CURRENT BOOK PROJECT
Web and Multimedia Writing:
The Art of Words in a Visual World
Link to Amazon
The broadest survey of writing for web and multimedia available, this book covers gaming, copywriting, journalism, business communications, academic writing, electronic poetry and fiction and more. Chapters on web design, web portfolio development, and copyright law are included.
Leonardo: Journal of the International Society
for the Arts, Sciences, and Technology
(MIT Press, Feb. 2008, Vol. 41, Issue 1)
"Fractured Cybertales: Navigating the Feminine"
MIT Press Journals (PDF)
This article, which was originally a paper presented on a panel at CAA, discusses ways in which narratives that reinforce gender norms become embedded in graphical interfaces. For example, recognizing what Lev Manovich has called a “logic of selection” inherent in all new media, the article considers ways in which graphical interfaces manifest a cultural logic of selection relating to gender norms—and how my own digital media works “fracture” or deconstruct them.
Director: Christiane Paul, New Media Curator,
The Whitney Museum of American Art, NYC
Editor: Patrick Lichty, Columbia College; Guest Editor: Dena Eber, Bowling Green State University
EXCERPT: While Ryan’s model sees a gradation of experience when moving from interpretive to configurative texts (e.g., from art/literature/film to new media), and from real life to cyber environments, a quantitative approach to the characterization of aesthetic experience (e.g., indicating that it is more or less interactive) seems to ignore important qualitative differences between embodied experience of real life and of cyber environments. Inspired by feminist criticism, this discussion considers select theories and artists that highlight some of those differences and suggest a focus on embodiment that looks at the sensorial body and moves to the social body in ethical contexts.
Journal of Film and Video
University of Illinois Press
(published Winter 2006)
Review: "The Films and Animations of Deanna Morse"
LAUNCH MANUSCRIPT | Publication Info
Originally presented at as a paper at
the UFVAConference, Chicago, 2005
THESIS STATEMET: Move--Click--Move (a reference to stop-action animation) is not merely a DVD collection of Morse’s 30-year body of work; it is a sharing of process and meaning, a portrait of the artist and her relationship to her work and her public, and a study of the act of animation itself--a continuous metaconversation about meaning through bodily movement, and a focus on embodied difference.
EXCERPT (regarding the film entitled "A.m. Afternoon"): While there is circularity here as the artist’s recurring childhood dream of flying materializes in looping animation sequences and repeating narrative, there is also horizontal movement, as the artist finds freedom in time-based media (the “move—click—move” of frame animation; the “mouse-click-move” of computer animation) and in embodied movement (“travel”). “Now,” she says, “I would not find solace in those suburban hiding places. Now, when they say ‘Get out, get out,’ I MOVE. Now, when they say ‘Get out, get out,’ I MOVE ON. Is that so unusual?” We come to realize that it is indeed unusual for a woman to fly (and for us deeply rooted Midwesterners to “move,” for that matter). Finally, it is complex for any of us to contemplate movement: change in domestic setting, change in our bodies, movement from our home towns, and the importance of imaginatively taking flight. This complexity of movement is the focus of Morse’s work, in both form and content.
Media-N: Journal of the New Media Caucus
of CAA (March 2006)
"Representing the Body in Cyberfeminist Art"
LAUNCE MANUSCRIPT | Media-N Home
Originally presented as a paper, in Bilbao, Spain, at
The International Conference of New Technologies,
Art, and Communication
EXCERPT: Whether we acknowledge it or not, in interactive media, the configurative language of the computer has become part of the interpretive language of the art form. For example, any representation of the body in cyberspace carries with it the idea that it has been digitized/mechanized by computer code. This idea might be no more or less problematic than the idea of body imagery being rasterized for digital video or photography, were it not for the fact that the Internet and other cybertechnologies have changed how we understand the body itself in relationship to that computer code (and by extension, in terms of semiotic code).
International Museum of Women, San Francisco (2006-2007)
"Like a Virgin--or Not
(and Other Reflections on Altar-ations)"
Museum's Home Page
The museum requested that I write this essay as a companion to my new media art project called "Altar-ations" This was an invitational project that was included in the "Relationships" theme of the "Imagining Ourselves" exhibit web site during the duration of the exhibition in San Francisco.
EXCERPT: In his 2003 Ars Electronica review entitled “Don’t Call It Art” (Rhizome Digest 9.17.03), Lev Manovich argued that much of digital art is fundamentally at odds with contemporary art because the very term “digital art” (and, by extension, “cyberart”, “new media”, etc.) presumes a formalistic preoccupation with medium. Therefore, he argued, digital art is not compatible with contemporary art, which comes from a conceptual art tradition. As one of many counterpoints to this argument, the CAA New Media Caucus, while asking some of the same questions Manovich has raised (“What exactly is [sic] the phenomena of . . . ‘digital art,’ ‘new media art,’ cyberart,’ etc.?), presented us with digital work that operates in a larger field of cultural production.
"We aren't even looking for specialists who know specific technologies
any more; we're looking for artists." --Jim Spoto, Computer Graphics
Supervisor for Electronic Arts (EA)
EXCERPT: Art David of Wave Light Digital Images, Inc., who has worked in compositing and digital shot clean-up on several major motion pictures such as The Matrix, Judge Dredd, Contact, and Starship Troopers, said that "students need to develop problem-solving skills" in order to be competitive in a rapidly shifting technological environment. David illustrated the challenges of the digital effects industry by discussing the dramatic changes in staffing at ILM and other digital effect houses worldwide over a period of just eight years. He also emphasized that the workload is being redistributed to smaller firms and to various locations worldwide, and that students must be willing to adapt to the industry if they want to remain viable.