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The breathing scores (solo version) are all in one place, and formatted in a way that makes them friendly for sharing. Let me know if you want to try them out or read a pdf and not just look at the gif. If you want to perform them and record, I have a special pdf for that

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Twyla Tharp is now being featured on PBS documentary! 

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Twyla Tharp is now being featured on PBS documentary! 

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https://www.pbs.org/video/twyla-moves-xovfoh/

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American Masters
Explore legendary choreographer Twyla Tharp's career and famously rigorous creative process, with original interviews, first-hand glimpses of her at work and rare archival footage of select performances from her more than 160 choreographed works.

Aired: 03/26/21

Expires: 04/23/21

Rating: TV-G

Problems Playing Video? Report a Problem |

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American Masters | Twyla Moves | Season 35

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American Masters Explore legendary choreographer Twyla Tharp's career and famously rigorous creative process, with original interviews, first-hand glimpses of her at work and rare archival footage of select performances from her more than 160 choreographed works. Aired: 03/26/21 Expires: 04/23/21 Rating: TV-G Problems Playing Video? Report a Problem |

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Learn about Rare Digital Items with Sothebys and Jon Ippolito from NMD department

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The Wizard of Speed and Time Original Short 1979

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Four Sacred Medicines Graduate Symposium Presentation

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Four Sacred Medicines Graduate Symposium Presentation

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I entered this book into the Graduate Student Symposium Presentation. In the presentation I talk about medicine wheels, why I used the International Phonetic Alphabet to try to phonetically translate the Penobscot words I was using, how I made it and I read two pages of the book. If you would like to see the video it's a little bit over five minutes long.

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606. Four Sacred MedicinesCategory: ArtGraduateDr. Susan Smith

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I'm trying to see what sorts of sounds I can get without too much manipulation of bottles. It sounds interesting when you put them to your ears. What else can happen? Here was a test of if I could magnify what it sounds like inside the bottle.

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just a little goofing around

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I realized I haven't shared this with everyone yet. I've glued all the pages together and have put them together in this book form. Right now I'm finalizing how the text will be written about each plant.

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Welcome to Neptune. What does it sound like?

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Project TBD

My housemate recently finished my gin. I was consuming it very slowly and he offered to finish the last shot, which had been sitting untouched for months, so we have more counterspace. I wanted the empty bottle. It's pretty and glass so I figured it might have future use.

I brought it upstairs,  let it sit on the shelf, and, like a good flute player, eventually picked it up and blew over it. It was a nice sound. I played with it for around a week I then decided to find as many more as I could in the house.

This process started in the last couple weeks, I just forgot to document.

These are my new noisemakers! Am not sure what I will do with them yet. But they are , in some ways, less likely to crack or go out of tune due to temperature changes than my flutes, so I look forward to unraveling what I can do with them.

The left most bottles are lowest, the pitch gets progressively higher as we move to the right.

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Not urn related, but something I've been working on for the projection event coming up

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from images my friends were discussing across various platforms.

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from IIMD530, food and art with Susan. The dish is "Coconut and Palm Sugar Semifreddi"

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This is one of the finished 3D printed urns, sorry about the background

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with the lack of studio time, I have been using the play time with my daughter to create prototypes for future projects.

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wether you are interested in socially engaged art practices, or in Wabi Sabi  class or not, this is a cool article about one of the amazing art power.

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The fight to survive lies at the heart of Kyohei Sakaguchi's world, whether he is writing self-help books, painting, creating a suicide help line, or designing recycled housing.

A "zero yen house" designed by the Japanese artist and architect Kyohei Sakaguchi to be constructed with little or no money. Credit... Kyohei Sakaguchi

KUMAMOTO, Japan - A week before the artist, author and architect Kyohei Sakaguchi planned to move into one of his celebrated "zero yen" houses, built from recycled materials, the catastrophic 2011 earthquake struck Japan. A tsunami engulfed the Tohoku region and the Fukushima Daiichi nuclear power plant collapsed. He had recently begun treatment for bipolar disorder. Overwhelmed, he left Tokyo and headed back home to the verdant coastal city of Kumamoto in southwest Japan, and abandoned the recycling project.

But what started off as artistic abandonment in fact marked an artistic shift. "After the earthquake, I got very depressed and suicidal, and I started to think about how to really care for myself," Sakaguchi said in a phone interview. "That's when I started to publish my phone number."

It was the birth of a new suicide help line, directly to Sakaguchi's personal cellphone. Leveraging his large online following, he began receiving calls from people, at first five a day, and eventually, close to 100. The volume of phone calls has only climbed with the pandemic, where suicides in Japan have been on the rise.

In returning to Kumamoto, Sakaguchi got a fresh start. While a modern city in the center, Kumamoto is just 30 minutes from both lush mountains and a tranquil sea. Sakaguchi moved into a neighborhood that was once the city's historical center, and a walk around the block revealed 19th-century buildings and a traditional paper maker. The view from his vegetable farm by the sea frames what was a secret trading port for Chinese and Korean ships during the isolationist Edo period.

Image

Exploring his heritage in Kumamoto and coping with bipolar disorder led Sakaguchi to all sorts of artistic forays. He wrote practical self-help books and answered phone calls, he painted abstract art and wrote experimental fiction.

"I think art is a technique for life," he said. "I do what I do in order to keep living."

Sakaguchi's career began in architecture school (he graduated from Waseda University in 2001), where he was intrigued by a government report that estimated that there were 6 million vacant houses in Japan. "I asked my professor why we had to build new houses," he said. "I thought it was very strange. I started thinking, is there a way to become an architect without building a house?"

He started to pay attention to people living on the streets of Tokyo who were building houses of their own - just not conventional ones. These houses are made from everything: cardboard boxes, scrap wood, vinyl sheets, discarded books, old telephone booths, reed screens. They're furnished with art and some are equipped with electrical appliances powered by solar generators.

While some of these dwellings may violate local laws, Japan's powerful constitution, which guarantees human rights and minimum standards of living, protects them and their builders. Through these houses, Sakaguchi saw a different way of thinking about architecture, and embarked on a full-fledged study.

Sakaguchi published a guide and an appreciation in the form of a photographic essay book, "Zero Yen House," in 2004 showcasing the varied designs, and later held exhibitions and talks in Philadelphia, Berkeley, Calif., Nairobi, Kenya, as well as in Vancouver and Banff, Canada. The range of styles is remarkable: a mobile cardboard home built on a wooden cart, a house made out of a discarded playground slide, and even a house that incorporates a Shinto shrine. He went on to make videos on how to build your own mobile house.

"Sakaguchi's work is part of a larger movement of artists responding to precarious and unsustainable aspects of Japanese society, as experienced in the cycles of boom, bust, and natural disasters over the past few decades," said Jennifer Pastore, an editor for the art news site Tokyo Art Beat. The architect Shigeru Ban, for example, is well known for his temporary shelter and disaster housing. After Fukushima, Sakaguchi refurbished a crumbling house in Kumamoto as refugee housing and called it the "Zero Center." At one point, 30-40 families displaced from Fukushima were living there.

"These houses are built on a shoestring budget by diverting and recycling the rubbish thrown away on the street," Sakaguchi wrote for a 2006 exhibition at the Vancouver Art Gallery. "In this respect, these houses are built out of the resourcefulness of human nature, not by purchasing power."

His interest in alternative dwellings stems from his disdain for the inequities in land ownership and housing in Japan. But as a chronic pessimist - "I think that society doesn't change" - he is more interested in inventing new societies than in altering the present one.

After Fukushima, Sakaguchi engaged in various forms of artistry, at first as a form of self-care. "When I'm manic, I want to make a new government, create zero yen houses, but when I'm depressed, I want to write, I want to paint," he said. His 2016 exhibition at the prestigious Trax gallery in Yamanashi Prefecture featured intense oil paintings: red, gray, teal, scratched and scarred depictions of torment, capturing the depths of depression that inspired him to start speaking with other suicidal people.

"There are suicide hotlines [in Japan], but oftentimes, you can't reach a professional," he said. "If 100 people call, 90-plus don't get answered. As long as I was manic, I figured, let me do it myself."

Sakaguchi said he had talked to more than 20,000 people since he started taking calls. In his 2020 book, " Kurushii Toki wa Denwa Shite " ("Call Me When You're in Pain"), he wrote about his experiences with suicidal thoughts, answering calls from strangers, and his recommended strategies for coping. "I think my limit is talking to about 10 people a day," he wrote.

Recognizing that he's not a doctor, Sakaguchi approaches the task like an addict talking to other drug abusers. As Sakaguchi put it, "they're asking their druggie senpai [upperclassman] how to cope with a bad trip." He said he takes an active approach on these calls, giving callers assignments, tips and new directions to take their brains.

"As an architect, I couldn't build buildings," Sakaguchi said. "But when talking to [suicidal] people, I'm building buildings. You don't need land. You don't need an architect. Just a voice."

"Call Me When You're in Pain" is part of a self-help trend in Sakaguchi's recent nonfiction writing. Last year, he also wrote a resource for self-care titled "Make Your Own Medicine." And perhaps his most-well known published work is his best-selling book, " Build Your Own Independent Nation," in which he dissects ideas on government and land ownership, and proposes systems for economic and creative life. Alongside the book's 2013 release, his work was showcased in "Sakaguchi Kyohei: New Government Exhibition" at the Watari Museum of Contemporary Art in Tokyo, which displayed detailed plans and models for a whole society; he also performed original songs at a packed concert in Shibuya's Sakura Hall.

Sakaguchi points to his 2014 novel, " Genjitsu Dasshutsuron"("Thesis on Escaping Reality"), a philosophical confrontation with depression, as the source text for his approach to art during these years. He wrote experimental fiction; he recorded his dreams. His one-of-a-kind short story, "Forest of the Ronpa," was recently translated into English in Monkey magazine. Told from the perspective of a rat, the protagonist embarks on a journey across the sea and grapples with its dreams, destiny, and hunger. It represents Sakaguchi at his most introspective and elusive.

"The narrator is often inhabiting multiple states at once - past and present, asleep and awake, rat and human - and the language works to blur those lines," says the translator, Sam Malissa.

At the same time, Sakaguchi released guitar albums of folksy lullabies. Last year, he started a vegetable farm. The experience inspired him to turn to gentler pastel and landscape paintings for coping and consolation, now compiled in "Pastel," a new art book. Up until starting his farm, he had been painting every day, but never pictures of the real world.

"I had spent so long being overwhelmed by my inner world that I had never really seen the landscape around me," he writes in the introduction to the book(translated by Malissa). "I used to hate the sunset so much, but on my way back from the vegetable garden it looks beautiful to me."

It's easy to understand how Sakaguchi undertakes many different projects simultaneously - to him, everything is connected. He connects his vegetable garden to his art, his art to his depression, Kumamoto's history and literary heritage to his writing, and so on. This connectedness comes with the support and stability of his wife, Ryoko, and their children, who, at 12 and 7 years old, are now old enough to understand bipolar disorder. Sakaguchi uses the ingredients he grows in his garden for his family's daily meals. His studio is surprisingly sparse and organized for someone working on so many kinds of projects.

And while visual art and architecture may have formed the bulk of Sakaguchi's work, his career hinges more on his charisma and independence. "He has a strong reputation as a thinker," said Chiaki Noji, of Tokyo Art Beat. While Sakaguchi's work regularly shows in galleries, he doesn't have a strong relationship with the Japanese art scene. "He's less of a visual artist and more of his own construction," said Yusuke Hashizume, an editor at the art magazine Bijutsutecho.

Sakaguchi makes a living exclusively by selling his art and books to fans. This makes him a rarity among independent artists in Japan, who usually get by with either part-time jobs or grants and residencies. "My work is not being bought by art collectors," he said. "I'm not an activist, either. I consider myself a scholar."

Everything seems to happen at once with Sakaguchi, and this year is no different. It kicked off with a gallery of pastels in Tokyo, and he has three books coming out in the next six months before a new exhibition at Trax gallery in Hokuto. He has discussed working with the local government in Kumamoto on suicide prevention, but ultimately, Sakaguchi prefers to go at his own pace.

Above all, he'll be answering a ton of calls. The fight to survive lies at the heart of his art, no matter what direction the work itself takes.

"The best thing I can do is talk to someone on the phone," he said. "That's when I feel hope."

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The fight to survive lies at the heart of Kyohei Sakaguchi's world, whether he is writing self-help books, painting, creating a suicide help line, or designing recycled housing. KUMAMOTO, Japan - A week before the artist, author and architect Kyohei Sakaguchi planned to move into one of his celebrated "zero yen" houses, built from recycled materials, the catastrophic 2011 earthquake struck Japan.

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digital collage for food art class

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Adam Paul, Steven Norton, and I implemented the Small group score. We used Alto Clarinet, Medicine Ball, Dizi, and Human Body.

Thoughts after the first realization of my score.

- I need to fix my score. By fix, I mean reduce / make it simpler.
- People can easily get fuzzy headed if not used to deep breathing

There's lots of ambient noise from outside of our control. Different breathing rates mean comfortable might not be realistic. Leader concept doesn't work particularly well. Recording to make a recording would involve at least 3 mics .

Shall reimplement  sometime after redoing the score. Current instructions would probably not scale well.

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published on

Timed By Breath: Small Group, V. 20210306 Musicians: Adam Paul (Meditation Ball) Katarina Hoeger (Dizi in F) Steven Norton (Alto Clarinet) Score by Katarina Hoeger

Genre

Experimental

License: all-rights-reserved

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Timed By Breath: Small Group, V. 20210306 by Katarina Höger

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Timed By Breath: Small Group, V. 20210306 Musicians: Adam Paul (Meditation Ball) Katarina Hoeger (Dizi in F) Steven Norton (Alto Clarinet) Score by Katarina Hoeger

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In progress shot of 3D printing the first set of urns 

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In progress shot of 3D printing the first set of urns 

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I'm starting off smaller with memorial personal urns which are usually around 3in tall. An urn for an adult is usually 9in tall. I'm going to experiment with using these smaller ones as armatures to try out different materials. I'm also playing around with different shapes that aren't the traditional style.

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“A free art and abstract photography workshop for The National Parks of Emotion, a participatory project about the pandemic.”

The event is free but there’s a suggested donation of $25 if you can afford it. There’s a link to the project website in the Eventbrite description.

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national parks of emotion march art lab tickets

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Eventbrite - Mindy Stricke presents National Parks of Emotion March Art Lab - Thursday, March 18, 2021 - Find event and registration information.

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3/25 @4PM, Philosophy Colloquium featuring Steve Norton, IMFA alum 2019

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3/25 @4PM, Philosophy Colloquium featuring Steve Norton, IMFA alum 2019

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Soapboxing for the middle of the food chain - a presentation and discussion

Steve is a sound artist and musician who's research examines electroacoustic music, improvisation as a method, the environment, modernity, and society.

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Potential score for small group breath work attached. If you check it out and see anything concerning, please let me know. I'm working on making my scores as simple as possible, so do let me know if you think it should be revised.

Am also continuing to do historical research. All research is going in this folder. This week's artist explored - David Tudor: https://drive.google.com/drive/folders/1L9-PiStvH9a92ah7fBrzZrbP20aCFURK?usp=sharing

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Create a new document and edit with others at the same time -- from your computer, phone or tablet. Get stuff done with or without an internet connection. Use Docs to edit Word files. Free from Google.

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poster for a show I am developing with a friend 

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poster for a show I am developing with a friend 

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if all goes well, I may be asking you all to tune in for the premier!

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This is the version that was presented.

I'm going to make a few adjustments incorporating yesterdays, then replace the file. The links will be the same, but content may be titled differently, for organization purposes.

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Free Event: The Intersection of Artists' and Antiquarian Books

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Free Event: The Intersection of Artists' and Antiquarian Books

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This particular event is part of a larger one.  Here is the separate link to the rest of their events line-up in case anyone is interested.
https://fairs.abaa.org/programs

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the intersection of artists' and antiquarian books

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the intersection of artists' and antiquarian books tickets

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The Intersection of Artists' and Antiquarian Books

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Eventbrite - Antiquarian Booksellers' Association of America presents The Intersection of Artists' and Antiquarian Books - Friday, March 5, 2021 - Find event and ticket information.

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I work with time based media. Just in case you want to experience selected work  beforehand here are links.

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From Last Semester:
-----------------------------------------
It Happened This Year
Web VR gallery of stories from the past year.

https://it-happened-this-year.glitch.me/

or if that doesn't work, skim this blog post until you get to the relevant project, and see the video https://www.katarinahoeger.com/2021/01/26/artistic-research-web-vr-collaborations

-------------------------------------------
WORKS IN PROGRESS
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Timed by Breath (working title)
Solo, Katarina on Dizi F

This is kind of quiet. To hear the beginning and end, your volume needs to be high enough. Perhaps best listened to without headphones

Sound recording: https://drive.google.com/file/d/1StuH2woXWJksMaZh0nHmQYz81oy_PJOS/view?usp=sharing

Score: https://docs.google.com/document/d/1cT-5ualo7tZZdDO6rv7SU9OTS6Dw2jma7yfEEXkQAKU/edit?usp=sharing

--------------------------------------------------
Bela Exploration/ Creating Contact

A collection of exercises I have done that will help me build my goal (In person via sensors -> Room & Internet AND Online --> Room & Internet | sound & visuals for all). Some have been posted here already.

https://docs.google.com/document/d/1cT-5ualo7tZZdDO6rv7SU9OTS6Dw2jma7yfEEXkQAKU/edit?usp=sharing

---------------------------------------------------
Bonsai

At moment, they're really pre-bonsai

Pictures: https://photos.app.goo.gl/oK9UmSwe6HgcY8Sy8
Posts on Instagram (have text too): https://www.instagram.com/katihoeger/

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  2021 IEEE Workshop on Applications of Signal Processing  to Audio and Acoustics (WASPAA 2021)

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  2021 IEEE Workshop on Applications of Signal Processing  to Audio and Acoustics (WASPAA 2021)

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===========================================================

2021 IEEE Workshop on Applications of Signal Processing
to Audio and Acoustics (WASPAA 2021)

Mohonk Mountain House, New Paltz, NY, USA
Hybrid On-site/Online
17-20 October, 2021
www.waspaa.com

===========================================================

IMPORTANT DATES

- Paper submission deadline: April 28, 2021
- Notification of acceptance: July 7, 2021
- Camera ready and Demonstrations: July 27, 2021
- Early registration until August 22, 2021
- Workshop dates: October 17-20, 2021

The 2021 IEEE Workshop on Applications of Signal Processing to Audio
and Acoustics (WASPAA 2021) will be held simultaneously online and at
the Mohonk Mountain House in New Paltz, New York, and is supported by
the Audio and Acoustic Signal Processing technical committee of the
IEEE Signal Processing Society. The objective of this workshop is to
provide an informal environment for the discussion of problems in audio,
acoustics and signal processing techniques leading to novel solutions.
Technical sessions will be scheduled throughout the day. Afternoons
will be left free for informal meetings among workshop participants.
Papers describing original research and new concepts are solicited
for technical sessions on, but not limited to, the topics below.

In addition to papers presenting theoretical and practical advances,
WASPAA 2021 is seeking demonstrations of novel technologies in the
field. Demonstrations at WASPAA 2021 are intended to complement the
overall program of the workshop in order to present and discuss
practical achievements, challenges, and performance results of
innovative implementations, integrations, and prototypes.

PROPOSED TOPICS

Acoustic Signal Processing
- Source separation: single- and multi-microphone techniques
- Acoustic source localization and tracking
- Signal enhancement: dereverberation, noise reduction, echo reduction
- Microphone and loudspeaker array processing
- Acoustic sensor networks: distributed algorithms, synchronization
- Acoustic scene analysis: event detection and classification
- Room acoustics: analysis, modeling and simulation

Audio and Music Signal Processing
- Content-based music retrieval: fingerprinting, matching, cover song retrieval
- Musical signal analysis: segmentation, classification, transcription
- Music signal synthesis: waveforms, instrument models, singing
- Music separation: direct-ambient decomposition, vocal and instruments
- Audio effects: artificial reverberation, amplifier modeling
- Upmixing and downmixing

Audio and Speech Coding
- Waveform and parametric coding
- Spatial audio coding
- Sparse representations
- Low-delay audio and speech coding
- Digital rights

Hearing and Perception
- Hearing aids
- Computational auditory scene analysis
- Auditory perception and spatial hearing
- Speech and audio quality assessment
- Speech intelligibility measures and prediction

ORGANIZING COMMITTEE

- General Chairs:  Paris Smaragdis and Thushara Abhayapala
- Technical Program Chairs: Shoko Araki and Jonathan Le Roux
- Finance Chair:  Christine Evers
- Publications Chair: Prasanga Samarasinghe
- Publicity Chair: Ina Kodrasi
- Local Arrangement Chair: Michael S. Brandstein and Bengt Jonas Borgstrom
- Far East Liaison Chair: Shoji Makino and Wen Zhang
- Demonstrations Chair: Antoine Deleforge
- Awards Chair: Mark Plumbley
- Industry Liaison Chair: Zafar Rafii

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This is an animated short that I made for my time-based media class last week

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If anyone is looking for a chance to do some drawing outside of classes I'd take a look at the sketchbook project. They're based in Brooklyn and are a non profit. It's basically a library full of sketchbooks from different artists that you could see in person and contribute to.

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Brooklyn Art Library / The Sketchbook Project

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Brooklyn Art Library is now closed.

Some bittersweet news :: After 17 years, hundreds of thousands of book checkouts, over 50k sketchbooks created, thousands of miles traveled, the project is now closed.

As of May 1st, 2023, books are in transit to their new homes. Please allow some time to contact the new locations with questions.

Brooklyn Art Library no longer has any support staff and can no longer answer any questions.

READ : Final Article about the closing on Hyperallergic.

A LETTER FROM STEVEN PETERMAN, FOUNDER

Some bittersweet news :: After 17 years, hundreds of thousands of book checkouts, over 50k sketchbooks created, thousands of miles traveled, we are closing the project We have decided to fully shut down The Sketchbook Project and Brooklyn Art Library non-profit and gift the collection to other amazing institutions that can better care for the books.

It has been an honor and privilege to help manage this project. It was my entire life for over 17 years and I'm proud of what we've been able to accomplish as a global creative community

Thank you again for being a part of this amazing creative undertaking over the last 17 years, and for helping this community go to unimaginable places. It has been a life changing creative outlet for us and so many people. We can not thank you enough.

Steven Peterman

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Brooklyn Art Library / The Sketchbook Project

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A global art project that allows anyone to participate. Submit a sketchbook to be included in Brooklyn Art Library.

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Even if I end up doing something other than 3D printing, I'm starting to sus out some different urn designs.

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© Takuto Ohta

Organic objects that seem strangely alive, rubbish things move and evolve without the assistance of any form of motor. These wooden 'things' are sensitive to their environment, whether animate or inanimate, which dictates their movement.

Architect Takuto Ohta, born in France in 1993, is behind these intriguing sculptures. A graduate from Tokyo University of the Arts, he takes a particular interest in the relationships between humans and their creations. 'We create in an inorganic way. We use shapes, masses that are supposed to remain immobile. Fixed, bound by their own body, they appear almost powerless', the artist declares.

Glorifying uselessness

Although rubbish things do not appear to have any use at first glance, their ability to respond to the movements of a human body and lean on things that surround them gives them a certain consciousness. When pushed, they return to their original position, find comfortable places to settle, and seem to coexist, independently of us. Watching them move, we can only wonder: are they alive after all? Do they have a will of their own? 'In reality, my things move thanks to the wind, and the movement around them. They are made from 100 wooden rods in reference to centipedes, written in kanji as 百足, or 100 legs. The movements of this animal fascinate me. When one leg moves, all the others follow, in a sort of chain reaction', he explains.

Through this body of work, Takuto Ohta glorifies uselessness. His rubbish things, fascinating and somewhat frightening, allude to the multitudes of objects we consume on a daily basis and pile up in our homes. Does a creation have to be necessary in order for it to have a meaning? By constructing these wooden objects, the architect proves that a paltry accessory can still be captivating.

rubbish things (2019), a piece by Takuto Ohta, can be viewed on his website.

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Takuto Ohta Creates Strange, Moving Sculptures

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© Takuto Ohta Organic objects that seem strangely alive, rubbish things move and evolve without the assistance of any form of motor. These wooden 'things' are sensitive to their environment, whether animate or inanimate, which dictates their movement. Architect Takuto Ohta, born in France in 1993, is behind these intriguing sculptures.

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Sine wave plays when the circles bump into each other. pitch determined by cyan circle.

hard coded/ sloppily coded

This method works with sine waves, but would not work well with playback , I think, because of the method I use for abruptly stopping (just feeding 0s). but maybe it would with tweaking? continuation of feasibility tests

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Trying some patterns for the mask portion of the veil.

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2 photo competitions.  Found objects.  Animals

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A "found object" is a material artifact discovered by chance and assigned esthetic value in an artist's hand. Found art may include a wide array of objects and items either discarded, forgotten, dropped, or misplaced - such as shoes, a fork, shopping carts, signs, doll heads, abandoned cars, clocks, mementos, or any object that can be reimagined through the lens of a camera... so long as the artist believes that the discovered object possesses a certain aesthetic or talismanic quality - stemming from its appearance, social or personal history.

Submissions may be a study of the "found object" as pure visual form, detached from its history or utility. Conversely, the representation of the object may be a catalyst for exploring broader issues such as subjectivity and socialization, memory and loss, or love and death. All genres, capture types, color and black & white, traditional and non-traditional photographic and digital post-production processes are welcome for submission.

PRAXIS GALLERY | PHOTOGRAPHIC ARTS CENTER | MINNEAPOLIS | | 612-475-1605 | ALL IMAGES COPYRIGHT OF THE PHOTOGRAPHER ©2021

International Juried Photography Exhibition

Guest Curator | Laura Valenti

This exhibition is a celebration of the astonishing beauty and diversity found in the animal world. Praxis Gallery seeks the submission of photographic works that showcase animals' inner beauty, strength, character, resiliency, and wisdom. Compassionate images of companion animals, wild animals, farm animals, insects, and fish are all heartily welcomed. Show us the very best of your furry, scaly, feathery photographs! Images that showcase violence or inhumane treatment will not be considered. All genres, capture types, black & white and color, traditional and non-traditional processes, and digital post-production are all welcome for submission.

PRAXIS GALLERY | PHOTOGRAPHIC ARTS CENTER | MINNEAPOLIS | | 612-475-1605 | ALL IMAGES COPYRIGHT OF THE PHOTOGRAPHER ©2021

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CALLS FOR ENTRY | PRAXIS GALLERY | PHOTO CENTER | MINNEAPOLIS

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A "found object" is a material artifact discovered by chance and assigned esthetic value in an artist's hand. Found art may include a wide array of objects and items either discarded, forgotten, dropped, or misplaced - such as shoes, a fork, shopping carts, signs, doll heads, abandoned cars, clocks, mementos, or any object that can be reimagined through the lens of a camera...

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Here are some progress photos of the wizard's robe that I've been working on as a collaboration with Walter.

I started it last semester, but then took a break from it during the holidays. After a couple Goodwill runs and meeting up with Walter to get some more graphics, I have made significant progress on it during this past week.

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I have included a photo of the bela board, a screen from use, and a video of me using it

The focus of the current exercise:
- efficient generation of sine waves for microcomputers in c++
- generating sound via external inputs (mouse motion in this case)

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I am putting these prints together to create a book. Each plant is used for Native American ceremonies and healings. These four plants also have ties to the Medicine Wheel. The plant on the far left is cedar, then tobacco, sweetgrass and sage. I am still debating whether or not to add text to the images.

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Join Madison Square Park Conservancy artists for a discussion on creativity as they review studio life during the pandemic, political turmoil, and protests.

Feinstein's Folly was on view in 2014

Saar's Feallan and Fallow was on view in 2011

Lozano-Hemmer's Pulse Park was on view in 2008

The conversation will be moderated by art journalist Jacoba Urist whose work has been published in The Atlantic, The New York Times, New York Magazine, Smithsonian Magazine, amongst others. She is also a contributing editor for Cultured Magazine where she profiles contemporary artists.

February 9, 2021 11:00 AM - Noon (ET)

This Long Year is a three-part series of live conversations amongst artists, curators, writers, and art professionals reflecting on the challenges and reach of the last year.

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This Long Year: In the Studio - Madison Square Park Conservancy

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Join Madison Square Park Conservancy artists for a discussion on creativity as they review studio life during the pandemic, political turmoil, and protests. Feinstein's Folly was on view in 2014 Saar's Feallan and Fallow was on view in 2011 Lozano-Hemmer's Pulse Park was on view in 2008 The conversation will be moderated by art journalist Jacoba Urist whose work has been published in The Atlantic, The New York Times, New York Magazine, Smithsonian Magazine, amongst others.

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This is a mask that I have done and is the first of several that follow the phases of Victorian mourning. This is an example of what the rest of a series I'm working on may look like.

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Right now before I start any officially new projects I feel like I need to complete one from a class I took last semester. This is the plan I've drawn out for myself. This is going to be a fabric piece and I'll do another post with the one I have done next.

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Deadline to apply is February 28 if anyone is interested in this.

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February 1, 2021

For more information contact: Jim Britt at: jim.britt@maine.gov

AUGUSTA, Maine - Applications are now open for the Allagash Wilderness Waterway (AWW) 2021 Visiting Artist Program, which brings artists to the remote wilderness of Maine for two-weeks of solitude. The program provides artists with the opportunity to immerse themselves in nature to interpret and share their experiences through their art. For summer 2021, one chosen artist and a guest will receive complimentary lodging at the AWW Lock Dam Camp for two weeks during August and orientation by AWW rangers. The application deadline is February 28, and notification will be made by March 20, 2021. Interested artists are encouraged to apply now online.

Lock Dam Camp (pictured below) is a one-room cabin on the northern end of Chamberlain Lake, one of the largest and deepest lakes in the North Maine Woods. For 28 summers, it was the home of Dorothy Boone Kidney and her husband Milford - where they provided information to canoeists and tended the dam. Dorothy wrote two books about their life at Lock Dam, Wilderness Journal: Life, Living, Contentment in the Allagash Woods of Maine, and Away from it all.

Lock Dam Camp is located approximately 10 miles from the boat launch at the southern end of Chamberlain Lake and 60 miles from the nearest town, Millinocket. Amenities include:

Hand-pumped running water.

A wood stove.

Gas appliances including a cookstove and refrigerator.

Solar-powered lights.

Lock Dam is a favorite spot for canoeists traveling the AWW, anglers, and those who are looking for a quiet retreat from our modern world.

Artists can learn more about the AWW and access the 2021 application on the Maine Department of Agriculture, Conservation and Forestry website. Or by contacting Matt LaRoche, AWW Superintendent and Registered Maine Guide, at (207) 695-2169, matt.laroche@maine.gov.

Supporting documents

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News: Newsroom: Maine Department of Agriculture, Conservation and Forestry

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February 1, 2021 For more information contact: Jim Britt at: jim.britt@maine.gov AUGUSTA, Maine - Applications are now open for the Allagash Wilderness Waterway (AWW) 2021 Visiting Artist Program, which brings artists to the remote wilderness of Maine for two-weeks of solitude.

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Wanted to share in case anyone is interested.  Sorry about the short notice, I didn't know about it until this morning.

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Date: 5 February 2021
Time: 3:00-4:00 p.m. ET
Location: Zoom
Presented by: The Andrew W. Mellon Society of Fellows in Critical Bibliography
A 40-minute presentation followed by 20 minutes of Q&A scheduled for Friday, 5 February 2021, 3:00-4:00 p.m. ET, via Zoom. Owing to Zoom's restrictions, this event is limited to the first 300 people who register. The event will be recorded and made available for viewing on the RBS YouTube channel.
Join Natilee Harren and Elizabeth Eager for a conversation about Harren's book Fluxus Forms: Scores, Multiples, and the Eternal Network (University of Chicago Press, 2020). This event is part of a series celebrating new books in critical bibliography, and is sponsored by Rare Book School's Andrew W. Mellon Society of Fellows in Critical Bibliography (SoFCB).

Everyone is welcome to attend. To ensure the security of the event, advance registration is required; to register, click here. Registration closes at 8 a.m. ET the day of the event. Your registration will be automatically accepted. You will receive an email reminder the day before the event. The day of the event, we will send you the Zoom URL and password. Please direct any questions to RBS Programs at rbs-events@virginia.edu.

Two chapters from Fluxus Forms: Scores, Multiples, and the Eternal Network will be shared with registrants in advance of the event.

Natilee Harren is a scholar of modern and contemporary art history and theory, with particular focus on experimental, interdisciplinary practices after 1960. Her research interests include Fluxus and the twentieth-century avant-gardes, intersections between visual art and music/sound/listening, experimental scores and notations, works on paper, conceptual art and performance, materiality and ephemerality, contemporary conservation, theories of appropriation, and feminist art and theory related to labor, care, and aging. Harren is author of Fluxus Forms: Scores, Multiples, and the Eternal Network (University of Chicago Press, 2020, winner of the Terra Foundation for American Art International Publication Grant) and Karl Haendel: Knight's Heritage (LAXART, 2017). Harren's essays and criticism have appeared in Art Journal, Art Journal Open, and Getty Research Journal, and she has been a regular contributor to Artforum since 2009. Her research has been supported by grants and fellowships from the American Council of Learned Societies, Getty Research Institute, Fulbright Program, Houston Arts Alliance, Menil Drawing Institute, and the University of California Office of the President. She is a Junior Fellow in the Andrew W. Mellon Society of Fellows in Critical Bibliography at Rare Book School, and has served as president (2018-2020) and vice president (2015-2017) of the Society of Contemporary Art Historians, an affiliate society of the College Art Association. Harren's current research projects include a study of the early-career drawings of Walter De Maria and their relation to experimental performance, sculpture, and conceptual art of the sixties; a critical history of listening practices in contemporary art; and a media-rich digital publication, forthcoming from the Getty Research Institute, that surveys and theorizes a range of twentieth-century experimental notations from the fields of visual art, music, performance, poetry, and dance. Harren holds a B.A. from Rice University, Ph.D. from UCLA, and currently teaches as assistant professor of art history at the University of Houston School of Art.

Elizabeth Bacon Eager is an assistant professor of art history at the Meadows School of the Arts at Southern Methodist University. Bacon Eager earned her B.A. in architecture from Yale University, her M.Arch from the Harvard Graduate School of Design, and her Ph.D. in the history of art and architecture from Harvard University. She specializes in the transatlantic history of eighteenth- and nineteenth-century art and material culture, with a focus on intersections between art, science and technology. Her current book project brings together images and objects from both the fine and the mechanical arts to consider the relationship between drawing, the body, and the production of technical knowledge in early America's industrializing society. Her work has been supported by fellowships from the American Council of Learned Societies/Luce Foundation, the McNeil Center for Early American Studies, and the American Antiquarian Society. She is a Junior Fellow in the Andrew W. Mellon Society of Fellows in Critical Bibliography at Rare Book School.

Elizabeth Yale, Senior Fellow in the Andrew W. Mellon Society of Fellows in Critical Bibliography at Rare Book School, will be moderating the event. She is a lecturer in the Department of History at the University of Iowa, where she teaches courses in the history of science, the history of the book, and European history. She is the author of Sociable Knowledge: Natural History and the Nation in Early Modern Britain (University of Pennsylvania Press, 2016).

Follow the conversation on social media using hashtags #SoFCB, #RBSOnline, and #FluxusForms.

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Fluxus Forms: Author Natilee Harren in Conversation with Elizabeth Eager on Scores, Multiples, and the Eternal Network | Rare Book School

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A 40-minute presentation followed by 20 minutes of Q&A scheduled for Friday, 5 February 2021, 3:00-4:00 p.m. ET, via Zoom. Owing to Zoom's restrictions, this event is limited to the first 300 people who register. The event will be recorded and made available for viewing on the RBS YouTube channel.

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an entertaining software based art piece. at least, i dub it art.

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The Minneapolis College of arts and design is hosting series of lectures online!!

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The Minneapolis College of arts and design is hosting series of lectures online!!

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https://mcad.edu/event/making-it-work-artist-maria-tinaut

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I am currently testing natural inks. I have tried around 12 different materials that produces inks. But, so far I have been successful in only 5 of them, including, black bean, beets, spinach, rust water and turmeric. Here are some examples of Botanical drawings (In black architecture pen) and some use of natural ink colors.

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I am currently testing natural inks. I have tried around 12 different materials that produces inks. But, so far I have been successful in only 5 of them, including, black bean, beets, spinach, rust water and turmeric. Here are some examples of Botanical drawings (In black architecture pen) and some use of natural ink colors.

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Download GLMixer for free. Graphic Live Mixer. GLMixer performs real time graphical blending of several movie clips and of computer generated graphics. Drop video files in the mixing workspace and place them in a circular area to change their opacity ;

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Concept under examination: Breath and musical time (Solo version)

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Concept under examination: Breath and musical time (Solo version)

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Inspired by Mariusz Kozak's book, tai chi/ qi gong practice, and potentially a bit by gonyo

Work in Progress

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Shall we all drop off links to any public padlets we're putting together of our work logs or other pursuits? 

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Shall we all drop off links to any public padlets we're putting together of our work logs or other pursuits? 

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just something fun I found last summer for my first padlet post. Can you say it five times fast?

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What are your thoughts on crypto art and other computational resource heavy art practices?

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What are your thoughts on crypto art and other computational resource heavy art practices?

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This set of tweets discusses the sustainability, or lack thereof, of crypto art, machine learning, bitcoin etc.  Read initial chain, then the follow up chain for details. A lot of the crypto artists on twitter are on this chain

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I'm starting a new thread, because this has grown out of control and has some incorrect (vastly underestimated) figures.

I've been analyzing #CryptoArt #NFTs on @superrare and @niftygateway 

I'm afraid the figures are even worse than I thought.

https://t.co/z6ioA7PDKV

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໓r ๓ē๓໐ คktēຖ

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I'm starting a new thread, because this has grown out of control and has some incorrect (vastly underestimated) figures.

I've been analyzing #CryptoArt #NFTs on @superrare and @niftygateway 

I'm afraid the figures are even worse than I thought.

https://t.co/z6ioA7PDKV

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Friends, something has been bugging me for a while. The world is burning. We have unsustainable habits that need to change. And changing old habits is hard, really hard. But has to be done. And yet, it seems we are also adapting *new* unsustainable habits ... 1/2

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I'm starting a new thread, because this has grown out of control and has some incorrect (vastly underestimated) figures.

I've been analyzing #CryptoArt #NFTs on @superrare and @niftygateway

I'm afraid the figures are even worse than I thought.https://t.co/z6ioA7PDKV
— memo akten (@memotv) January 20, 2021

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I'm starting a new thread, because this has grown out of control and has some incorrect (vastly underestimated) figures.

I've been analyzing #CryptoArt #NFTs on @superrare and @niftygateway 

I'm afraid the figures are even worse than I thought.

https://t.co/z6ioA7PDKV

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Friends, something has been bugging me for a while. The world is burning. We have unsustainable habits that need to change. And changing old habits is hard, really hard. But has to be done. And yet, it seems we are also adapting *new* unsustainable habits ... 1/2

# data[].attributes.attachment_link.metadata.attachment_props.original_text
I'm starting a new thread, because this has grown out of control and has some incorrect (vastly underestimated) figures.

I've been analyzing #CryptoArt #NFTs on @superrare and @niftygateway 

I'm afraid the figures are even worse than I thought.

https://t.co/z6ioA7PDKV

# data[].attributes.attachment_link.metadata.attachment_props.text
I'm starting a new thread, because this has grown out of control and has some incorrect (vastly underestimated) figures.

I've been analyzing #CryptoArt #NFTs on @superrare and @niftygateway 

I'm afraid the figures are even worse than I thought.

https://t.co/z6ioA7PDKV

# data[].attributes.attachment_link.metadata.attachment_props.referenced_tweets[].text
Friends, something has been bugging me for a while. The world is burning. We have unsustainable habits that need to change. And changing old habits is hard, really hard. But has to be done. And yet, it seems we are also adapting *new* unsustainable habits ... 1/2

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I've been wanting to work on my photoshop skills. So, I made this because I've gotten pretty invested both literally and figuratively in the GameStop short squeeze situation this past week.

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01/29/21 @ ZKM Online: Einklang Freier Wesen - Symposium & Showcase in English

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01/29/21 @ ZKM Online: Einklang Freier Wesen - Symposium & Showcase in English

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Live streamed unveiling of large scale distributed sound scape performance

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The event via live stream
Artists, ensembles and promoters discuss digital music experience and showcase a global cooperation project.

"The new era has begun. [...] Culture is becoming an online paradise," Peter Weibel stated in his essay "Virus, Virality, Virtuality". Based on his theory of a telesociety ("Ferngesellschaft"), representatives of international ensembles, the ZKM | Karlsruhe, and promoters discuss the limits and opportunities of the digital music experience and present the cooperative project "einklang freier wesen" - an interactive audio interface that enables one to experience an ensemble work by Georg Friedrich Haas online.
The event is held in English.

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symposium & showcase einklang freier wesen | 29.01.2021 - 17:00 to 21:00 | ZKM

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The event via live stream Artists, ensembles and promoters discuss digital music experience and showcase a global cooperation project. "The new era has begun. [...] Culture is becoming an online paradise," Peter Weibel stated in his essay "Virus, Virality, Virtuality".

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this is a recent piece of my mail art - stamps designed to mark January 6th.

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call for submissions: Mail Art – 20VEINTE – The pandemic and other demons

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call for submissions: Mail Art – 20VEINTE – The pandemic and other demons

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extended Deadline: 19 June 2021

Let’s paint the demons that affected us in 2020 like the Covid-19 and let’s send away those demons in order to start a new year 2021 full of hope.

Measure 4″ x 6″ or 5″ x 7″
Free technique.

No entry fee/ no judge/ no return

Contact address: juanitacruz.artist@yahoo.com

Send your mail to:
Juanita Cruz
P.O. Box 586
San Antonio, PR 00690

Call for entries

20VEINTE ” De pandemias y otros demonios”

@ Museo de Arte de Aguadilla y el Caribe, Inc., Puerto Rico

En esta ocasión pintemos los demonios que nos afectaron en el 2020, digámosle adiós al enviarlos por correo y culminemos el año 2020 con una exposición que cierra un ciclo para dar la bienvenida al 2021.

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Interesting article that has both specific point on the artists Robert Filliou and ideas that generally relate to Intermedial work and ideas.

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This is intended for more general informational exchange and discussions related to creative and artistic practices. Please share ideas and concerns, issues in and of the world and anything that is of note or interest as a part of an exchange of ideas and/or a discussion of them.

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This column is column is for students to post updates on their work. It is expected that you post once or twice a week to share with others in the course and to inform them as to what you are working on. This can be images, videos, descriptions, notes and so forth.

In addition to this shared post that others will see and comment on you will need to create an individual padlet (page) that you are expected to keep more specific and detailed notes of your work and ideas. This individual padlet will only be accessible to you and the instructors of this course. Go to https://padlet.com/ to set up your new individual padlet (pages).