, addresses how our engagements with imagined states of affairs compare to our encounters with the everyday world. \n  \n\nPeter Eckersall teaches in the Ph.D. program in Theatre and Performance at The Graduate Center\, City University of New York and is a Professorial Fellow\, University of Melbourne. Recent publications include: Machine Made Silence (ed. with Kristof van Baarle\, 2020)\, The Routledge Companion to Theatre and Politics (ed. with Helena Grehan\, 2019)\, New Media Dramaturgy (co-authored with Helena Grehan and Ed Scheer\, 2017)\, and Performativity and Event in 1960s Japan (2013). He was co-founder/dramaturg of Not Yet It’s Difficult. Recent dramaturgy includes: Everything Starts from a Dot (Sachiyo Takahashi\, LaMama)\, Phantom Sun/Northern Drift (Alexis Destoop\, Beursschouwburg\, Riga Biennial). \n\n  \n  URL:https://artscienceconnect.gc.cuny.edu/event/transitional-environments-patti-chang-and-diane-burko-in-conversation-with-jonathan-gilmore-and-peter-eckersall/ LOCATION:The Skylight Room (9100) and Elebash Recital Hall\, The Graduate Center\, CUNY\, 365 5th Avenue\, New York\, NY\, 10016\, United States ATTACH;FMTTYPE=image/png:https://artscienceconnect.gc.cuny.edu/files/2021/11/image.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20211211T140000 DTEND;TZID=UTC:20211211T153000 DTSTAMP:20260503T065721 CREATED:20211018T191245Z LAST-MODIFIED:20221202T170920Z UID:1029-1639231200-1639236600@artscienceconnect.gc.cuny.edu SUMMARY:Algorithmic Sound 9: Matthew Ryals DESCRIPTION:Matthew Ryals is a musician\, sound designer\, and educator based in Brooklyn\, NY. Primarily working with a modular synthesizer\, his music explores aleatoricism\, cybernetics\, and unfixed forms. Currently\, his research investigates human-machine collaboration and the co-authorship of the resultant material. Tiny Mix Tapes has described his music as “filter[ing] the emotion of the human experience through the cold circuitry of electronics”. \nHis second album\, Voltage Scores\, was released October 8th\, 2021 on Oxtail Recordings. Inspired by free jazz methodology\, the entire album was recorded live without overdubs during the COVID-19 pandemic and merged free improvisation\, generative processes\, and the multi-sectional forms of classical composition. The album opener features world renowned cellist\, Clarice Jensen\, who has collaborated with Bjork and Max Richter. Matthew’s solo output is spread across Oxtail Recordings (Sydney\, AU)\, Post Season Franchise Records (NYC\, US)\, Low Hanging Fruit (Cologne\, DE) and his own imprint\, Behind Glass Records (NYC\, US). \nMatthew Ryals – matthewryals.com/ | interview with 15 questions \nAlgorithmic Sound Series – linktr.ee/algosound \nOrganized & Hosted by Jacob Sachs-Mishalanie – jsmishalanie.com/ URL:https://artscienceconnect.gc.cuny.edu/event/algorithmic-sound-9-matthew-ryals/ LOCATION:The Skylight Room (9100) and Elebash Recital Hall\, The Graduate Center\, CUNY\, 365 5th Avenue\, New York\, NY\, 10016\, United States ATTACH;FMTTYPE=image/jpeg:https://artscienceconnect.gc.cuny.edu/files/2021/10/Ryals-insta.jpg END:VEVENT END:VCALENDAR