Joseph DeLappe is a Professor of the Department of Art at the University of Nevada where he directs the Digital Media program. Working with electronic and new media since 1983, his work in online gaming performance and electromechanical installation have been shown throughout the United States and abroad – including exhibitions and performances in Australia, the United Kingdom, China, Germany, Spain, Belgium, the Netherlands and Canada. In 2006 he began a project dead-in-iraq , to type consecutively, all names of America’s military casualties from the war in Iraq into the America’s Army first person shooter online recruiting game. He also directs the iraqimemorial.org project, an ongoing web based exhibition and open call for proposed memorials to the many thousand of civilian casualties from the war in Iraq. He has lectured throughout the world regarding his work, including most recently at the Museum of Modern Art in New York City. He has been interviewed on CNN, NPR, CBC, the Australian Broadcasting Corporation and on The Rachel Maddow Show on Air America Radio. His works have been featured in The New York Times, The Australian Morning Herald, Artweek, Art in America and in the 2010 book from Routledge entitled Joystick Soldiers The Politics of Play in Military Video Game.
This interview was conducted with Barry Jones in January of 2013
Valerie Sullivan Fuchs (valeriefuchs.com) is an artist who works with film, video, video installation, sound, and sculpture to encounter the industrial and electric forms, which mediate our direct relationship with nature, the land and each other. Her work has been shown at “Transparencies and Trans-formations in Contemporary American Art,” U.S. Embassy, Stockholm, Sweden (2010-11); New Albany Public Art Project: Bicentennial Series, New Albany, Indiana (2010-11); Contemporary Arts Forum, Santa Barbara, California (2007); Non Grata Film and Video Festival, Pärnu, Estonia (2006); Galerie Eugene Lendl, Graz, Austria (2005); BELEF Art Festival, Belgrade, Serbia; and “Presence,” Speed Art Museum, Louisville, Kentucky (2005). She has received grants from the Sony Corporation, the Kentucky Arts Council (Al Smith Individual Artist Fellowship), and the Kentucky Foundation for Women. Sullivan Fuchs’ work has been reviewed in Art Papers, Dialogue, American Theatre, the Louisville Courier-Journal, the Louisville Eccentric Observer, and MIT’s electronic journal Leonardo. Beauty Unlimited, 2012 an anthology published in 2012, included a review by Fuchs. She has published articles in Pitch Magazine and the Louisville Eccentric Observer. Fuchs is a full-time Lecturer with the Fine Art College’s School of Art & Visual Studies, at the University of Kentucky.
boys don’t cry, 2008, 3:23; is a collaboration between artist Valerie Sullivan Fuchs, choreographer David Ingram, and musician Ben Sollee. David Ingram who has collaborated with Valerie Sullivan Fuchs on several projects including work with the Ft. Wayne Ballet in Ft. Wayne, IN and the Louisville Ballet dancers in Empujon. Ben Sollee and Valerie Sullivan Fuchs have collaborated on other works, ‘Western|Western’, 2008, and ‘I Need’ which premiered at the Speed Art Museum in 2009. Special thanks to William Morrow, director of the 21c Museum, for introducing David Ingram, Ben Sollee and myself and for encouraging our collaboration. Collection Laura Lee Brown & Steve Wilson.
Western|Western, 2008,8:06; is collaboration with Ben Sollee where I asked him to play his cello with a rifle.
This piece was inspired while I was thinking about Western culture, and this question, ‘How can it be that such beautiful cultural artifacts like the cello, violin, and such destructive ones like guns, exist in the same culture?”
So I invited Ben Sollee, whom I had met through William Morrow, the then the director of the 21c Museum, to meet me at a recording studio and play his cello, with my husband’s 22 rifle. Luckily he agreed, and even though the rifle Ben bowed was 5.5lbs, he managed to play for over an hour creating amazing improvised sounds despite the weight and awkwardness of the rifle.
Collection of Brook Smith.
a horizontal line makes a stable image, 66 seconds, 2007
After my grandfather died, I inherited 70 years of family 8mm films. While viewing them, I realized I developed new memories of my mother’s childhood without my being there, or her being present to contextualize them. I began to work with these films, in part, to understand the passing of time but also to visualize the energy or the shape of it within my family’s recorded history.
In a horizontal line makes a stable image, I digitized and edited these family 8 mm films into clips of my mother, then I layered these clips into 42 overlapping layers so I could visualize the arc and energy of her life in 66 seconds. This memorial to my mother includes the sound of the last 66 seconds of a piano piece she played often at my request. Each note is edited into an arc where the first note would play forward and then would repeat in reverse. The destabilization and destruction of the shape of a family after the death of a loved one happens over time and continually reforms like the memories of them.
This was a part of “Finding Family”; curated by Karen Gillenwater, 21c Museum, Louisville, KY & Mount Sterling, KY’s Gateway Regional Art Center
Morgan Higby-Flowers is an American artist based currently in Clarksville,Tennessee. He
received an MFA in Electronic Integrated Arts from Alfred University in 2011 and a BFA in
New Media Arts from The School of the Art Institute of Chicago in 2008. Morgan has
participated in multiple exhibitions including GLI.TC/H in Chicago and The Bent Festival
in Brooklyn NY. He recently performed live in the parking garage of the Museum Of
Contemporary Art for The Dirty New Media Round Robbin in Chicago, Illinois. He is
currently a visiting assistant professor of New Media Art at Austin Peay State University
My interests circulate around particular areas of the New Media Art spectrum,
specifically, work that incorporates discarded technologies. My aesthetic sensibility
tends to pursue encounters with wonderment, combining visual representations with new
I use obsolete technology to create “no-input” systems that produce their own inherent
visual and audial elements. Antiquated AV equipment is devalued in our society where
“newer is better.” An item that was priced at ten thousand dollars in 1983 is perceived as
trash in 2013. Analog technology is inherently more malleable than digital. In my work,
antiquated machines create new and informed back leaps forward.
In selecting the 2013 Terminal Awards recipients, proposals were evaluated based on the provocativeness and clarity of project outlines, the strength of related past work and the manner in which proposals directly engaged the internet, as a medium. The four selected proposals are listed below.
Gottfried Haider’s “Drawing Circuits” playfully proposes a rudimentary browser to 3D milling machine workflow through which visitors to a website can draw electronic circuits and then manufacture them. In conflating the sketchpad and the electronic enthusiast’s workbench this project promises to create both a social space and an educational tool.
Frederick Witold Ostrenko’s “Conglomeration” is a sharp critique of the carnivorous capitalism of Silicon Valley that will transform the logic of a crude game prototype into a First-person shooter (FPS). Ostrenko’s proposed game riffs on the informatics of gaming and the ubiquitous data streams and visualizations of financial markets.
Rather than plug work into the tedious trappings of stock web portfolio templates, Atif Akin’s “The Mutant Space” proposes a sincere rethinking of online photo archives. Utilizing Processing.js and experimenting with the capabilities of modern web browsers, this work promises to construct a dynamic space to exhibit the eerie non-place qualities of a collection of photographs documenting urban environments, frozen in time by the Chernobyl meltdown.
Delving into the world of vernacular video, Josh Hite promises to stitch together a video comprised of footage of ‘trundling’ – the rolling of rocks and boulders down hillsides. Curating a meditation on the essential qualities of landscape through YouTube footage might seem counterintuitive, but Hite’s past work demonstrates his capacity to identify and foreground strange idiosyncrasies and patterns, culled from the natural world.
Greg J. Smith February 2013
Charles Woodman has been working in the field of Electronic Art for more than twenty years and has been a Professor of Fine Arts at the University of Cincinnati since 1999.
His recent projects have concentrated on the integration of video in live performances, often in collaboration with musicians or dancers, and on the creation of video installations for museums and galleries.
Exhibitions of his work include screenings at the Block Museum of Art in Chicago, the New Interfaces for Musical Expression conference in Vancouver, Canada, the Black Maria Film and Video Festival, Edison, NJ, the American Dance Festival in Raleigh, NC, the San Francisco Cinematheque, and the Museum of Modern Art in New York.
On Friday February 1 at 6 pm Woodman along with Barry Jones, Morgan Higby-Flowers and Aaron Hutchenson will be performing live video at the Coup in Clarksville.
Woodman was founding member of the video performance group viDEO sAVant and is currently working on the design of a new instrument for use in real time performance, a “gesture based interface for real-time control of video playback.”
Terminal and the Center of Excellence in the Creative Arts at Austin Peay State University are pleased to announce the launch of The Poor House Project by Angela Watters. Watters is a recipient of a 2012 – 2013 Terminal Award. The Terminal Award is granted annually to four artists to help in the creation of new internet based artworks.
The Poor House is a participatory art project organized by artist, Angela Watters. Currently, the project is accepting submissions of student loan debt numbers from arts graduates. In the coming months personal invitations will be sent to well-known artists requesting a donation of a small work of art to decorate the interior of the gallery like interior of a $5 flea market dollhouse, or the Poor House, which will be transformed into a sculpture offered to collectors at the amount of collected student loan debt. The Poor House Project website compares debt collected with realized prices of paintings sold at auction. As the debt totals rise, the featured painting on the home page will change to a painting sold for a comparable amount.
Terminal and the Center of Excellence in the Creative Arts at Austin Peay State University are pleased to announce the launch of Chastity and The Council on Gender Sensitivity and Behavioral Awareness in World of Warcraft by Angela Washko. Washko is the recipient of a 2012 – 2013 Terminal Award. The Terminal Award is granted annually to four artists to help in the creation of new internet based artworks.
Mobilizing communities and using play, I am an artist and facilitator creating new forums for discussions of feminism where and when they do not exist. These forums are created through actions, interventions, videos, and performances- sometimes in video games. I am dedicated to researching and ultimately changing unhealthy, unrealistic, limited, and object-oriented projections of women throughout different forms of media by creating public works that challenge our implicit acceptance of everyday inequality.
My most recent project, “The Council on Gender Sensitivity and Behavioral Awareness In World of Warcraft,” is a long-term research-based initiative I launched to create spaces for dialogue about feminism inside a video game with a community that is notoriously misogynistic and aggressive toward women. I am interested in the unusual political space that evolves within WoW. It takes quite a lot of effort to ever break into the social aspects of the game. One has to make a fairly serious commitment to the game (undergoing lengthy tutorials, quests, learning characters’ skills, finding equipment, fighting dragons/goblins etc.) to ever make it to the point where they are in a guild and regularly communicating with large groups of people. Because of that barrier between the committed and the dabblers, a unique social community is created in each realm of World of Warcraft that few know about, despite the game’s widespread popularity. The blatant discrimination, homophobia, and extreme sexism that persist are not a result of the developers’ aesthetics, but the community of avatar-hidden individuals that play it. I am creating videos from performances inside of World of Warcraft that investigate the relationship between female players and the intensely complex social communities within WOW. I am working on instituting a system in which players in my community are forced to take responsibility for their oppressive behavior, help to create an environment that encourages women gamers to participate, and present performances and videos to a non-MMO-informed public that is unaware that these communities exist.
In this suite of videos Michelle Given investigates the intricacies of sexual tension, specifically its attendant feelings of anticipation, frustration and anxiety. She questions what is more fulfilling or agonizing— never getting what one desires, or obtaining the object of one’s desire only to find that it did not meet one’s expectations? Does the subject inLure hold the fishing pole, or is she dangling from the hook? In Chase, what are the ultimate goals of the participants— would satisfaction be achieved for the subjects or the audience if the actions were to be completed? If so, how profound or superficial would that fulfillment be? The videos’ subjects exist in a state of limbo, working towards or waiting for a culmination of their actions, a release that never comes. Given wants the videos to be alluring as well as disconcerting so as to echo the push/pull of the works’ basis.