Title Genre Applicant's Role in Production Production Fonnat New Media Fellowships 2005 Project Cover Form YOUR NAME HERE Joel Slayton The Analogous Landscape New Media Artist/Director Installation Brief Project Description(do not exceed space given below) The Analogous Lendscepe project merges adventure sports,art, and informationtechnology. The centerpiece of the project is the climbing of ten high attitude volcanoes around the Pacific Rim-Ringof Rre. An evolving medii installation is associated with the expeditionsthat integratessculpture, data visualizationand environmental mapping. It is my intention is to examine the changingconception of landscapeas mediated by information technology. TheAnelogws Lendscape project presents an experienceof land as defined by human interactionwith databases, networks and interfaces. This is a work in progress. The Analogous Landscape project will be realized as an extended perfomatmhnstallationof exhibitions realized over the next five years. The dramaticchellenge of thedimbing ten high altitude vdcani mountainsis intended as a test of skill, determinationandteam cooperation. Although the selected vdcanoes share many topographical characteristh they differ sign- in the spscificrbes of their actualtenain, longitude and latitudeand weather considerations,all factors that influencethe sbategy and resourcesfor each expedition.The first two volcanoes in the expedition series are Mt. Shasta located in the Cascade Range of California and Mt. Fuji, thetallest mountainin Japan. Expeditionsto these have been completed. The conceptualobjecbve involves not only the performatiinatureof theexpeditions but also development of software that can infemme by analogy best path scenarios. This will be eccomplishedthrough an analysis of GPS and Digital ElevationMapping data As TheAnalogous Lendscape project evdves,an increasinglyaccurate prediction processwill be usedto mediatepath navigationenacted by theexpedition team. Iwill lead boththe expedition/researchteam and the software development team. The media installation series will indudedatabase sculptures produceddirectlyfrom Digital Elemtiion Models using a CNC fabricationsystem. These forms will be pmsentedakmg with video projectionof the realtime data processing of the inferencealgorithm represented in three dimensions. The installationalso will featurethe expedition equipment, personal resources(packs, clothing, food), and the PDA's and GPS units from each team member. A network art component will be realized as a rich media platform for the presentation of all expedition documentation. Ina world in which explorationof geographies have limits; traversingthe land under computer instructionopens up new possibilities. TheAnelogws Lendscepe project embracesa potentiality of new medii to re-inform our senseof presenceand perceptionof the land. The Awlcqws Lsndscrrpe B'xlY 'ambient lightilng 'drop Bpotlighting I m d m p e Initiative Media Player ExpeditonGear Resource System e'x 1' 1- ExpeditbnPDA'g 'drop BpotIigWng anaKl 0'drop mputlighting Mt.Fuji D.gfrahR_Pe! Model axaxl 0'drop spotlighting Mt. S)tblStEL mtabmse Model Data Pmessing Projection -em 12' New Media Fellowships 2005 Sample Work Form YOUR NAME HERE Joel Slayton -Check One: Sample Work Supplemental If you are sending more than one sample, please copy this page. Sample(s) must be cued: indicate how long each sample should be viewed for a COMBINEDviewing time of no more than 10 minutes. If slides are included in this application, please list the title and year of the work on this form. Title C5 Year 1999-2004 Technical Information Information visualization and mapping exploring issues of navigation and social networks. Original Format -Software -Web -Installation -Other Web lnformation -URL -Format Submitted for Viewing Software -Web -VHS -Other Powerpoint Preferred 0s -Windows -X Mac --Unix Other (answer only if sample work is in Web format) (if more than one please list them below) -Browser requirement(s) -Plug-in requirement(s) This sample requires broadband connection (fast Internet connection) -A local copy of the sample work has been included with the application Special Information For Viewing: Three separate work samples are contained in a single PowerPoint Presentation: C5, Lost Chihuahua and Panamint Launch at Lucky Jim Wash. They are presented in sequence of approximately 3 slides per project. A separate Sample Work Form is submitted for each. Click on the PowerPoint Icon on the CD labeled Work Samples. Click on the slide show icon in the bottom left of the window. Advance through slides using the arrow key. Description of Work (use an additional sheet if necessary) In 1996 1 created a long-term artwork called the C5 Corporation. It has been the centerpiece of my artistic practice. C5 is an experiment in collaborationsystems design. The intentionof this endeavor was to enable a new form of authorial identity to not only challenge traditional conceptions of arts function but to also enable a form of cultural production informed by the blurred boundaries of art, research and business practice. C5 makes no distinction between the research ambitions of business or art. C5 is not ironic. It is not a commentary or political action. It is simply the necessary means to an end. For C5 theory is product. Presented here are 3 examples in the lineage of C5 production. Each is built upon the technical and conceptual platform of its predecessor. Slide 1: Radio controlled Surveillance Probes. A project using algorithmic surveillance strategies to map public spaces. Slide 2: 16 Sessions. An exploration of the relationship of virtual and physical space. Use of physical motion tracking to create visual maps that are used as paths through the virtual space of the internet. Slide 3: SoftSub. A data mining screen saver that depicts the organizational style of a client computer. A web site component enables comparative analysis between users. New Media Fellowships 2005 Sample Work Form YOUR NAME HERE Joel Slayton -Check One: Sample Work Supplemental If you are sending more than one sample, please copy this page. Sample(s) must be cued: indicate how long each sample should be viewed for a COMBINED viewing time of no more than 10 minutes. If slides are included in this application, please list the title and year of the work on this form. Title Lost Chihuahua Year 2003 Technical Information New media performancelpublic art and site installation. Original Format --Software Web --Installation Other Web Information -URL Format Submitted for Viewing --Software Web -VHS -Other Powerpoint Preferred OS Windows -X Mac -Unix Other (answer only if sample work is in Web format) (if more than one please list them below) -Browser requirement(s) -Plug-in requirement(s) This sample requires broadband connection (fast Internet connection) -A local copy of the sample work has been includedwith the application Special Information For Viewing: Three separate work samples are contained in a single PowerPoint Presentation: C5, Lost Chihuahua and Panamint Launch at Lucky Jim Wash. They are presented in sequence of approximately 3 slides per project. A separate Sample Work Form is submitted for each. Click on the PowerPoint Icon on the CD labeledWork Samples. Click on the slide show icon in the bottom left of the window. Advance through slides using the arrow key. Description of Work (use an additional sheet if necessary) In 2003 a created a rock band called, Lost Chihuahua with the sole purpose of playing one major concert. Non of the members was a musician and nearly all played no instruments. I negotiatedwith the Las Vegas Motor Speedway, the larges NASCAR track in the Westem United States, to permit Lost Chihuahua to peform during the filming of a made for television pilot called the Wedding Game which featured unusual weddings. The concert took place during the Richard Petty Driving School Time Trials. Slide 1: Lost Chihuahua at the Las Vegas Motor Speedway Slide 2: Lost Chihuahua Logo and PerformanceStaging Slide 3: Lost Chihuahua performsGraham Parsons' Oh-Las Vegas 5 minute video. Click on image to start or stop, arrow key to advance to next frame. New Media Fellowships 2005 Sample Work Form YOUR NAME HERE Joel Slayton -Check One: Sample Work Supplemental If you are sending more than one sample, please copy this page. Sample(s) must be cued: indicate how long each sample should be viewed for a COMBINEDviewing time of no more than 10 minutes. If slides are included in this application, please list the title and year of the work on this form. Title Panamint Launch at Lucky Jim Wash Year 2002 Technical Information Crazy Rocketry -Original Format Software -Web -Installation -Other Web Information -URL Format Submitted for Viewing -Software -Web -VHS -Other Powerpoint -Preferred 0s Windows --X Mac Unix -Other (answer only if sample work is in Web format) (if more than one please list them below) -Browser requirement(s) -Plug-in requirement(s) -This sample requires broadband connection (fast Internet connection) -A local copy of the sample work has been includedwith the application Special lnforrnation For Viewing: Three separate work samples are contained in a single PowerPoint Presentation: C5, Lost Chihuahua and Panamint Launch at Lucky Jim Wash. They are presented in sequence of approximately 3 slides per project. A separate Sample Work Form is submitted for each. Click on the PowerPoint Icon on the CD labeled Work Samples. Click on the slide show icon in the bottom left of the window. Advance through slides using the arrow key. Description of Work (use an additional sheet if necessary) In 2003 1 organize a group of artists to conduct a social insertion site work on the border of the U.S. China Naval Weapons Research Station in southern California near Death Valley. A team of artists under my coordination launched a series of custom designed rocket experiments into the military airspace. The combination of desert, explosions, alcohol, cameras and out of control rocketry experiments resulted in a high stakes game of performance art as confrontation. Each rocket launch was pre-planned,tested and documented. Slide 1: Panamint Launch at Lucky Jim Wash. Joel Slayton Artist with Maypole experiment. 4 rockets are simultaneously launched while tethered by thin wire cable to a 30fi high pole. Slide 2: Trajectory Test in to China Lad Naval Weapons Station. Slide 3: Misc. Images: Rocket Bar, Swarming BifurcationMass launch of Kotex rockets, high altitude Black Beauties, and myself and daughter getting ready to shot rockets out of the sky with a 12 gauge pump shotgun. New Media Fellowships 2005 Sample Work Form YOUR NAME HERE Joel Slayton -Check One: Sample Work -X Supplemental If you are sending more than one sample, please copy this page. Sample@)must be cued: indicate how long each sample should be viewed for a COMBINED viewing time of no more than 10 minutes. If slides are included in this application, please list the title and year of the work on this form. Title Analogous Landscapes Year 2003-4 Technical Information GPSl3D Mapping, CNC Sculptural Forms, Video Projecton, Media Installation Original Format Software -Web --Installation Other Web lnfonnation -URL Format Submitted for Viewing -Software -Web -VHS -Other Powerpoint Preferred 0s -Windows -X Mac -Unix -Other (answer only if sample work is in Web format) (if more than one please list them below) -Browser requirement(s) -Plug-in requirement(@ -This sample requires broadband connection (fast Internet connection) -A local copy of the sample work has been includedwith the application Special lnfonnation For Viewing: This is a single work sample presentedin a 10 slide PowerPoint presentation. Click on the PowerPoint Icon on the CD labeled Work- Samples. Click on the slide show icon in the bottom left of the window. Advance through slides using the arrow key. Description of Work (use an additional sheet if necessary) TheAnalogous Landscape project merges adventure sports, art, and information technology. The centerpiece of the project is the climbing of ten high altitude volcanoes around the Pacific Rim-Ring of Fire. An evolving media installationassociated with the expedition integrates sculpture, data visualization, video projection and environmentalmapping. The work samples presented here demonstrate significant progress on the proposed project submitted for the New Media Fellowships. Slide 1 -The Analogous Landscape Project -Illustration: Data topography Mt. Shasta California. Slide 2: -Pacific Rim of Fire Slide 3: -Expedition Team Geo-Cached Field Mediation Slide 4: -Computer Mediated Software Slide 5: -Digital ElevationMappingof Terrain and GPS Modeling Slide 6: -GPS Path and 3D Modeling Slide 7: -Computer Mediated Expeditions Slide 8: -Mt. Shasta Expedition Slide 9: -Refined Models for Computer Fabrication of Database Sculpture Slide 10: -Installation Configuration Iam an artist, writer and researcher. My career began in the mid 1970'sas a fine art post-graduate at the MIT Visible LanguageWorkshop (VLW). The M W was one of seven divisions that would in the early 80's evolve into the prestigiousMedia Lab. My experienceat MITwas very rich in terms of the opportunityto engage with leadingthinkers and practioners in engineering and science. R also afforded an opportunity to work directly with hybrid artists from diverse backgroundswho shared an interest in computing technology. My tenure at MITalso coincidedwith that uniquemoment in the history of computing when experimentalinvestigations ushered forth a new generation of visualization tools and interactive processes. On a personal level, it was a formative time aesthekally, technicallyand conceptually. What Iconsider to be the foundations of art practii involvinginformationtheory, artificial intelligence and networks were incubated. In rebspect, Ifind it not coincidentalthat the emergence of my orientation to art practiceran parallelwith new formulations spawned by post-modemtheoreticalffameworks. R was a condition that I now appreciate in morefull detail. Indeed, Iwas a lucky young man whose practiceand philosophy would be shaped by such a s i g n i f i i t time and environment that emergeda generationof innovation and creativity involvingcomputing and art. Inthe present, Isee mysetf as an artist who works with collaboration systems, social networks and cooperative models. Ihave made a very distinct attempt to break downthe Renaissance ideal of the heroic lone artist. In my world to be an artist requiresworking intentionallywith people normallyoutside the art world, such as scientists, businessowners, sports enthusiast, bureaucrats, venture capitalist, politicians and the public. My work hasfocusedon producingart as an engagement with collaborative systems of cultural production. Informed by researchand theoretical investigations regardingthe nature of socialsoftware, my artistic production centers on issues of emerging knowledgefrom what Icall 'big data'. That is, data that has a threshold of complexity so as to be very d i i t t to fully appreciate or understand, such as that found in extremely large databases. In such systems we can look for social manifestationsof data inthe form of interfaces, software, databases and networks. These are the media of my artistic practice. Iam also very concerned with the relationshipof virtual to real experience. Ibelievethat our conception of software is ever changing. Our expectations continue to shim as new mechanismsof humanto machineinteractionand machine-to-machine interactionare devised. New hybridf m s of softwareare just now beginningto emerge that d y on distributed functionality and cooperative systems design. Such ambitionfor information technology sets squarely within a discourse Desaption In 2002,l initiated TheAnalogous Landscape project to investigate how information technology influences our understandingand experience of the land. TheAnalogous Landscape examinesthe changing conception of landscapeas defined by an aesthetics of representationto one informed by database, networks and interface. Definingthe natureof resemblance betweenthings that are otherwise unlike is the conceptual focus of The Analogous h n d s a p . Followingin the tradition of monumentalworks by environmental artists Robert M i ,Michael Heizer and R i d Long, and informed by researchorientationof the Helen Meyer Harrison and Newton tianison, TheAnalogous Land- is an ambitious interaction and engagement with the landscape. Beginningwith a training expediin of Mt. Whitney in California (the highest peak in the continental United States) Ihave began the preparationfor defining a process to dimb ten of high attitude volcanoes around the Pacific Rim's-Ring of Rre. The project will result in a series of wdving installations. A network art component will be realized as a rich media platformfor the presentation of all expediition documentation TheAnalogous Landscape project will be realized over the next five years. A pre-view installationof TheAnalogous Landscape prop3 was featured at the Museo National de Belle Arte at the IIInternationalArt Biennial Buenos Ares in November of 2002. The first exhibition in the series will open at San FranciscoCarnerawork in May of 2005. An exhibition is scheduled for ISEA2006Symposium (InternationalSymposium of ElectronicArt) in San Jose California. I am currently exploringother venues in Japan, Singapore, Indonesia,the Philippines,New Zealand and NYC. At the heart of TheAnalogous Landscape project is the development of an inference technique that can be used for navigationof terrains of similar characteristic. At question is whether a computational process can be determined that will guide navigationbased on previousexperience in an environment of similar, but different, characteristic. Inference proceduresare a common form of knowledge engineering and data miningthat often use the concept of analogy for emerging useful information from complex forms of data. For TheAnalogous Landscapethe issue is whether an expedition scenario can be transposed by analogyfrom one locationto an Other based on analysis of path data? Atthough theselected volcanoes share many topographical characteristics they dier significantly in the specmcities of their actual terrain, longitude and latitudeand weather considerations, all factors that influence the strategy and resources for each expedition. To better understand the relationship of path and navigation, I propose to gather GPS data from each climb and to analyze it within an accurate three dimensional model of the landscape in order to characterizethefactws that define path structureand human performance. The idea is to emerge increasinglyaccurate predictivesoftware that can be usedto mediate the actual expeditions. The software will be improved with the successive climbs as the expeditiWresearchteam that I will lead enacts it. LandscapemThe expedWresearch team will draw on members from a cdlaborativearts group called C5 that specializes in informationvisualization, of which Iam founder. M y role will be to direct and lead the team in all facets of operations includingappropriatetechnical training for hgh attitude data cdledion and documentation. As director of the expeditions Iam responsibility for the safety of all participants.AJtitude range is between 12,000 and 16,000 feet. Some volcanoes are active and theterrain itselfpresents a serious danger. The adventure sport factor of the expedRions is very much an element in the performanceorientationof the artwork. TheAmbgous Landscapes e x p e d i i team will collect GPS path data that will be computer modeled and integratedwith a detailed topographic 30 database of each volcano. This database will be created from satellite and space shuttle Digital %vation Mappng @EM).GPS track logs canthen be visualizedwithin an accuratecomputer model of the landscape. A database of -photographc,video, sound and text files from the ten e x p e d i i s will be attached to this database to enable an interactivemedia player platform for the Web. -Deeaption The initial installationthat will premierat San FranciscoCameraworkin May 2005 will feature two CNC computer fabrbted sculpturalforms representingthe first two volcanoes in the series; Mt Shasta, a 14,162I?. mountain in the Cascade Range of NorthAmerica and Mt Fuji, the tallest mountainin Japan at 12395ft. The sculptures will be produced directly from the DOWGPS database. Iconsiderthese to be database sculptures that depct theactualitiesof terrain accurate to 10 meters. The sculptures will be producedin Aluminum at approximately3x13'x1'. A computer generated LCD projection(ceiling mounted)of the algorithmicprocessing of GPS and topographc data is displayed on wall at a distance to thesculptures. Immediately adjacent to this display are the expedrtionteam members PDA's (6-8)encased within an acrylic case. Each PDA cycles through a set of drawings and text messages composed by the team member while on the expedition. A stylized presentationof climbing gear, packs, boots, food supplies and safety equipment is arranged on the floor as a system of resources. A d d i i sculptural models will be added with each successive expediiion in the forthcoming exhibitions. The computer-fabricatedmodels, PDA display and projection video is separatedto form an isdated experiencefor theviewer. The entire area of the installation is approximately 1200-1500 sq. ft. Entranceto the installationwill indude a projectedvideo display of the network art media player interface. Herethe audience can explore the rich media documentationfrom the expeditions through an interfacethat uses GPS track logs to signlfy time and locationin order to retrieveand view photographs,video, sound and text resources. Installationaesthetics are simple and highly formal. The space is conceptualized as an opportunity for the audiencesto both contemplate the details of the mapping and processingand to view the entire structure as -an elaborate land art enterprise. It is therefore necessaryto make it accessible at both a viewing distance where the entirety of the project can be understoodand close up in order to appreciatethe individual models, informationdisplayedon the PDA's and the items comprising the expedition resources. Iam confident in my organizational skills to desgn and implement installatiodperformancewoks of large scale and to manage the necessary collaborators, resources and budgets. M y past work has often focused on designing systems as artworks that have involvedcomplex medii resourcesand were informed by contemporary informationscienceissues and methods. Ioften work with other individuals to orchestrate their i n v m e n t and contribution. Infact it would be impossibleto achieve the works in any other way. Surmary The shiiing tectonic plates of the Pacific Rim-Ringof Fire contain regions of complex cultural identities shaped by imperialism, globalition and post-modernization.Each of the ten volcanoes included in TheAnalogous Landscapes project is associated with unique culture whose forms of ritual, exploration, mapping and navigational representationsare unique. TheAnalogous Landscapeproject is committed to exploring an alternative to those descriptions. M y objectwe is to address the land as exped~onayexperience influencedby informationmediation. Icontinueto ask myself how does one expenence thelandscape as a factor of database logic? Administrative Costs Telephone Mail and Shippng Travel Accommodations Expedition Resources Food Gear Rentals Guides Fees GPS Replacements CNC Fabrication Metal Foundry Display Cases LCDVideo Projector Total 8 trips at 900 8 trips @400 Joel Slayton ACADEMIC EDUCATION CURRENT PROFESSIONAL RESEARCH ART FOCUS C5 CORPORATION www.c5corp.com C5 EXHIBITIONS Professor of Art, Digital Media Art, School of Art and Design, San Jose State University. 1985-hesent Director, CADRE Laboratory for New Media, School of Art and Design, San Jose State University. 1988-Present Visiting Assistant Professor, Center for Information and Communication Studies, California State University, Chico. 1984-85 Coordinator, Visible Langua e Worksho School of Architecture, ~ a s a c h u s e t tfsnstitute of ~&hnology.1977-82 Post Graduate, MlT VLW, Cambridge, 1976-1977 MA Photography and Cinema, Ohio State University 1976 BA Photography and Cinema, Ohio StateUniversity 1974 Chair, International S posiurn of ElectronicArts 2006 + Pacific Rim New Media Summit Board of Governors, f%nardo/ lnternationa) Society of Electronic Arts Chair and Editor, Leonardo MIT Press BookSeries Board of Directors, ZeroOne, Art and Technolo Network Executive Editor, SWITCH,On-Line Journal of y e w Media DiscoW r t Master Plan Steerin Committee, Office of Cultural Affairs SanJose,CA Nominated 2003World ~ecknologyAwards, World Technology Network Social Software, Networks and Information Visualization CollaborativeSystems, Site Works, Public Art, Performance President and Founder, C5 Corporation Established in 1998. C5 Co ration exploresthe hybrid boundaries of art, business and research. It is the primary focus o?Omy artistic, scholarly and aeative activity. 2005 The Landscape initiatives, San Francisco Camerawork, May 2005 2004Landscape Initiatives, International Symposium on Interactive Media Design, Istanbul, Turkey 2003 2002 I:I, Whitne Biennale, Whitney Museum of American Art, New York City Softsub, ~ e k h A:rt of the SawnSaver, Tate Museum, London. 2001 SoftSub, BorderHack Festival, Tijuana, Mexico. YouDdon't See That You Don't See, Di ital !%crets Symposium, Arizona State University 1:I. The New Museum, Altoids, N Y ~ 2000 SoftSub, Refresh: Art of the Saeen Saver, Cantor Center for Visual Arts, Stanford Univ. SoftSub, Arts Entertainment Network, Walker Art Center, Minneapolis, MN 1999 Softsub, Ars Electronica, Linz Austria 1:1, New Langton Arts, San Francisco, CA 1998 16 Sessions, Shock of the View, Walker Art Center, Minneapolis, MN RCSP Project, ACM Si aph, Orlando Florida Field Medmtion on ~ i n z Tgheory, The Tech Museum of Innovation Gala, SanJose CA Field Mediation on Data, SanJose Museum of Art, SanJoseCA EXHIBITIONS PERFORMANCE INSTALLATION 2004 Lost Chihuahua: CD release SetexNfavoritos, Network Exhibition of Favorite Sites, San Paulo, Brazil Lost Chihuahua: Lost Chihuahua at the Las Vegeas Motor Speedway The Analogous Landscape, Museo de BelleArtes, I1 International Bienale Buenos-Aires 2002 The Wedding Game, Las Ve as Motor Speedwa Las Vegas Nevada Profiling the Presidents, A u h a n d University o??echnology, Auckland New Zealand 2001 Cogitate, site speafic rformance, Cunningham Communications, Palo Alto, CA The Chemistry o f F E E , Ford Ord Military Chapel, Monterey, CA 2000 EHigh TouchlHigh Tech, Kala Institute, Berkele CA Profiling the Presidents, Novel1 Silicon Valley onference Center, San Jose, CA 1999 Alternating Currents: American Art in the A e of Technolo ,San Jose Museum of Art in collaboration with the Whtney Museum of knerican Artyan ~ o s Ce A 1998 Alternating Currents: American Art in the Age of Technology, San Jose Museum of Art in collaborabon with the Whtney Museum of American Art, San JoseCA 1997 Tel resent Surveillance, http:/ /surveil. sjsu.edu C A ~ R E S V I , A Protot e Satellite Design, http:/ /cadre.jsu.edu/ CADRESV1 Landscape Paintin ~ s x u n t e r - S u r v e i l l a n c eof Area51, http:/ /cadre. 'su.edu/ area210 cThelceapgreose, ncth~icuargveoinfi.anceI,nternational Symposium on Electronic~rts,%chooolf the Art Institute of 1996 JTele ~ixe rPes~eeenctrt,Suarnve~illoasnc~eeu, As ret as Signal, u mof AR IannsildoestehCe ALoop., The Krannert Museum of Art,IL Elastic isions,, March Hicks Art Center, Bucks Community College, Newtown PA Elastic Visions, The Art Center, Portsmouth, VA dotCom Gallery, Connections: A n on-line exhibition of digital artists, NY NY 1995 Pullit: A n Audience interactive Browserfor the Internet, Di it ATM High Bandwidth Concert, Digital Media Institute, San JoseState UniversityICSU &nterey Elastic Visions, Erie Art Museum, Erie PA Elastic Visions,, Catherine Smith Galler ,Appalachan State University, Boone, NC Calijornia Arts Council Digital Artists, dolmes Fine Art Gallery, San Jose CA. 1994 CONDUITS, A site speafic media performance work, The city of Palo Alto Centennial -Celebration, Palo A to, Califorma Elastic Visions,, Zoller Gallery, School of Visual Arts, Penn State, University Park, PA Elastic Visions,, Erie Art Museum, Erie, PA lnstant Memories: Artist Polaroid's, Redding Art Museum, Redding, California 1993 The Third Annual Santa Fe Computer Gra hics Art Show, Hand Gallery, Sante Fe, NM Computer Artists, h4ission College, San rose, California 1992 DoWhatDo, A site s ecific multimedia performance work, San JoseInstituteof Contemporary Art and the City o f ~ a lnose, San Jose, California Com uter Art From the Western States,, Brigham City Museum-Gallery, Brigharn City, Utah ~ r u t Ror Dare, Images Center for Photography, Cincinnati, Ohio 1991 lnvisible Site, George Coates Performance Works, Visual Coordinator, ACM Siggraph ElectronicTheater, University of Nevada Las Vegas The Com uter Art Show, New Mexico State University Art Gallery, Las Cruces, New Mexico In nite i h s i o n s The Srnithsonian Institute, Washin ton D.C. J t u a l Memorb,,Ansel Adams Center, Friends of fhotography, San Francisco, California 1990 98.6 FM, A collaboration with the Tandy Beal Dance Company, Mayer Theater, Santa Clara University, Santa Clara, California The Architecture of Catastrophic Change, George Coates Performance Works, Visual Coordinator, San Francisco, CA Flux go, Muskeqon Museum of Art, Muskengon, Michi an Electronic Expresszons, Allegheny College Art Galle hlegheny, Pennsylvania Structured influences,, Craft Alliance, Saint Louis, %ssoun Border Axes: San Jose Connection, San Jose Institute of Contemporary Art, San Jose, California Xherone 1.3, Triton Museum of Art, Santa Clara, California 1989 Electronic Print, Aronfilini Galler Bristol, En land Dhitized Ima es, Oran e Coast co%egeArt ~ d f e Los Angeles, California Dzstin uishecfArtirts Arum, San Francisco ~tate%niversity, San Francisco, California H A N ~Center for Art, Media and Technology, Utrecht Academy for the Arb, Holland 1988 9Detour, California State Universi Summer Arts, Cal Poly, San Louis Obisbo, California Digital Portraits, Frieghtdoor Gal ery, Santa Clara Universi Santa Clara, California Human Animal Relationships, Gorman Museum, University o?kalifornia Davis, Califomia 1987 Detour, SanJose Museum of Art, SanJose, California, 1988 Art in the Computer Age, Everson Museum of Art, Brooklyn, New York travelin Itinerary: IBM G&? of Scienceand Art, New York, New York Cincinnati ontemporary Arts Center, Cincinnati, Ohio The Dayton Art Institute, Dayton, Ohio &Is there Art, US Sprint Teleconferenan Center, Slayton, Truckenbrod, Klinkowstein, Simulationr/Diss~mulatioS~c,hool of Art Institute of Chicago, Chicago, Illinois Artist in the Computer Age, MIT Technolo Museum, Cambrid e Massachusetts Computer Artists in Germany, Galerie ~ e s u e n s t l e rM, unich, &many ACM Sigrraph Traveling Exhibition, CSU Los Angeles Fine Arts Gallery, California 1986 Musik und Film, Theaterahaus Stuttgart, Stutt art, Germany Electronic and Other Real Musics, American &sic Week, San Jose State University, California Xherone, Durban International Film Festival, Durban, South AMca S i g p p h Art Exhbition, San Franasco Moscone Center, San Franasco, California Arhst in the Computer Age, Owens-Illinois Art Center, Toledo, Ohio Selected Videos, Margaret Fort Trahern Gallery, Austin Peay State University, Memphis, TN New Portraiture, San Jose Institute of Contemporary Art, San Jose, California 1985 Siggraph Art Exhibition, Dallas Convention Center, Dallas, Texas Art& and the Computer 11, Louisville Art Gallery, Louisville, Kentucky travelin ~tinerary: North A o l i n a A and T State University, Greensboro, North Carolina MilledgevilleAllied Arts, Milledgeville, Georgia Children's Museum, OakRidge, Tennessee ChattahoocheeValle Art Association, La Grange, Georga Creative Arts ~ u i l d&, ton, Georgia Stillman College,Tuscaloosa, Alabama '&Augusta Coll e, Augusta, Geoqga Georgia State niversity Art Gallery, Altanta, Georgia Western KY University, Bowling Green, Kentucky Masur Museum, Monroe, Louiaana g Pines Museum Boca Raton, Florida Selected Computer Arts Institute, San Rafael, California &Alternative Process and Contem rary lssue Photography, 3rd Floor Gallery, Oakland, CA Light Masters, Somar Gallery Francism, San Francisco, California 1984 Artists and Computers: A New Collaboration, San Franasco State University, California Maestros de la Luz, Galeria Magali, Mexico City, Mexico travelin itiner ~ e x i m&nivesy=dlberoamerican, Mexim Ci Mexim Centro de Investi adon Y D m d a Emnmicas,%exim City, Mexim Galeria do Arte, bniversidad Autonoma Metropolitan, Izxtapalapa, Mexim CADRE 84, SanJose Institute of Contempor Art, San Jose, W o r n i a Art and Technology, Northern Arizona University Art?aIlery, Flagstaff, Arizona 1983 N a o Works, Go Galle University of California Los Angeles, Los Angeles, California Artistsfrom the VLW, zdlery of the Fantistik, New York, New York PUBLISHED PAPERS Northern California Photographic Exhibition, Monterey Peninsula Museum of Art, California 1982 Si graph Art Exhibition, Boston, Massachusetts & Computer lma e, Kennedy Gallery of the Polaroid Co oration, Cambridge, MA ;"Mid-south Small Iress Design Exhibition, Margaret Fort rahern Gallery, Austin Peay State University, Mem his, Tennessee DATA Network, fracker and Slayton, Sky Art Conference, MU, Cambridge, Massachusetts 1981 '!Computer Art Exhibition, Leigh University Art Gallery, Mar land High Art Technology, Electro Arts Gallery, San Francisco, alifornia travelin ttinerary: Si g a p k Art Exlubition, Dallas, Texas 9Li%raryof congress,Washin ton D.C. Toronto Computer Culture, oronto, Canada Computer Art, Institute of New Technical Forms, Darmstadt Germany Re:Pages, Artists Books, Rhode Island School of Design, Hera Art Gallery, Providence, RI travelin itinerary: ~ r a d f o rCi ollege Art Gallery, Wakefield, Rhode Island Brid e rt Museum, Bridgeport, Connecticut ~mit%&llege, Boston, Massachusetts University of Massachusetts, Amherst, Massachusetts Ham s h w Colle e Amherst, Massachusetts F r a d i n county ktCouncil, Greenfield Massachusetts SoutheasternMassachusetts University, N. Darmouth, Massachusetts Berkshire Museum, Pittsfield, Massachusetts Art Center at Hargate, Concord, New Hampshire University of Southern Maine, Gorharn, Maine Eie,1980 US Winter Olympic Games, Visual StudiesWorkshop, Rochester New York trave mg ttiner : ?:Hamett ~allery3niversi of Rochester, Rochester, New York Erie Public Museum, Erie, ennsylvania SUNY at Albany, New York Myers Fine Art Gallery, SUNY at Plattsburg, New York Collaboration Models, Leonardo ISAST Journal, San Francisco 2003 in Education 1988 Association Proceedings 1988 Association Proceedings 1987 EDITORIAL LEONARD0 BOOK SERIES MIT PRESS The Langua e of New Media, Lev Manovich 2000 Metal and Ffesh, Technology Takes Over, Olliver Dyens 2001 Information Arts: Art, Science, Technolo and Theo SteveWilson 2001 History of Virtual Art and it's Future, 0Tver Grau 2 3 2 Windows and Mirrors, Diane Gromola and Ja Bolter Women in Art and Technolo y, Judy Mallo ? ~ 2 ProtocalWhen Technolog fakes Over, A L X Galloway 2003 Beyond Biology, ~ d u a r d o k a c New Media Artists, Frank Po r 2003 At a Distance, Norie ~eumarl!!$W Digital Performance, SteveDixon and Barry Smith 2005 Between Worlds, SETI, Dou las Vackoch 2005 CODE, Michael Century 2095 The Global Genome, Eugene Thacker 2005 Media Ecologies, Mathew Fuller 2006 All books include Forwards written. SWITCH switch.sjsu.edu Interface: Software as Cultural Production Collaboration Social Networks Database Games Virtual Reality Artificial Life Sound Interactive Narrative Art of the World Wide Web Art and the Military Electronic Gender Network/ Art The I n t e ~ e wIssue Games Database Institutions Social Networks I Social Networks I1 Collaboration Interface PUBLISHED ART CATALOGS Whitney Biennale, Whitney Museum of American Art 2002 The Age of Dataveillance, Steve Deitz, Camera Work: Journal of PhotographicArts, 1999 ACM Siggraph, Art Exhibition, Orlando, FL 1998 Envisionln C berspace: Peter Anders, Abrams, 1998 ~ r e a m l a n Pl kl Patton, Vantage, 1998 Xerox Parc Pair Pro am, Craig Harris: MIT Press/Leonardo Magazine, 1998 Telepresenceand ~ o g t i c sE, duardo Kac, The Art Journal, 1998 &Art as Signal: Inside the Loop, Krannert Museum of Art, Universi of Champaign, IL 19% Telepresent Surveillance, Guy Marsden, Sculpture Magazine, 1 Elastic Visions, Zoller Gallery School of Visual Arts, Penn. State University, PA 1994 Interactive Art, Educom Review, 1994 DoWhatDo, Leonardo Currents, 1994 LEA, Massachusetts Institute of Technology Press, 1993 1V R Anthology, Camegie Mellon Universi Press, 1993 Leonardo Fzne Art, Sczence and Technology FAST) Resource, MIT Press, 1993 &CyberArts International, Technologies, T o m o r m s Art, Los An eles, CA 1992 DoWhatDo, SiteS fic Multimedia Performar*e, an ~ o s e 1992 lnvislble Site, ~ ~ E i y a19~92 h , Confitti, Randal Publis n Com any, 1992 Photo raphic ~ossibilities,BocalLess ,1992 h4ead6bort$olio o Computer Artists, Mead Paper Co ration ,1992 lntroduction to &ult i-Media Design, Prentice Hall, 1% SlGGRAPH 91 Electronic Theater, Los Ve as, NV 1991 Electronic Expressions, Allegheny Colle e,bwman, Penelec ISK Megahan Galleries, PA 1991 Flux 90: New Visions in Computer Art, husken on Museum of Art, MI 1990 Photograph Smtt Foresman, Little Brown, 1960 Electronu dhnt, Arnofili" Galle Bristol, England 1 1989 Dimensions of lnteractivit ~ ~ ~ a h t i t uSatneJo,se, CA 1989 ~ i ~ i t i z iemdages,OrangeCoast community college, Los An eles, CA 1989 7The Ninth Durban International Film Festival, Universi of katal, South Africa 1988 Art In the Com uter Age, Everson Museum of Art 198 Artists in the &mputer A e, Ownmlinois Art Center, Toledo OH 1987 Silicon Valley Festival of Electronic Art, San Jose, CA 1987 Discoveries in Literature, Scott Foresman ,1987 Ta e Fur Neue Musik, Musik Und Film, TheaterHaus, Stuttgart 1986 Biher Images Di tal, Computer Artists in Germany, Galerie Der Kuenstler, Munich, 1986 The Artist and t g Computer, Louisville Art Galle KY 1986 Photo aphy and the American m a ination, ~ a r r ~ T b r a mPusblisher, 1985 cADW; Conference,San Jose, CAf984 Creative Computer Graphics, Cambrid e University Press, 1984 Digital Por@lio, Com uter ~ r a ~ h ibcosrld, Penwell, 1983 Storing, Handling a n f ~ r e r e m i n Polaroid Photo raphs, Focal Press, 1983 Re:Pages, An Extubition of ~ a n c f ~ a dBoeoks, &ra Foundation, RISD, Providence, MI982 Copy Art, Lambert Te en osch,Oce-Nederland 198, Utrecht, Holland 1982 The Computer Image, Bhef'olaroid Corporation, Addison Wesley, 1982 American Institute of Graphic Arts Annua, 1982 REVIEW BIBLIOGRAPHY PRESENTATIONS One Hundred and Thir Years of Ohio Photography, Columbus Museum of Art, Columbus, OH 1982 2'Siggraph Art Show, A M Sig a h Conference, 1981 ElfAcquaintances, VLW Press, 1981 Quiver: Notation and Image, Tyler School of Art, Philadelphia, PA 1979 ?:Database of Virtual Art, Humboldt Universi Berlin 2003 Crumb, Formal Research, University of Sunder and, England 2003 ArtBvte. CADRE Area 51, Tom Vanderbilt, Landscaw Painting As Counter Surveillance1999 w Art~jrtkC5/Sputnik. Mindtrends 1999 . AfterImage, Vol27 No 3, Building a Better Hothouse, S i o n Niedenthal, Rochester, NY 1999 C5, Interview with Svutnik,Marv McGuiness, NY, NY 1998 ~ 5In,terview with h ' i r e d ' ~ akine, San ~ r b c i s c o1998 C5, Interview with Artbyte, N!', NY 1998 C5, Interview with SJ Mercury News, Chris Nolan, San Jose CA 1998 Interview with Joel Slayton, Studio Notes, Mike Vitale, Benicia, CA 1997 Tel SJ ZreEsexnhtzbSiutirovne:ilNlaanmcef,inLeeoPnaaikr,dKoQEEleDctProunbilcicARlmadainoa,cP,eMteIrTJoPnreSscs,huClaemr, barnid%erlaMncAisc1o9,9C7A 1996 Telepresent Surveillance, Words on Works, Judy Molloy, Tucson, AZ 1995 KPElastic Visions, Erie News Su lement, Showcase:Karen Merkle, Erie PA 1995 Conduits, San Jose Mercury ews, Danielle Trosussant, San Jose, CA 1994 The Lure of Pixels, Sante Fe Reporter, Diane Annitage, Sante Fe, NM 1993 DoWhatDo, Art Week, San Francisco, CA 1992 DoWhatDo, Macworld, Ann Garrison, San Francisco, CA 1992 DoWhatDo, New Media A e, San Francisco, CA 1992 DoWhatDo, YLEM, ~ r t i s t s f J s i nS~cience and Technology,Trudy Rea an,Orinda, CA 1992 DoWhatDo, Leonardo Currents, Craig Harris, ISAST. Berkele CA 1 k 2 Those Who Can Do What, San Jose Mercury News, Katherine haclay, San Jose, CA 1992 DoWhat DoWhat, Metro, Ann Elliot Sherman, San Jose, CA 1992 DoWhatDo does Downtown, City Times, Arts, Anne Gelhaus, San Jose, CA 1992 onA er Hours in San Jose, SanJose Mercu News, Lei h Weimers, San Jose, CA 1992 d W h a t D o : a Techno Drive-ln, KQED ~ Z l i Rcadio, 6eter Schuller, San Francisco, CA 1992 Techno-Theater, New Media Age, San Francisco, CA 1991 Virtual Memories: New Electronzc Photography, Art Week, Jenkins, San Francisco, CA 1991 Virtual Memories: New Electronic Photo raphy, Review, Mandell, San Francisco, CA 1991 Computers in the Photography Lab, San Fkmcisco Examiner, Russell Baker, SF, CA 1991 Artists Portrait, Leonardo Magazine, Bill Castell, Berkele CA 1991 The Future of Cinema, The Film Journal, 2 art interview, #rill, NY 1990 Xheronel.2, Triton Museum of Art, Santa Rara Tribune, Nash, Santa Clara, CA 1989 Digitized Ima es, Los An eles T i e s , Vickie Krasel, Los Angeles, CA 1989 The Future ofinteractive Afedia, KQED Public Radio, Peter Jon Schuller, San Francisco, 1989 Com uter Art Special, Channel 54, Malone, San Jose, CA 1989 N C ~ AArts Conference, San Jose Mercury News, an Jose, CA Lets Get Di ital, AfterImage, Visual StudiesWorkshop, Rochester, NY1989 or[Xherone, d e s t German National Television,Stutt art, Germany 1987 Arfful Computing, Science News, Raloff, New Washington D.C. 1986 Computer Artists and Research, CBC, Robin Christmas, Toronto, Canada 1984 ISEA2006 Panel: GPS as Art, Helsinki 2004 San Franasco Art Institute, Art+ Technology Lecture Series 2004 Ke ote Address, A Week with the Masters, Toons Animation Division, India 2003 Fecwship, Auckland University of Technology, Auckland New Zealand 2002 Invited Keynote: Interactive Arena Lecture Senes, Canadian Film Centre, Toronto, Canada 2002 Panel: Soml Software, Transmediale,Berlin Germany 2001 Panel: Pedagogy 4.0 is in Beta: Teaching in the New Media Studio College Art Association, Chicago 2001 Panel: Art and the Entrepreneur, GroundZeroIThe Kitchen, Palo Alto, CA 2000 G,Panel: New Media Mavericks, Lecture: S stems Discourse, San High TechIHi Touch Jose Museum of Art, Saynm sium, Kala Institute, Berkeley, CA 1999 CA 1998 sign-ErbanaLecture: 81epresence and Robotics, Mem Forum, San Francisco Ex loratorium 1997 Panel: Art as Signal: Inside the h o p , University of IL. Cham 1995 Lecture: Experzmental Performance and Media Installation, IPEA, Montreal, Canada 1995 Visiting Artist: Department of Conce tual Desi San Francisco State University, CA 1995 Artist in Residence: PAIR Program, ZroxParc Center, Palo Alto, CA 1994 Visiting Artist:, Mesa Colle el Phoenix, AZ 1994 Visitin Artist:, Art and ~e!?hnolo@Pro am,School of the Art Institute of Chic. o, IL 1993 Panel: haking Megamedia, Internahonal & b e r ~ r t sConference, Pasadena, CA 1982 Panel: International lnteractive Communication Society, Education S ecial Interest, SF, CA 1992 Visiting Artist, Department of Art and Art History, UCD, DaviAs!, ( 1992 Lecture: The Making of DoWhatDo, SanJose Institute of Contemporary Art, SanJose, CA 1992 Panel: Virtual Realzty and the Arts, San Francisco Exploratorium, San Francisco CA 1992 Panel: Artists Ex erzmentation With Interactive Multi-Media, MacWorld, San Francisco, CA 1992 Visiting Artist: dniversity Art Galleries, New Mexico State University, Las Cruces NM 1991 Visiting Artist: California College of Arts and Crafts, Oakland, CA 1991 Visiting Artist: Dept. ConceptualDesign, San Francisco State University, San Francisco, CA 1991 CONSULTANCY RESIDENCY CURATION GRANTS Panel: O n The Bleeding Edge of Interactive Perfbrmance, International CyberArts Conference, Los An eles, CA 1990 hVisitin Artist: &rlin College, Oberlin, OH 1990 Panel: Impact of Computers on the Arts, SPE Western Regional Conference, La Angeles, CA Lecture: Triton Museum of Art, Santa Clara, CA 1989 r' 2Panel: The Dimensions o lnteractivi NCGA Annual Conference, Anaheim, CA 1989 Visiting Artist: Mills ollege, 0 and, CA 1989 XIArtist in Residence, California State Universi Bakersfield, CA 1988 Lecture: Interactive Virtual Environments, First ternational Sym sium on Electronic Art, Center for Art, Media And Technolo of the ~ t r e c h tcade em^ or- Holland 1988 Panel: Computer Graphics and the &&ging Methodolo for Artists and Designers, ACM Si graph Conference on Computer Gra h i s and ndteractiveTeduuques, GA 1988 Panel: j r t s m the Ymr 2020, San Jose State %versity, San Jose, CA 1988 Panel: YLEM, San Francisco Exploratorium, San Francisco, CA 1988 !fPanel: E imental Computer Media, NCGA Annual Conference, Los An eles, CA 1988 Lecture:% Interactive Image, burning Environments, Amealing to the mses, Simulations/DissimulationsConference, Chicago Museum of Saence and Industry, IL 1987 Panel: Digital Photo aphy and Interactive Media, Society for Photographic Education, Mid West ~ e ~ o ncoanlference, Los An eles, CA 1987 Panel: The Llteracy of New Media ~echnof&yA, rt and Design Conference, Schml of the Art Institute of Chicago, Chicago, IL 1987 Panel: Computers and Photo aphy, Society for Photographc Education Annual Conference, san Diego, CA 1 9 g 5Lecture:The Malclng o XHERONE, Tage fur Neue Musik Musik und Film, TheaterHausStuttgart, Germany 1 86 Panel: Computer Arts, Mid America CAA Conference, Mem his State University 1986 Panel: MnLin Art On and With Computers, NCGA Annual dnference, LAX Angeles, CA 1986 Panel: ~ rant3 ~esearchA, ssociationfor Computer Aided Design and Education Conference, Sheridan Colle e, Toronto, Canada 1986 Visitin ~rtist:%rplorations2, Austin Peay State Univers~ Memphis, TN 1986 Panel: Sigital Art, Ninth Annual Coll wum on Empinc$~esthetics, UCX, Santa Cruz, CA 1985 Panel: Computers and Art, Santa ~ o a u n i oCr ollege, Santa Rosa, CA 1985 Panel: New ArtlNew Perc tion, NCGA Annual Conference, Anaheim, CA 1985 Lecture: Digital Imaging, ?ADRE Conference, Mission College, San Jose, CA 1985 3Ledure: Crmtivi and the Computer, International Summer Institute on Tele-Communicationsand New ormation Media, California State University Chico, CA 1984 Panel: Com uters and Art, NCGA Annual Conference, La Angeles, CA 1984 Computer i&3~ o r k s h o:Visual StudiesWorkshop, Summer Sesdon, Rochester, NY Lecture: Computers anXcreativity, Northern Arizona State University, Hagstaff AZ 1984 Lecture: Computer Imaging, Western Education and Computing Conference, San Franasco, CA 1983 Lecture: Computers, Color and Form, Harvard University Environmental Design, Cambridge, MA Lecture: Alternative lma 'ng, MlT Summer Session, Cambridge, MA 1982 Lecture: Art and Techno%gy, Boston Visual Artists Union, Cambridge, MA 1082 Adobe Headquarters Public Art Review Panel, San Jose2003 Curatorial,Vigil of Planetary NetArt, Chairetmetal.com 2001 California Arts Council Grant Review, Media Arts 2000 Consultant on Curriculum, College of Arts and Sciences, CSUB,1998 Cultural Equity Grants Organizations Pand, City of San Francisco, 1997 Cultural Equity Grants Media Panel, City of San Francisco, 19% Consultant, Omron OfficeS stems Research, Facial Reco tion Software 19% Guest Curator, Art and ~ e c & o l oE~x~hibition, Holmes &e San Jose 1995 Artist in Residence, PAIR Program, XEROX Parc, Palo Alto, ?&fornia 1993 Panel Jurist, Art and Technology Artist Grants, Santa Clara Arts Council 1993 3Consultant, Computersin the Arts am, UCSC 1992 Consultant,Computers in the Cum um, SanJose Unified School District 1992 Board of Directors, Arias Compass Projects, Los An eles 1990-1992 Consultant, Califomia Alliance for Art Education 1889 "d.ConferenceDirector, The Dimensions of Interactivi NCGA 1989 Executive Committee, NCGA Arts Section 1988198 Artist in Residence, Stellar Computer, Santa Clara, California 1988 Consultant,Computers in the Curricula, NJ Board of Hi her Education 1988 Exhibition Jury, SUN Gallery, Ha ard California 1 9 b Computer Graphics Workshop, C S ~ h f e s s i o n aDl evelopment Program 1988 Artist in Residence, NASA Ames Research Center 1987 PmpamCoordinator, The Computer Image, CSU Summer Arts 1987 Ehbitions Coordinator, Silicon Valley Festival of Electronic Arts 1986 am Coordinator, InternationalSummerInstitute on Telecommunications an New Information Media, California State University, Chico 1984 Program Consultant, CADRE 84 Conference, San JoseState University 1984 Arhst in Residence, Grinnell Systems, San Jose, CA 1983 Program Coordinator, Computersand OtherTools, MIT Summer Session 1981 Program Coordinator, ComputerDesign and Typography, MIT 1980 SJSU IRA, CADRE Artist in ResidenceISwitchJournal 42,500 2003 SJSU IRA, CADRE Artist in Residence/Switch Journal 42,500 2002 Silicon Graphics, RE2 donation, $150,000 2002 Graduate Studies and Research Award, SJSU $2000 2000 SJSUIRA, CADRE Artist in Residence/Switch Joumal $34,500 2000 SJSU IR CADRE Artist in ResidenceJSwitchJournal $34,500 1999 SJSUIRA CADRE Artist in Residence Program $34,000 1998 SJSU IRA CADRE Virtual Realitv Laboratory $32,000 1997 SJSURA, VR/High bandwidth detworking, $32,000 19% CSU Lottew Grant. Networked Exhbitions Proeram.. $.32.000 19% CURRICULUM -Xerox Parc Frys Electronics SJSU Instructional Resources Award, SWlTCH the on-line ElectronicJournal of the CADRE .Institute, San Jose State University, $32,150 1994 STSU IRA Virtual Realitv Laboratorv Proiect. San lose State 2 3. ~niversiG,$39,000 1993 California State University Faculty Research Award, Video Disk Production, $5000 1993 NEA Project Grant: DoWhatDo, A site specificmultimedia performance sponsoredby the San Jose Institute of Contemporary Art $15,000 1992 Corporate Sponsorship of DoWhatDo: $350,000 1992 Software S stems Inc., MultiGen Software Grant for Virtual Reality Research, $130,000 1992 SJSU IRA ;ADRE Student Exhibitions Program, $40,000 1992 Certificate of Ap reciation, SmithsonianInstitute, Recoption of Exceptional Service 1990 Alias Research, % h a r e rant for 3D Modeling and Computer Animation, $480,000 1990 CSU Lottery Grant, Digital Video Editing S stem, $48,000 1990 Meritorious Performance and Professional gmmise Award, San JoseState University 1989 Chancellors Distinguished Artists Forum, San Francisco State University 1989 Sun Microsystems, Computer Donation, $120,000 19898 CSU Lottery Grant, D i s h ished Visitin Artists and Scholars Lecture Series, $2000 1988 U$CSU Lotte Grant, Videogisk ~ e s ni orkstation, $30,000 1988 k?scalifornia g a t e University Summer Program, $20,000 1988 &C stal Graphics, Software Grant for Computer Animation, $25,000 1987 Lottery Grant, Distinguished Visitin Artists and Scholars Lecture Series, $7,000 1987 Meritorious Performance and Professionaf Promise Award, San Jose State University, $2000 1986 SanJose Fine Arts Commission, CADRE Performance Series, $5000 1986 &Dean's Facul Recognition Award, California State University Chico 1984 Commodore mputer Ltd., Equipment Grant, $5000 1983 American Institute of Graphic Arts: Desi Leadership Award to VLW/ MIT 1982 The Polaroid Corporation,Digital PortfoK commission 1981 Graduate Coordinator MFA Program in Digital Media Arts Graduate Seminar in Digital Media Art Under aduate Seminar in Digital Media Art .Mas !$stem The Human Machine Interface Introduction to Digital Media Advanced Projects in Digital Media Art