Interdisciplinary Arts and Media Commons^™

Building A More Sustainable And Accessible Internet: Lightweight Web Design With Html And Css, Chelsea Thompto

Assignment Prompts

While the internet has great potential to bring people together, if the internet was a country, it would be the 7th largest energy consumer on the planet. This is set to increase in years to come moving the internet even higher on this list to become the 4th largest energy consumer if it were to be a country. So, as artists and digital citizens it is imperative that we understand how to create and display the content we produce online in ways that are sustainable and accessible.
This assignment, while slated for Art 109, may be slotted into an earlier …

Book Review: Palaces For The People: How Social Infrastructure Can Help Fight Inequality, Polarization, And The Decline Of Civic Life, Eric Klinenberg, Georgia Westbrook

School of Information Student Research Journal

No abstract provided.

Contemporary Art And Historical Archives: Collaborations And Convergences In A Digital Multicultural Age, Suzanne S. Lapierre

School of Information Student Research Journal

Literature illuminating the relationship between contemporary art and historical archives around the turn of the twenty-first century and how these interactions inform the evolution of archives in a digital multicultural age is the topic of this review. The literature reveals the extent to which art has been a means for members of marginalized groups to address their representation in historical archives, and also a means for archives to connect with a broader audience. Collaborations between artists and historical archives add new dimension to the debate about the nature of the archive as a creation in and of itself, and in …

Themusicofthefutureisntmusic, Henry Gwiazda

SWITCH

In this article, new media artist/composer Henry Gwiazda reflects on how evolving technologies have opened new possibilities for combining sound, movement, and image.

Biocurious, Sara Gevurtz

SWITCH

This article describes bioart, its emergence in the early 2000s, and the growing accessibility of open source labs such as BioCurious.

Growth Pattern, Allison Kudlah

SWITCH

"Growth Pattern" is an installation that merges botanical tissue culture with ornamental design. In this installation, tobacco leaves are die-cut into patterns and cultured in petri dishes, where new leaf growth develops over time.

Project Burg, 2010, San José State University, Danielle Siembieda-Gribben

SWITCH

“PROJECT BURG,” installed at San José State University, anthropomorphizes a building by connecting energy systems such as cold water and electricity with human systems like the respiratory system. The installation invites viewers to understand their building’s needs and rethink how we care for our built environments.

Biohacking, Sara Gevurtz

SWITCH

This article explores the rise of DIY biohacking spaces and the author’s experience at BioCurious, a Silicon Valley based hackerspace

Neuroscience, Memory And Art: Deborah Aschheim, Sara Gevurtz

SWITCH

This article recounts a discussion with artist Deborah Aschheim and explores the intersections of neuroscience, memory, and art. Aschheim’s work investigates memory, memory loss, and place through interactive sculptures and installations, often incorporating sound and collaboration with musicians and scientists.

Oer Impact: Towards An Evidence Base, Rob Farrow

SJSU Open Access Conference

The open education movement has achieved much in the last decade, but there remains wide acknowledgement that the impact of OER has yet to be fully understood. A suggested approach is to address this through collective approaches that collate information and present them back in an integrated way. This has some appeal, particularly in the way it matches to ideals of openness, but needs to be implemented with care.

In this presentation I critically evaluate attempts that have been made to support communication and collaboration through ‘mapping’ OER. After endorsing the basic rationale for mapping evidence surrounding OER implementation I …

Curatorial Team, Danielle Siembieda

SWITCH

A list of people on the curatorial team for "Polar Identity."

Jurors, Danielle Siembieda

SWITCH

A list of jurors for the Polar Identity exhibit.

Erika Blumenfeld, Danielle Siembieda

SWITCH

This article contains a short biography of artist Erika Blumenfeld, including a description of “Apparent Horizons: Antarctica,” a video installation documenting the light, sky, and sound in Antarctica and the Arctic.

Catherine Rannou, Danielle Siembieda

SWITCH

This article contains a short biography of Catherine Rannou, a video artist and architect, and her work. It goes on to describe “32K,” a multimedia project that explores isolation and communication during her Antarctic research residency.

Andrea Polli, Danielle Siembieda

SWITCH

This article contains a short biography of Andrea Polli, a digital media artist and professor, and her work. It goes on to describe “Sonic Antarctica,” a multi-format (radio broadcast, live performance, and sound and video installation) project meant to explore the weather, climate, and environment of Antarctica.

Andrea Juan, Danielle Siembieda

SWITCH

This article contains a short biography of Andrea Polli, a digital media artist and professor, and her work. It goes on to describe “Sonic Antarctica,” a multi-format (radio broadcast, live performance, and sound and video installation) project meant to explore the weather, climate, and environment of Antarctica.

Philippe Boissonnet, Danielle Siembieda

SWITCH

This article contains a short biography of Philippe Boissonnet, a professor in the Arts. It also includes a description of “«CP/TOMS TOTAL OZONE»,” a large-scale photographic mural inspired by his trip to Antarctica.

Xavier Cortada, Danielle Siembieda

SWITCH

This article contains a short biography of artist Xavier Cortada, including descriptions of his art installations at the South Pole.

Polar Identity Call For Entries, Danielle Siembieda

SWITCH

A call for submissions for the international exhibit, Polar Identity, sponsored by the CADRE Lab and 01SJ Festival. This article contains broken or missing images. Some visual content referenced in the text may not display properly.

01sj / Fuse

SWITCH

This page describes two initiatives: 01SJ, a global festival produced by ZER01, and the FUSE residency program, a collaboration between SJSU’s CADRE Lab and the Montalvo Arts Center.

Chance Operations, Liena Vayzman

SWITCH

This article describes the multimedia exhibit and performance, “Chance Operations,” held in Fall 2008 at the Climate theater in San Francisco. The event featured 14 projects exploring the theme of chance.

Fuse News, Kuniko Vroman

SWITCH

This article describes the FUSE initiative, a collaborative residency program bringing together artists, students, academic institutions, and Silicon Valley industries. Housed at San José State University and partnered with Montalvo Arts Center, ZERO1, and the city of San José, FUSE explores how interdisciplinary partnerships can shape new forms of media art and public engagement.

Intellectual Property In The Age Of Digital Reproduction, David Sandoval

SWITCH

This article explores the challenges of intellectual property in a digital world. Focusing on the work of Graffiti Research Lab (GRL), the article discusses how artists use open-source tools to resist corporate control of public space, but also how these same tools are often co-opted by the very systems they oppose. Through examples like LED throwies, Laser Tag, and Creative Commons licenses, the article examines the limits of current copyright models and the blurred lines between commercial and non-commercial use.

Zero1sj/Fuse, Kuniko Vroman

SWITCH

This article introduces the FUSE research residency program, a collaboration between San Jose State University's CADRE Lab and the Montalvo Arts Center. It describes how FUSE supports partnerships between artists and students to explore new media and social issues through creative projects.

Re-Purpose Broken, Ethan Miller

SWITCH

This article explores how artists in the FUSE series (The CADRE/Montalvo research initiative) creatively re-purpose everyday systems, tools, and cultural norms to challenge how we understand and interact with the world. Using the idea of networks from Actor-Network Theory, the author explains how artists break or shift systems to raise important questions about power, participation, and control.

Natalie Jeremijenko Ignites A Fire Under The Seats Of Cadre Students., Danielle Siembieda

SWITCH

This article reflects on artist and activist Natalie Jeremijenko’s 2007 visit to SJSU’s CADRE Lab, where she challenged students to rethink the language and purpose of activism and art. Through various events, including a geocaching walk, she introduced ideas of structured participation, environmental health, and repurposed systems.

Geo Caching With Natalie Jeremijenko, Danielle Siembieda

SWITCH

Poster titled "Geo Caching with Natalie Jeremijenko." It describes an October 2007 outing by CADRE graduate students with artist and activist Natalie Jeremijenko.

Front Matter: Re-Purpose

SWITCH

Front Matter for Volume 24 of SWITCH. The theme of this issue is “Re-Purpose” - highlighting creative ways artists reuse and rethink technology, spaces, and ideas.

Interview With Richard Wright And Graham Harwood Of Mongrel, Yumika Tanaka

SWITCH

This interview features Richard Wright and Graham Harwood of Mongrel, a digital artist group known for working with marginalized communities. They talk about their creative process, including how they collaborate with groups like Irish Travelers and Congolese immigrants, and how those communities use digital technology in unique and meaningful ways.

Purpose Machines, Douglas Edric Stanley

SWITCH

This article explores how machines can be designed to have purpose - not just to follow instructions, but to react, adapt, and change based on their environment. The author compares early ideas from cybernetics and computer science with modern technologies, showing how machines today can be flexible, creative, and open-ended. He also questions the idea that artists can “re-purpose” machines, since machines are already made to be re-used.