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blinkvideo - research of video art, performance and multimedia installations.

blinkvideo - research of video art, performance and multimedia installations.

blinkvideo the platform for . . .

artists we provide a platform for extensive presentation of media works, gallerists get a direct contact to international professional audiences, collectors find a worldwide overview of contemporary trends in moving image, curators can do research via keywords and compilations, teachers use presentation opportunities for students and all professionals get password protected, extensive information about video works worldwide.

FLUID STATES. SOLID MATTER
Videonale 18.

On what basis do we live, think and act nowadays? And how are we shaping this basis for the future? The works of the exhibition FLUID STATES. SOLID MATTER open a discourse on these questions. How does our thinking of the relationship of human beings to their environment change when we no longer see the body as solid and autonomous - as it has been the case until now - but as fluid. As fluid bodies - or "Bodies of Water", as gender researcher Astrida Neimanis puts it -
we as human beings no longer stand above nature, but in interaction with it, with the living being, with the systems that surround us.
Image: © Ida Kammerloch, Resusci Anne, 2019/2020

Alexandra Meijer-Werner

Between 1993 and 2002 Alexandra Meijer-Werner's artistic work focused on creating video installations with multiple projectors, and combining sound, texture and interaction with the public. She also produced a number of documentaries which evidence her profound interest in personal transformation and the awakening of human consciousness.

Please have a look to an introduction of her work on blinkvideo.
Image: © Eugenia Meijer-Werner

Moving Images / Moving Bodies
Online screening programme in cooperation
with the Goethe-Institut Bulgaria

Curated by Ludwig Seyfarth

Research into the human body and interpersonal relationships remain central themes in video and moving image art. Artists from Bulgaria and Germany, whose work is related in content, will be shown in pairs over the next weeks. The exhibition planned for November 2020 in Sofia has been postponed until 2021. Instead, a consecutive presentation of selected films by artists from Moving Bodies/Moving Images is presented on blinkvideo.
image: © Elitsa Dimitrova

Shooting Ghosts
Online screening programme in cooperation
with the Goethe-Institut Bulgaria

Curators: Kalin Serapionov, Krassimir Terziev

What we propose in this programme is a highly subjective and fragmented view on current practices in moving image in the Bulgarian art scene. We focused on practices that show affinity with speculative narratives - narratives that not just record what is in front of the cinematic eye, but also capture all the ghosts that are unreachable by the apparatus, thus projecting speculative views that intend not merely to describe, but to transform the world.
image: © Veneta Androva

Featured videos

Alexandra Meijer-Werner
Kreislauf / cycle … revolution … circulation, 1997

Kreislauf is an oneiric trip about the continuous cycle of human rebirth. Our dreams create the fabric in which the threads or individual tendencies appear and disappear, only to become visible once again. The dynamic of this video is a weave of repetitions and juxtapositions of the experiences that create the dance of life. Everything is cyclic, nothing disappears; everything is perpetually mutating in landscapes of anguish and joy, violence and calm, solitude and union. The traveler is the active force of his own fate when he realizes that what is most significant in life is the act of living itself.

Björn Braun
without title (excerpt), 2012

Sandra Boeschenstein
Besuchte Linie auf Granit, 2014

I encountered the roundworm in the Alps when I attempted to repair the water catchment of the cabin after a storm. I wished for this animal found at the spring to be a visited line, then searched for potential visitors and found, just nearby, a nest of firebugs in a dried chestnut leaf, which I placed just outside of the image field. The granite slab, roundworm, bugs’ nest and a fly lived their lives within a radius of 100 meters. My part in this was to bring them into direct proximity for the duration of an hour, to focus my camera and to breathe onto the upper part of the lens, in order to increase the atmospheric depth of the picture. Finally, to come to the allegation I’ve made via the title that something was a line that actually is an animal (when normally, in a contrary approach, characteristically formed lines represent animals or the like). The combination of the simplicity in the foundation / bedrock with a simultaneous insecurity in view of scale and nature of this white line, holds my fascination.

Isabella Fürnkäs
In Ekklesia, 2015

The title, ‘In Ekklesia,’ comes from the Greek word ‘ecclesia,’ which refers to the democratic parliament that served Athens in its halcyon days by being open to male citizens every other year. Solon, an Athenian legislator and a sage, allowed all citizens to serve the parliament regardless of their social class in BC 594. The Ecclesia made decisions about war, military strategies, and all judicial and administrative issues. This work satirizes various facets of humans and machines in the 21st century, unconsciously within a dystopian environment. Isabella Fürnkäs introduces a method of combining and overlaying countless images in her work, providing the new experience of sensations that act in ambiguous flows, movements, interference, and interjection. The piece is about the new metaphysical and material connections appearing through digital conversations that are divorced from the general notion of time and space, as well as isolation and alienation. Text by Hyun Jeung Kim (Nam June Paik Art Center Seoul)

Ryan Gander
Man on a bridge - (A study of David Lange) , 2008

A digital video transferred from 16 mm film shows a number of slightly differing takes of the same short sequence: A man walks over a bridge and seems to notice something over the railing to his left hand side. As he moves in for a closer inspection, the film cuts, which is then followed by another take of the same shot.

Wim Catrysse
MSR, 2014

On the Kuwait roads the journey goes in a western direction, past military bases and a line of oil transporters. Dreary sound sequences are pumped out by the radio. In the middle of rubbish heaps by the roadside a pack of wild dogs is trying to find shelter from the wind. Wim Catrysse presents the Kuwait desert both as a post-apocalyptic setting and as protagonist. During the journey, the car window is an obstacle, made even more so by the screen. The viewer, dumped in the desert, does not manage to reach it through the window. MSR, the Main Supply Route, is the main highway used to coordinate military operations in the Gulf War in 1990/91 and the War in Iraq in 2003. Filming is forbidden here, so the pack of wild dogs carries the story at first. But their behaviour keeps on bringing the desert into focus as the principal actor. Underlined by the sound track, its seeming hostility to life awakens the impression of a dystopian timelessness reminiscent of the apocalyptic scenarios in films and makes the viewer feel ill at ease. Catrysse examines conventions, both in a political-dogmatic and in a filmic sense.Nathalie Ladermann

Johanna Reich
CRAWLER, 2020

A crawler is a searchbot in the internet which Johanna Reich uses to collect special comments or phrases about the most discussed topics during the last years like A.I., climate change, digital revolution, gender and the turn of democratic systems. Johanna Reich selects several of the collected phrases composing a robot performance: self-driving projectors move across the exhibition space and project comments about a.i., gender or climate change onto the audience and architecture.

Annika Kahrs
solid surface, with hills, valleys, craters and other topographic...., 2014

solid surface,with hills,valleys,craters and other topographic features,primarily made of ice„solid surface, with hills, valleys, craters and other topographic features, primarily made of ice“ is set in a planetarium with a projected starry sky, in the center of which is situated a light spot, that explores the space. The Film deals with the moment, shortly before the actual visualization of pluto’s surface properties, whereas the entire cupola hall of the planetarium serves as a metaphorical projection surface of Pluto. The round light spot formally points to the shape of the celestial object and functions as placeholder for its soon arising image.

Ann Oren
The World Is Mine, 2017

In cosplay of the Japanese cyber diva Hatsune Miku, the artist moved to Tokyo, seeking an identity in the world of Miku fanatics, where she was drawn into a love affair with one of the fans. Miku is a Vocaloid, a vocal synthesizer software personified by a cute animated character. Her entire persona: lyrics, music and animation – is fan created, and that's her charm. She even performs sold out concerts as a hologram. By transforming herself into a Miku character through cosplay, Oren enters a world of real hardcore fans where fantasy is more real than reality and the differentiation between the two becomes obsolete. The film examines the performative nature of cosplaying – dressing up and playing the role of fictional characters – as a hybrid space where reality blurs into fetishistic fantasies and pop culture clichés. Combining fan-made lyrics and songs, Oren's trials and tribulations in the fictional Miku world unfolds through vague erotic episodes and encounters with characters whose ontological status remains mysterious, bringing to mind the adventures of a modern Alice in a virtual Wonderland.

Jonathan Monaghan
Den of Wolves, 2020

Den of Wolves is a seamlessly-looping video installation drawing on a range of references to weave a new multi-layered mythology. The work follows three bizarre wolves through a series of increasingly surreal retail stores as they search for the regalia of a monarch. Composed of one continuous camera shot, the work is an immersive, dreamlike journey drawing connections between popular culture, institutional authority and technological over-dependence.

Stefan Panhans
HOSTEL Sequel #1: Please Be Careful Out There, Lisa Marie – H.V.Installation Mix, 2018

At transmediale, Stefan Panhans and Andrea Winkler show their work HOSTEL Sequel #1: Please Be Careful Out There, Lisa Marie – Hybrid Version, a new project that combines film, installation, and staccato stage reading (on blinkvideo we are showing a trailer of the integrated film). With everyday racism, celebrity worship, stereotypes, and the dominating power of the economic all on the rise, precariously and flexibly traveling cultural workers of different origin deliver a sort of spoken word battle about their experiences and dreams. They constantly switch roles and, at the same time, form a choir that clashes with the rapped reports of everyday life. As in a collaborative gymnastic exercise—surrounded by scenery made up of set pieces from outfits of airports, hostels, and courier services, from self-optimization tools and game show displays—they fight for a voice and to be heard, building new alliances along the way. for more information: opening of transmediale

Mariola Brillowska
Children Of The Devil, 2011

Mariola Brillowska’s animation film relates the total collapse of the family system in the 21st century. Six cartoon episodes present an unsparing account of how children become murderers of their parents.

Julia Charlotte Richter
Point Blank, 2019

“Point Blank” refers to a film scene from "The Misfits" (1961) that is now re-enacted and further contextualized. In the original scene, the recently divorced main character Roslyn (Marilyn Monroe) rises up against three worn-out cowboys and, in the middle of the desert, confronts the men with all their lacks and lost dreams. In “Point Blank”, we see a young woman wandering around in surreal desert landscapes, a journey into the remoteness of the world and her own inner life. With every step out into the desert, the girl descends into her own depths searching for a place that seems to be suitable for her emotions and words. Unlike Roslyn, the young woman now refers to absent addressees: "Liars", "Murderers" and "Dead Men" she screams and turns around wildly. The words, which spread like bullets in the air, fall back on her. Except for a faint echo, there is no resonance at this place that depicts the obsessions of a distorted, patriarchal society and has become a dramatic backdrop of yearnings within the collective history of cinema. Where Roslyn was able to elicit a terrified astonishment from the three men, the character in Julia Charlotte Richter's video remains to herself and unheard, the desert as the only witness of her manifesto, her anger and her strength.

Ulrich Polster
Frost, 2003 / 2004

The night city. Industrial ruins filmed in contrejour. Memories from childhood. Different places and times combined at the mountain. It is a hollow portrait of Eastern Europe that carries the traces of its history.

Ene-Liis Semper
FF REW, 1998

Dimitri Venkov
The Hymns of Muscovy, 2018

The film is a trip to the planet Muscovy, which is an upside down space twin of the city of Moscow. As the title of the work suggests, the journey also takes us back in time. Gliding along the surface of the planet, we look down to the sky and see historic architectural styles fly by - the exuberant Socialist Classicism aka Stalinist Empire, the laconic and brutish Soviet Modernism, and the hodgepodge of contemporary knock-offs and revivals of the styles of the past. An essential companion to this journey through time and space are Hymnic Variations on the Soviet anthem by the composer Alexander Manotskov. The anthem was written in 1943 and has undergone three editions of lyrics yet musically remained unchanged to now serve as the official anthem of the Russian Federation. Manotskov used an early recording of the anthem as source material to create three electronic variations each corresponding to an architectural style. As if in a twist of Goethe’s phrase, architecture plays its frozen music. Look closely, can you hear it?

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blinkvideo is a website for the research of video art. Founders: Julia Sökeland, Anita Beckers. blinkvideo ist eine Plattform zur Recherche nach Videokunst

Rachel Mayeri

Works


Galleries

Videonale e.V. im Kunstmuseum Bonn
Tasja Langenbach
Friedrich-Ebert-Allee 2
53113 Bonn
Germany

Phone: +49-(0)228-692818
E-Mail: langenbach@videonale.org




Biography

Education

2000 M.F.A. Visual Arts University of California San Diego
1992 B.A. Media / Culture Brown University

Academic appointments

2002 Associate Professor of Media Studies, Harvey Mudd College
2012 Graduate Studio Instructor, California College of the Arts
2006 Extended Graduate Faculty Member, Art Department, Claremont Graduate University
2001 Adjunct Professor, University of California, San Diego

Exhibitions

2015
Videonale International Video Art competition, Bonn, Germany
Workshop at Corner College Collective, Zurich
Screening at Poetic Research Bureau, Los Angeles
Screenings at UCSD, Swarthmore, CalArts, Pitzer College

2014
Modern Animals, Curated by Stupid Pills, Hyperion Tavern, Los Angeles
Experiments on Film, Curated by Imagine Science Films, Exploratorium
Exile: A Living Forest, ONCA Gallery, Brighton, England
Art and Nature in Contemporary Culture, Sao Paulo, Brazil

2013
Cabaret Voltaire, Zurich, Switzerland
Festival on Wheels, various cities, Turkey
Bucharest International Experimental Film Festival, Romania
New Horizons International Film Festival, Wroclaw, Poland
Mediterranean Institute for Advanced Study, Marseille, France
Selections from the Permanent Collection, Sweeney Art Gallery, UC Riverside, USA
Transitio New Media Festival, Mexico City
Antimatter Film Festival, Victoria, Canada
Oak Cliff Film Festival, Texas
BAMcinemafest, Brooklyn
Los Angeles Film Festival
ArtiFACT Gallery, UC San Diego
One week theatrical screening at Cinefamily, Los Angeles
True/False Film Festival
Berlinale Film Festival, Germany
Sundance Film Festival
Glasgow Film Festival, Scotland
Kino der Kunst, Munich, Germany
Burning Ice Festival, Brussels
Transverse Film Festival, Michigan
Strelka Institute, Moscow
Web broadcast MUBI curated films

2012
**Solo show, Edinburgh College of Art, as part of Edinburgh Visual Arts Festival
Imagine Science Film Festival
dOCUMENTA (13), Kassel Germany (as part of Worldly House)
Broadcast in UK as part of Random Acts, Channel Four / BBC
Rome Film Festival
Underwire Film Festival, London
Gallery 516, Albuquerque New Mexico

2011
**Solo show, Arts Catalyst, London
Ars Electronica, Honorary Mention, Hybrid Art for work in progress
Abandon Normal Devices festival, Liverpool
Nottingham Contemporary

2009
**Solo show, Project Series 39, Pomona College Museum of Art, Claremont, CA
“Interspecies” exhibition, London, sponsored by Arts Catalyst
Cornerhouse Gallery, Manchester, sponsored by Arts Catalyst
Intelligent Design: Interspecies Art, Sweeney Art Gallery, University of California, Riverside
“Interspecies” exhibition, sponsored by Arts Catalyst, Cornerhouse Gallery, Manchester, England
“An Uncommon Eye: Diana Zlotnick Collection.” LA City College Gallery.

2008
**Solo show, TELIC Arts Exchange, Los Angeles, CA
The Public School at TELIC Arts Exchange, Los Angeles, CA
“Animalia,” Proctors Mainstage, NY
Aspect Magazine: The Chronicle of New Media Art. Volume 12: Vital. December 2008.
Multispecies Salon, Play Space Gallery, California College of the Arts
“Body-Art-Disease” Symposium screening, UCLA Art | Sci Center
Rencontres International Science Cinema Festival, Marseille, France
Darwin Bicentennial, Ohio State University, Hopkins Gallery
“Hotbed: Video Cultivation beside the Getty Gardens,” In conjunction with California Video, curated by Anne Bray, J. Paul Getty Museum, Los Angeles, CA (May 9, 10)
Cinemania Anthroidea, Documentary Film Series, UCSD
“Who is Our Inner Ape.” Southern California Primate Research Forum, CSU Fullerton

2007
E n t e r 3 Festival, Prague
Mill Valley Film Festival
Chicago Underground Film Festival
“Distant Relations,” Museum of Contemporary Art, Roskilde, Denmark.

Screenings and exhibitions beyond soft science compilation

2007
“UNnatural,” Cheekwood Museum of Art, Nashville, Tennesse
“Allegories of the Genome,” curated by Holly Longstaff, <www.genomic-art.com>
2006
“Close Encounters,” ScienceLiteratureArts Conference, Amsterdam
Course on Art and Technology, UC Davis
Pineapple Project Room, Malmo, Sweden
Kunstlerhaus Bethanien, Berlin, Germany
2005
“The Documentary Impulse,” Scripps Humanities Institute Series, Scripps College
“Intersections of Art and Science” Symposium, Pomona College
“Kloone 2004,” Conference and Exhibition, Amsterdam
Chicago Underground Film Festival
Wignall Gallery, Chaffey College, screening and installation with Critical Art Ensemble
2004
International Media Art Award 2004 Top 50 Nominee for “Science and Art Showing the Invisible,” programmed by ZKM and SWR (Southwest German TV) broadcast on
SUEDWEST TV, Swiss TV, ARTE in October 2004
Program curated by Steve Seid, University of Washington.
Critical Art Ensemble Benefit, Galapogos, NY
Critical Art Ensemble Benefit, Artists’ Television Access, San Francisco
“Do It Yourself DNA Day,” Curated by Heath Bunting, Bristol, UK
“Powering Up; Powering Down” Technica Radika Conference and Exhibition, University of California, San Diego
“DNA: Art and Science – The Double Helix,” University of South Florida, Contemporary Art Museum.
“The Genome and Society,” Freshman Seminar, taught by Dr Laura Garwin, Director of Research Affairs, Bauer Center for Genomics Research, Harvard University.
New York Underground Film Festival.
“InterMedia,” Cincinnati Art Museum, Screenings
2003
“Genetic Screenings: Recent Experimental Work about the Human Genome,” curated by Steve Seid, Aurora Picture Show, Houston, TX
“Genetic Screenings” film program in coordination with “Gene(sis): Contemporary Art Explores Human Genomics,” Pacific Film Archive, Berkeley, CA
Cinematexas International Short Film Festival, Austin, Texas
“Digital Improvisation,” California Museum of Photography, UC Riverside

Grants and awards

2015
Digital Humanities Course Development grant, Mellon Foundation
2014
Center for Environmental Studies research grant, HMC
Dean of Faculty Mid-Career Development Grant for Women in Gaming
2012
Howard Hughes Medical Institute Computational Biology Grant
Selected Participant, Digital Humanities Collaboratory Workshop
2011
Research Award, Harvey Mudd College
Honorary Mention, Ars Electronica
2010
Major Arts Award, Wellcome Trust
2009
Intercollegiate Science and Technology Studies Research Grant, Claremont Colleges
2008
Faculty Research Grant, Harvey Mudd College
Artist Resource for Completion Grant, Durfee Foundation
2007
Nominee, New Media Arts Fellowship, Rockefeller Foundation and Renew Media
Semifinalist honor, International Science and Engineering Visualization Challenge, National Science
Foundation and The Journal Science
Co-Production award, Banff New Media Institute
2006
Furthermore Grant for Writing and Publishing Museum of Jurassic Technology Catalogue
2005
Andrew W. Mellon Foundation Grant for Faculty Career Enhancement, New Venture Category
HMC Sabbatical Supplement Grant
2004
International Media Art prize, sponsored by ZKM
Faculty Research Grant, Harvey Mudd College
2003
Faculty Diversity Teaching Grant, Harvey Mudd College
Faculty Research Grant, Harvey Mudd College
2002
Fellowship, “Up Front and Personal/Intimate Technologies” Residency, Banff Arts Centre
2001
Creative Capital Media Grant for Stories from the Genome
United States Institute of Theatre Technology, Project Grant
2000
California Council for the Humanities, Major Project Grant for Baroque Opera
1999
Canada Arts Council, New media collaboration grant
Marin Arts Council, Individual artist grant in film/video
Getty Research Institute, Research support grant

Rachel Mayeri
Education 2000 M.F.A. Visual Arts University of California San Diego 1992 B.A. Media / Culture Brown University Academic appointments 2002 Associate Professor of Media Studies, Harvey Mudd College 2012 Graduate Studio Instructor, California College of the Arts 2006 Extended Graduate Faculty Member, Art Department, Claremont Graduate University 2001 Adjunct Professor, University of California, San Diego Exhibitions 2015 Videonale International Video Art competition, Bonn, Germany Workshop at Corner College Collective, Zurich Screening at Poetic Research Bureau, Los Angeles Screenings at UCSD, Swarthmore, CalArts, Pitzer College 2014 Modern Animals, Curated by Stupid Pills, Hyperion Tavern, Los Angeles Experiments on Film, Curated by Imagine Science Films, Exploratorium Exile: A Living Forest, ONCA Gallery, Brighton, England Art and Nature in Contemporary Culture, Sao Paulo, Brazil 2013 Cabaret Voltaire, Zurich, Switzerland Festival on Wheels, various cities, Turkey Bucharest International Experimental Film Festival, Romania New Horizons International Film Festival, Wroclaw, Poland Mediterranean Institute for Advanced Study, Marseille, France Selections from the Permanent Collection, Sweeney Art Gallery, UC Riverside, USA Transitio New Media Festival, Mexico City Antimatter Film Festival, Victoria, Canada Oak Cliff Film Festival, Texas BAMcinemafest, Brooklyn Los Angeles Film Festival ArtiFACT Gallery, UC San Diego One week theatrical screening at Cinefamily, Los Angeles True/False Film Festival Berlinale Film Festival, Germany Sundance Film Festival Glasgow Film Festival, Scotland Kino der Kunst, Munich, Germany Burning Ice Festival, Brussels Transverse Film Festival, Michigan Strelka Institute, Moscow Web broadcast MUBI curated films 2012 **Solo show, Edinburgh College of Art, as part of Edinburgh Visual Arts Festival Imagine Science Film Festival dOCUMENTA (13), Kassel Germany (as part of Worldly House) Broadcast in UK as part of Random Acts, Channel Four / BBC Rome Film Festival Underwire Film Festival, London Gallery 516, Albuquerque New Mexico 2011 **Solo show, Arts Catalyst, London Ars Electronica, Honorary Mention, Hybrid Art for work in progress Abandon Normal Devices festival, Liverpool Nottingham Contemporary 2009 **Solo show, Project Series 39, Pomona College Museum of Art, Claremont, CA “Interspecies” exhibition, London, sponsored by Arts Catalyst Cornerhouse Gallery, Manchester, sponsored by Arts Catalyst Intelligent Design: Interspecies Art, Sweeney Art Gallery, University of California, Riverside “Interspecies” exhibition, sponsored by Arts Catalyst, Cornerhouse Gallery, Manchester, England “An Uncommon Eye: Diana Zlotnick Collection.” LA City College Gallery. 2008 **Solo show, TELIC Arts Exchange, Los Angeles, CA The Public School at TELIC Arts Exchange, Los Angeles, CA “Animalia,” Proctors Mainstage, NY Aspect Magazine: The Chronicle of New Media Art. Volume 12: Vital. December 2008. Multispecies Salon, Play Space Gallery, California College of the Arts “Body-Art-Disease” Symposium screening, UCLA Art | Sci Center Rencontres International Science Cinema Festival, Marseille, France Darwin Bicentennial, Ohio State University, Hopkins Gallery “Hotbed: Video Cultivation beside the Getty Gardens,” In conjunction with California Video, curated by Anne Bray, J. Paul Getty Museum, Los Angeles, CA (May 9, 10) Cinemania Anthroidea, Documentary Film Series, UCSD “Who is Our Inner Ape.” Southern California Primate Research Forum, CSU Fullerton 2007 E n t e r 3 Festival, Prague Mill Valley Film Festival Chicago Underground Film Festival “Distant Relations,” Museum of Contemporary Art, Roskilde, Denmark. Screenings and exhibitions beyond soft science compilation 2007 “UNnatural,” Cheekwood Museum of Art, Nashville, Tennesse “Allegories of the Genome,” curated by Holly Longstaff, <www.genomic-art.com> 2006 “Close Encounters,” ScienceLiteratureArts Conference, Amsterdam Course on Art and Technology, UC Davis Pineapple Project Room, Malmo, Sweden Kunstlerhaus Bethanien, Berlin, Germany 2005 “The Documentary Impulse,” Scripps Humanities Institute Series, Scripps College “Intersections of Art and Science” Symposium, Pomona College “Kloone 2004,” Conference and Exhibition, Amsterdam Chicago Underground Film Festival Wignall Gallery, Chaffey College, screening and installation with Critical Art Ensemble 2004 International Media Art Award 2004 Top 50 Nominee for “Science and Art Showing the Invisible,” programmed by ZKM and SWR (Southwest German TV) broadcast on SUEDWEST TV, Swiss TV, ARTE in October 2004 Program curated by Steve Seid, University of Washington. Critical Art Ensemble Benefit, Galapogos, NY Critical Art Ensemble Benefit, Artists’ Television Access, San Francisco “Do It Yourself DNA Day,” Curated by Heath Bunting, Bristol, UK “Powering Up; Powering Down” Technica Radika Conference and Exhibition, University of California, San Diego “DNA: Art and Science – The Double Helix,” University of South Florida, Contemporary Art Museum. “The Genome and Society,” Freshman Seminar, taught by Dr Laura Garwin, Director of Research Affairs, Bauer Center for Genomics Research, Harvard University. New York Underground Film Festival. “InterMedia,” Cincinnati Art Museum, Screenings 2003 “Genetic Screenings: Recent Experimental Work about the Human Genome,” curated by Steve Seid, Aurora Picture Show, Houston, TX “Genetic Screenings” film program in coordination with “Gene(sis): Contemporary Art Explores Human Genomics,” Pacific Film Archive, Berkeley, CA Cinematexas International Short Film Festival, Austin, Texas “Digital Improvisation,” California Museum of Photography, UC Riverside Grants and awards 2015 Digital Humanities Course Development grant, Mellon Foundation 2014 Center for Environmental Studies research grant, HMC Dean of Faculty Mid-Career Development Grant for Women in Gaming 2012 Howard Hughes Medical Institute Computational Biology Grant Selected Participant, Digital Humanities Collaboratory Workshop 2011 Research Award, Harvey Mudd College Honorary Mention, Ars Electronica 2010 Major Arts Award, Wellcome Trust 2009 Intercollegiate Science and Technology Studies Research Grant, Claremont Colleges 2008 Faculty Research Grant, Harvey Mudd College Artist Resource for Completion Grant, Durfee Foundation 2007 Nominee, New Media Arts Fellowship, Rockefeller Foundation and Renew Media Semifinalist honor, International Science and Engineering Visualization Challenge, National Science Foundation and The Journal Science Co-Production award, Banff New Media Institute 2006 Furthermore Grant for Writing and Publishing Museum of Jurassic Technology Catalogue 2005 Andrew W. Mellon Foundation Grant for Faculty Career Enhancement, New Venture Category HMC Sabbatical Supplement Grant 2004 International Media Art prize, sponsored by ZKM Faculty Research Grant, Harvey Mudd College 2003 Faculty Diversity Teaching Grant, Harvey Mudd College Faculty Research Grant, Harvey Mudd College 2002 Fellowship, “Up Front and Personal/Intimate Technologies” Residency, Banff Arts Centre 2001 Creative Capital Media Grant for Stories from the Genome United States Institute of Theatre Technology, Project Grant 2000 California Council for the Humanities, Major Project Grant for Baroque Opera 1999 Canada Arts Council, New media collaboration grant Marin Arts Council, Individual artist grant in film/video Getty Research Institute, Research support grant

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