Stony Brook’s cDACT brings together theorists, researchers, and practitioners with a
wide range of disciplinary backgrounds. Faculty and students
from various departments—including Art, Music, Comparative Literary and Cultural
Studies, Computer Science, and others—come together in conversation and collaboration to examine the questions raised by technological transformation.
|Margaret Schedel, Director of cDACT/Assistant Professor of MusicComposition, Performance, and Interactive MediaStaller 3358, 631.632.8610 firstname.lastname@example.orgMargaret Anne Schedel is a composer and cellist specializing in the creation and performance of ferociously interactive media. Her works have been performed throughout the United Stated and abroad. While working towards a DMA in music composition at the University of Cincinnati College Conservatory of Music, her thesis, an interactive multimedia opera, A King Listens, premiered at the Cincinnati Contemporary Arts Center and was profiled by apple.com. She is working towards a certificate in Deep Listening with Pauline Oliveros and has studied composition with Mara Helmuth and McGregor Boyle. Her work has been supported by the Presser Foundation, Centro Mexicano para la Música y les Artes Sonoras, and Meet the Composer. She serves as the musical director for Kinesthetech Sense and sits on the boards of the BEAM Foundation, the Electronic Music Foundation Institute, the International Computer Music Association, the New West
Electro Acoustic Music Organization, and Organised Sound.
|Christa Erickson, Associate Professor of ArtElectronic Installation, Physical Computing, Video ArtStaller 4246, 631.632.1058 email@example.comErickson is an interdisciplinary artist who investigates the politics, pleasures, and pains of spaces mediated by electronic technologies. She weaves together combinations of video, tactile materials, programming, physical cinematic devices, and live data in interactive installations. Her individual and collaborative works have been exhibited widely both within the United States and abroad. Sites within the United States where her work has been shown include the PPOW (NY), Jamaica Center for the Arts (NY), SVA Visual Arts Museum (NY); the Walker Art Center (MN); the Institute for Studies in the Arts at ASU (AZ); the California Museum of Photography; Maryland Art Place; and Firehouse Gallery (VT) as well as numerous university galleries and museums. Internationally, she has had exhibits at the Banff Center for the Arts (CAN), the Hong Kong Arts Centre, several art museums in Argentina, and at international media arts festivals like FILE (Brazil), SIGGRAPH Asia (Japan), CYNETart (Germany), HTMLLES (Canada), Medi@terra (Greece and Eastern Europe), and Ciber@rt (Spain). Her work has been cited in the New York Times, Leonardo, Village Voice, Wired, Parachute, Newsday, Baltimore Sun, San Diego Union Tribune, Arizona Republic, and “Coolsite of the Day.” She was Artist-in-Residence at the Hong Kong Arts Centre for Digital Now 2003 and an Artist-in-Residence at Sculpture Space in 2007. She also writes, curates, and regularly speaks about new media. Her essay “Networked Interventions: Debugging the Electronic Frontier” appears in the anthology Embodied Utopias: Gender, Social Change, and the Urban Metropolis(Routledge, 2002). She teaches digital arts courses and has received a Presidential Mini-Grant for Innovative Teaching. Her background includes commercial print and web design, media and animation production, and software engineering. Ms. Erickson has an MFA from the University of California, San Diego and degrees in sculpture and computer science from the University of Texas, Austin. Prior to joining the faculty at Stony Brook, she taught at UC, San Diego and at Indiana University, where she founded the University’s Digital Media program.
|Tamara Berg, Assistant Professor of Computer ScienceDigital Media, Natural Language Processing, and Computer VisionTamara Berg’s main research area is Digital Media, specifically focused on organizing large collections of images with associated text through the use of techniques from Natural Language Processing and Computer Vision. Today billions of images with associated text are available in web pages, captioned photographs from news sources, video with speech or closed captioning, and others. In order to organize, search and exploit these enormous collections we have developed methods that combine information from both the visual and textual sources effectively. Past projects include: automatically identifying people in news photographs, classifying images from the web, and finding iconic images in consumer photo collections. She spent 2007-8 working as a research scientist at Yahoo! Research where she developed various digitial media related projects including the automatic annotation of consumer photographs.
|Raiford Guins, Assistant Professor of Comparative StudiesDigital Cultural Studies, Game Studies, Media ControlsHumanities 2121, 631.632.7456 firstname.lastname@example.orgWorking across media, cinema, and visual studies, Raiford Guins’ thinking is deeply interdisciplinary. It reflects the doctoral training in cultural studies that he pursued within the School of Fine Art, History of Art & Cultural Studies at the University of Leeds. How consumer technology – Internet filters, the V-chip, “clean” versions of music, DVD players that block content, and video game consoles with parental controls – perform censorial actions is the subject of his book, Edited Clean Version: Technology and the Culture of Control (University of Minnesota, 2009). He also teaches and writes about video game culture. His work on sound, black cultural producers, and game history appears in AfroGEEKS: Beyond the Digital Divide (Center for Black Studies, UCSB, 2007). He has also arranged a photo-essay on the French artist, “Invader,” for Design Issues, composed an elegy to Ms. Pac Man for Vectors: Journal of Culture and Technology in a Dynamic Vernacular, and argued for the importance of the spatio-materiality of games in Journal of Visual Culture. At present Raiford is writing a book for Routledge on video game culture. In addition to roaming the world for games, he actively studies everyday objects and things as well as design history. One related publication is The Object Reader (co-edited with Fiona Candlin, Routledge 2009) which collects seminal work on objects as well as produces original work dedicated to the study of single objects. Lastly, Raiford is a founding Principal Editor with the Journal of Visual Culture (Sage) and he has edited Popular Culture: A Reader (co-edited with Omayra Zaragoza Cruz, Sage 2005). He has contributed chapters to the following collections: the MacArthur Foundation Series Learning Race and Ethnicity: Youth and Digital Media (MIT, 2008), The Prosthetic Impulse: From a Posthuman Present to a Biocultural Future (MIT, 2006), Horror International (Wayne State, 2005), The Techniques of Terror: The Films of John Carpenter (Wallflower, 2005), The Visual Culture Reader 2nd Edition (Routledge, 2003), and Lost Highways: An Illustrated Guide to the Road Film (Creation, 2000). His research also appears in journals such as: New Formations, West Coast Line, Television and New Media, and Parallax.
|Zabet Patterson, Assistant Professor of ArtDigital Visual Culture/Art and TechnologyStaller 4289, 631.632.1915 email@example.comZabet Patterson specializes in the history and theory of digital media with a particular emphasis on the the intersection of computational media and art in the postwar period. She received her PhD in Rhetoric from UC Berkeley in 2007. Her dissertation, entitled Visionary Machines: A Genealogy of the Digital Image, was supported by fellowships from the Townsend Humanities Center, the Rhetoric Department, and the Josephine de Karman Foundation. Zabet spent 2005-6 as Visiting Assistant Professor in the departments of Art History and Art at Northwestern University. Her publications include ‘Consuming Fantasy in the Digital Era’, in PornographyOn/Scene, a collection edited by Linda Williams, as well as forthcoming articles on Jim Campbell and John and James Whitney.
|Daniel Weymouth – Associate Professor of MusicComposition, Performance Staller 3333, 631.632.7345 firstname.lastname@example.orgDaniel A. Weymouth’s work has been described as “power-color” music. As far as “color” goes, he isa confessed lover of sound(s) — just about any kind of sound. This has led to a fascination with electroacoustic music, and experience ranging from a summer spent at Stanford’s CCRMA (Center for Computer Research in Music and Acoustics) to two years in Paris working at two computer-music facilities, Pierre Boulez’s IRCAM and Iannis Xenakis’ CEMAMu. The “power” half, along with other aspects — the music’s compact scale, density and pace, although probably not its harmonic language — most likely come from his ten years spent as an itinerant musician on the road, playing jazz, rock, disco (!), R&B and funk in clubs, concerts and studios.He has composed for a wide variety of ensembles, using both standard and electronic instruments, including computer-interactive ones. He is a founding member of NAME (New American Music in Europe) and has been a Composer-in-Residence at Christopher Newport University, the University of Missouri, Kansas City and several times at the Lüneburg, Germany, Internationalen Studienwoche für zeitgenössische Musik. Commissions have come from the Lüneburg New Music Ensemble, the Ensemble des Deux Mondes, the San Francisco Contemporary Music Players, the Stony Brook Contemporary Chamber Players, the Guild Trio and Duo Diorama, as well as numerous performers, theaters and dance companies; grants from Meet the Composer and ASCAP. His compositions have been performed throughout Europe, Asia, Canada and the United States and appear on the SEAMUS, Bridge and New World Record labels as well as with MIT Press (as part of a CD-ROM).Dan continues to be an active conductor. He has led numerous ensembles, including Neue Musik Lüneburg, the San Francisco Contemporary Music Players, the Berkeley Contemporary Chamber Players and Stony Brook’s Contemporary Chamber Players. For education, encouragement and enlightenment he likes to acknowledge Jere Hutcheson, H. Owen Reed and Charles Ruggiero at Michigan State University and Richard Felciano, Andrew Imbrie and Olly Wilson at the University of California, Berkeley. Since 1989, he has been on the Composition faculty at the State University of New York at Stony Brook, where he is has served as Chair of the Music Department.|
George Hart, Research Professor of Computer Science
Internal Advisory Board
Mel Pekarsky, Professor of Art
Stephanie Dinkins, Associate Professor of Art, DIA Co-Program Director
Andrew Uroskie, Assistant Professor of Art
Robert Harvey, Professor of Comparative Literary and Cultural Studies, Chair
Jackie Reich, Associate Professor of Comparative Literary and Cultural Studies, CCS DUG
Ari Kaufman, Distinguished Professor of Computer Science, Chair
Susan Brennan, Associate Professor of Psychology
External Advisory Board
Mitchell Kriegman, Wainscott Studios
Matthew de Ganon, SVP, Emerging Businesses and The Weather Channel Interactive
Catherine Katsafouros, Wilen Media
Affiliate Faculty Members
Dr. Erin Vasudevan, Assistant Professor, Department of Physical Therapy
Dr. Minh Hoai Nguyen, Assistant Professor, Department of Computer Science
Dr. Dimitris Samaras, Associate Professor, Department of Computer Science
Dr. Lisa Muratori, Associate Professor, Department of Physical Therapy