Covid-19 Information and Resources
Poetic Justice: Art at the Scale of Social Justice
Abstract
Ekene will share how he works across his studio and lab practices to address social issues through various mediums and scales.
Bio
Ekene Ijeoma is an artist who focuses on the overlooked or shared aspects of sociopolitical trends and interpersonal dynamics through the lenses of personal observation and analytical exploration. He works across various mediums including sound, video, sculpture, installation, and performance.
His work has been exhibited and performed at Bemis Center for Contemporary Art (2021), Contemporary Art Museum of St. Louis (2021), Museum of Contemporary Art Denver (2020), Contemporary Art Museum of Houston (2020), The Kennedy Center (2019, 2017), Museum of the City of New York (2019, 2018), Neuberger Museum of Art (2016), Storefront for Art and Architecture (2015) and Museum of Modern Art (2015) among others.
His practice has been supported by grants and fellowships, including The New York State Council on the Arts (2021); Creative Capital (2019); Map Fund (2019); The Kennedy Center (2017); and New York Foundation for the Arts (2016) among others.
Ijeoma is a first-generation Nigerian-American born and raised in Fort Worth, TX. He lives and works between his studio in Brooklyn, NY, and lab in Cambridge, MA. He earned his BS in Information Technology at Rochester Institute of Technology in 2006 and MA in Interaction Design from Domus Academy (Milan, IT) in 2008. He is an Assistant Professor of Media Arts and Sciences at Massachusetts Institute of Technology and the Founder and Director of the Poetic Justice Group at Media Lab. Currently, his work with Poetic Justice Group focuses on how art can address the scale of sociopolitical issues through multisite participatory public artworks. These works are accessible over the phone, online, and soon on the streets.
For more information about the MAT Seminar Series, go to:
seminar.mat.ucsb.edu.
The New Pulsar Generator (nuPG): Multiscale Form and Formalisms
This talk is an introduction to the New Pulsar Generator (nuPG) program. Developed in SuperCollider 3 programming language and using the SuperCollider Server for sound synthesis, nuPG builds upon and extends historical Pulsar Generator (2001) by Curtis Roads and Alberto de Campo. After a brief overview of the program design, the key objective of the talk is to demonstrate a set of formal methods developed by Marcin Pietruszewski as part of his compositional praxis. This includes techniques of sieves, per-pulsar processing, and pulsar- wavelet transform are discussed. The nuPG program offers an established visual mode of data representation and editing. It also provides a text-based (live coding) extension enabling a fast implementation of new algorithmic processes. As a prelude to this talk, the composer encourages the audience to learn about fundamental notions of pulsar synthesis as described in Microsound by Curtis Roads.
Marcin Pietruszewski (b. 1984, Poland) is a composer and researcher. He is engaged in sound synthesis and composition with computers, exploring formal developments in the tradition of electroacoustic music and contemporary sound art. He works across composition, installation, and radio production. Works exhibited at West Court Gallery (Edinburgh, 2019), Remote Viewing (Philadelphia, 2019), and Institute of Contemporary Arts (London, 2017). Commissions by CTM Festival (2021), ZKM Karlsruhe (2018) and Deutschlandradio Kultur (2016). As an educator, Marcin has given courses focused on digital instrument design, digital signal processing, sound theory, and practice. He has taught at The Reid School of Music (Edinburgh College of Art) and Design Informatics (The University of Edinburgh). He also writes on issues related to computer music histories, aesthetics, and technology. His texts have been published by Hatje Cantz and ZKM among others. Currently, Marcin is a Research Fellow in the Department of Computer and Information Sciences of Northumbria University, Newcastle. Marcin lives and works in Berlin.
The event will be streamed on the IEEE Haptics Symposium YouTube Channel, which hosts video presentations of all 61 technical papers.
Also, a paper titled A Smart Bracelet Supporting Tactile Communication and Interaction, by Stejara Dinulescu, Neeli Tummala, Greg Reardon, Bharat Dandu, Dustin Goetz, Sven Topp, and Professor Visell, has been nominated for Best Paper Award at the 2022 IEEE Haptics Symposium.
Anzu Kawazoe and Yon Visell
Repository
Repository examines digital data authorship, ownership, transformation and longevity.
Repository
The 27th International Symposium on Electric Art
Astro
Astro examines our Earth, the only astronomical object known to harbor life, from the perspective of intelligent beings in outer space.
Sound design by Weilu Ge.
Professor Kuchera-Morin and Dr. Rincon will be joined by Jean Johnstone of UC Berkeley, and will evaluate the impact of arts, culture and entertainment to the future of California.
About the California 100 Research Grants
California 100 is a new statewide initiative being incubated at the University of California and Stanford University focused on inspiring a vision and strategy for California’s next century that is innovative, sustainable, and equitable. The initiative will harness the talent of a diverse array of leaders through research, policy innovation, advanced technology, and stakeholder engagement. As part of its research stream of work, California 100 is sponsoring 13 research projects focused on the following issue areas:
www.news.ucsb.edu/2021/020355/toward-new-century
JoAnn Kuchera-Morin
Gustavo Alfonso Rincon
Mark will work with scientists to create artworks that investigate and illuminate topics that deal with the basic building blocks of the universe. His focus at UCSB has been projects that are generative, collaborative, technologically-based and visually intriguing.
news.fnal.gov/2021/06/visual-artist-mark-hirsch-named-2021-fermilab-artist-in-residence
EmissionControl2 is a granular sound synthesizer. The theory of granular synthesis is described in the book Microsound (Curtis Roads, 2001, MIT Press).
Released in October 2020, the new app was developed by a team consisting of Professor Curtis Roads acting as project manager, with software developers Jack Kilgore and Rodney Duplessis. Kilgore is a computer science major at UCSB. Duplessis is a PhD student in music composition at UCSB and is also pursuing a Masters degree in the Media Arts and Technology graduate program.
EmissionControl2 is free and open-source software available at: github.com/jackkilgore/EmissionControl2/releases/latest
The project was supported by a Faculty Research Grant from the UCSB Academic Senate.
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Media Arts and Technology (MAT) at UCSB is a transdisciplinary graduate program that fuses emergent media, computer science, engineering, electronic music and digital art research, practice, production, and theory. Created by faculty in both the College of Engineering and the College of Letters and Science, MAT offers an unparalleled opportunity for working at the frontiers of art, science, and technology, where new art forms are born and new expressive media are invented.
In MAT, we seek to define and to create the future of media art and media technology. Our research explores the limits of what is possible in technologically sophisticated art and media, both from an artistic and an engineering viewpoint. Combining art, science, engineering, and theory, MAT graduate studies provide students with a combination of critical and technical tools that prepare them for leadership roles in artistic, engineering, production/direction, educational, and research contexts.
The program offers Master of Science and Ph.D. degrees in Media Arts and Technology. MAT students may focus on an area of emphasis (multimedia engineering, electronic music and sound design, or visual and spatial arts), but all students should strive to transcend traditional disciplinary boundaries and work with other students and faculty in collaborative, multidisciplinary research projects and courses.