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DTSTART;TZID=America/New_York:20190417T170000
DTEND;TZID=America/New_York:20190417T183000
DTSTAMP:20260504T132524
CREATED:20190402T155553Z
LAST-MODIFIED:20201019T134243Z
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SUMMARY:Civic Arts Series\, "Do-it Yourself Cinema: Portable Film Projectors as Media History"
DESCRIPTION:Haidee WassonIllustration by Mauricio Cordero\nHosted with MIT Arts\, Culture\, and Technology and The Boston Cinema/Media Seminar. \nIntroduction by Lisa Parks\, Professor\, CMS/W \nHaidee Wasson’s talk will explore the long and vibrant place of portable film devices in the history of small media\, repositioning the ‘movie theatre’ as the singular or even central figuration of film presentation and viewing. From its earliest days\, film was – in a sense – born portable. Yet\, our attention to and affection for the movie theater has obscured our view to the parallel and paradigmatic development of a far more numerous and arguably more significant development: the international\, post-war proliferation of portable projectors. These small devices were used widely and for a sizable range of purposes: political\, industrial\, artistic\, cultural. They fundamentally changed the conditions in which films could be seen — and ultimately imagined — as complex projected\, often interactive and highly applied\, forms. Drawn from a book-length study\, this paper will highlight the productivity of “portability” as a concept and practice for opening up our understanding of film history as media history\, identifying key insights that expand our understanding of what cinema has long been\, a highly iterative media form. \nHaidee Wasson is Professor of Film and Media in the School of Cinema\, Concordia University\, Montreal.  She is author or editor of four books\, including the award-winning Museum Movies\, Inventing Film Studies (with Lee Grieveson) Useful Cinema  (with Charles Acland) and Cinema’s Military Industrial Complex (with Lee Grieveson). She is the founder of Fieldnotes\, an oral history project on the history of film and media studies\, and the recent recipient of the Distinguished Service Award\, Society for Cinema and Media Studies.  Her current research investigates the design and expansive use of film projectors by industrial\, military and government sectors\, exploring the transformation of cinema from an entertainment machine into a highly diversified display and performance device.
URL:https://cms.mit.edu/event/civic-arts-series-do-it-yourself-cinema-portable-film-projectors-as-media-history/
LOCATION:MIT Building 4\, Room 270\, 182 Memorial Drive (Rear)\, Cambridge\, MA\, 02139\, United States
CATEGORIES:Civic Arts
ATTACH;FMTTYPE=image/png:https://cms.mit.edu/wp/wp-content/uploads/2019/04/Haidee-Wasson.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190410T170000
DTEND;TZID=America/New_York:20190410T183000
DTSTAMP:20260504T132524
CREATED:20190301T141437Z
LAST-MODIFIED:20200518T195152Z
UID:33381-1554915600-1554921000@cms.mit.edu
SUMMARY:Civic Arts Series: “Thumbs Type and Swipe” featuring DIS's Lauren Boyle
DESCRIPTION:Lauren Boyle – Illustration by Mauricio Cordero\nIntroduction by Amy Rosenblum Martín\, Independent Curator and Educator\, Guggenheim \n\nDIS (est. 2010)  is a New York-based collective composed of Lauren Boyle\, Solomon Chase\, Marco Roso\, and David Toro. Its cultural interventions are manifest across a range of media and platforms\, from site-specific museum and gallery exhibitions to ongoing online projects. \nIn 2018 the collective transitioned platforms from an online magazine\, dismagazine.com\, to a video streaming edutainment platform\, dis.art\, narrowing in on the future of education and entertainment. \nDIS Magazine (2010-2017); DISimages (2013)\, DISown (2014)\, Curators of the 9th Berlin Biennale for Contemporary Art\, The Present in Drag (2016); DIS.art (2018–); Exhibited and organized shows at the de Young Museum\, San Francisco; La Casa Encendida\, Madrid; Plug In Institute of Contemporary Art\, Winnipeg; Baltimore Museum of Art; and Project Native Informant\, London. DIS has also been included in group exhibitions at MoMA PS1\, Museum of Modern Art\, and the New Museum all in New York; and Musée d’Art Moderne de la Ville de Paris; ICA Boston; Museum of Contemporary Art Chicago; and Kunsthal Charlottenborg\, Copenhagen\, among others. \nThe material presented by DIS today is the result of a change in attitude towards the present and aims to meet the demands of contemporary social\, political\, and economic complexity at eye level. \n\nIntroducer Amy Rosenblum Martín is a bilingual (English/Spanish) curator of contemporary art\, committed to equity and community engagement. Formerly a staff curator at the Pérez Art Museum Miami (when it was MAM) and The Bronx Museum\, she has also organized exhibitions\, written and/or lectured independently for la Colección Patricia Phelps de Cisneros\, MoMA\, The Metropolitan\, MACBA in Barcelona\, the Reina Sofía\, and Kunsthaus Bregenz as well as the Sugar Hill Children’s Museum. Her 20 years of interdepartmental museum work include 10 years at the Guggenheim. Rosenblum Martín’s expertise is in Latin America\, focusing on transhistorical connections among Buenos Aires\, Montevideo\, Rio de Janeiro\, São Paulo\, Caracas\, Havana\, Miami\, and New York. \nShe has worked with Janine Antoni\, Lothar Baumgarten\, Guy Ben-Ner\, Janet Cardiff\, Eloísa Cartonera\, Consuelo Castañeda\, Lygia Clark\, Willie Cole\, Jeannette Ehlers\, Teresita Fernández\, Naomi Fisher\, Marlon Griffith\, Lucio Fontana\, Dara Friedman\, Luis Gispert\, Felix Gonzalez-Torres\, Adler Guerrier\, Ann Hamilton\, Quisqueya Henríquez\, Leslie Hewitt\, Nadia Huggins\, Deborah Jack\, Seydou Keita\, Gyula Kosice\, Matthieu Laurette\, Miguel Luciano\, Gordon Matta-Clark\, Ana Mendieta\, Antoni Miralda\, Marisa Morán Jahn\, Glexis Novoa\, Hélio Oiticica\, Dennis Oppenheim\, Nam June Paik\, Manuel Piña\, Miguel Angel Ríos\, Bert Rodriguez\, Marco Roso\, Nancy Rubins\, George Sánchez-Calderón\, Beatriz Santiago Muñoz\, Tomás Saraceno\, Karin Schneider\, Regina Silveira\, Lorna Simpson\, Valeska Soares\, Javier Tellez\, Joaquín Torres García\, and Fred Wilson\, among many other remarkable artists.
URL:https://cms.mit.edu/event/lauren-boyle-dis-thumbs-type-and-swipe/
LOCATION:MIT Building 4\, Room 270\, 182 Memorial Drive (Rear)\, Cambridge\, MA\, 02139\, United States
CATEGORIES:Civic Arts,Colloquium
ATTACH;FMTTYPE=image/png:https://cms.mit.edu/wp/wp-content/uploads/2019/03/Lauren-Boyle-DIS-Collective.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190320T170000
DTEND;TZID=America/New_York:20190320T183000
DTSTAMP:20260504T132524
CREATED:20190219T192450Z
LAST-MODIFIED:20200518T195200Z
UID:33335-1553101200-1553106600@cms.mit.edu
SUMMARY:Civic Arts Series\, "Gaming the Iron Curtain: Computer Games in Communist Czechoslovakia as Entertainment and Activism"
DESCRIPTION:Jaroslav Švelch\, Postdoctoral Researcher\, University of Bergen\nBased on the recent book Gaming the Iron Curtain\, this lecture will outline the idiosyncratic and surprising ways in which computer hobbyists in Cold War era Czechoslovakia challenged the power of the oppressive political regime and harnessed early microcomputer technology for both entertainment and activism. In the 1970s and 1980s\, Czechoslovak authorities treated computer and information technologies as an industrial resource rather than a social or cultural phenomenon. While dismissing the importance of home computing and digital entertainment\, they sponsored paramilitary computer clubs whose ostensible goal was to train expert cadres for the army and the centrally planned economy. But these clubs soon became a largely apolitical\, interconnected enthusiast network\, where two forms of tactical resistance could be identified. First\, the clubs offered an alternative spaces of communal hobby activity\, partially independent of the oppression experienced at work or at school. The club members’ ambitious DIY projects often substituted for the deficiencies of the state-controlled computer industry. Hobbyists not only built joysticks and programmed games\, but also introduced new standards for data storage and ran large-scale bottom-up education programs. Second\, especially in the late 1980s\, local authors started making games that were openly subversive. Several anti-regime text adventure games were made in 1988 and 1989\, including The Adventures of Indiana Jones on Wenceslas Square\, January 16\, 1989\, which pitted the iconic Western hero against riot police during an anti-regime demonstration. These games rank among the world’s earliest examples of activist computer games. \nAbout Jaroslav Švelch\nJaroslav Švelch is a postdoctoral researcher at the University of Bergen and assistant professor at Charles University\, Prague. He is the author of the monograph Gaming the Iron Curtain: How Teenagers and Amateurs in Communist Czechoslovakia Claimed the Medium of Computer Games (MIT Press\, 2018). He has published research on history and theory of computer games\, on humor in games and social media\, and on the Grammar Nazi phenomenon. His work has been published in journals including New Media & Society\, International Journal of Communication\, or Game Studies\, and in anthologies published by Oxford University Press\, Bloomsbury and others. He is currently researching history\, theory\, and reception of monsters in games.
URL:https://cms.mit.edu/event/jaroslav-svelch-gaming-the-iron-curtain/
LOCATION:MIT Building 4\, Room 270\, 182 Memorial Drive (Rear)\, Cambridge\, MA\, 02139\, United States
CATEGORIES:Civic Arts,Colloquium
ATTACH;FMTTYPE=image/jpeg:https://cms.mit.edu/wp/wp-content/uploads/2019/02/Jaroslav-Švelch.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190306T170000
DTEND;TZID=America/New_York:20190306T183000
DTSTAMP:20260504T132524
CREATED:20190228T143534Z
LAST-MODIFIED:20210526T130750Z
UID:33374-1551891600-1551897000@cms.mit.edu
SUMMARY:Civic Arts Series: Opeyemi Olukemi
DESCRIPTION:Introduction by Sarah Wolozin\, Director\, MIT Open Doc Lab \nOpeyemi Olukemi is Executive Producer of POV Spark—the innovation arm of the iconic independent nonfiction film program POV—and Vice President of American Documentary’s Interactive unit. Throughout her career as an interactive producer\, funder and public programmer\, Opeyemi has created spaces and pipelines for interdisciplinary artists\, communities\, and creative teams to experiment with and create meaningful innovative content.  She is a fierce advocate of technological equity\, eliminating bias from social innovation and is deeply invested in the Fourth Industrial Revolution. Before joining POV\, Opeyemi was the Senior Director of Interactive Programs for Tribeca Film Institute\, produced for ScrollMotion and has served as an assistant professor of Integrated Media at Brooklyn College’s Barry R. Feirstein Graduate School of Cinema. Opeyemi has served on numerous festival juries and has mentored through the IDFA’s Doc Academy\, New Museum’s NEW INC and Oculus’ VR for Good. She is a proud Rockwood (Ford Foundation) JustFilms Fellow. \nRespondent: Marisa Morán Jahn\, Visiting Artist and Lecturer\, ACT
URL:https://cms.mit.edu/event/civic-arts-series-opeyemi-olukemi/
LOCATION:MIT Building 4\, Room 270\, 182 Memorial Drive (Rear)\, Cambridge\, MA\, 02139\, United States
CATEGORIES:Civic Arts,Colloquium
ATTACH;FMTTYPE=image/jpeg:https://cms.mit.edu/wp/wp-content/uploads/2019/02/Opeyemi-Olukemi-Letter-Size-1-e1550868293521-440x393.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190220T170000
DTEND;TZID=America/New_York:20190220T170000
DTSTAMP:20260504T132524
CREATED:20190204T151246Z
LAST-MODIFIED:20200518T195220Z
UID:33243-1550682000-1550682000@cms.mit.edu
SUMMARY:Civic Arts Series\, “Bringing the War Home”: Visual Aftermaths and Domestic Disturbances in the Era of Modern Warfare
DESCRIPTION:Caren Kaplan\, Professor of American Studies at the University of California\, Davis\nAt the close of the First Gulf War\, feminist architectural historian Beatriz Colomina wrote that “war today speaks about the difficulty of establishing the limits of domestic space.” That conflict of 1990-91 is most often cited as the first to pull the waging of war fully into the digital age and therefore into a blurring of boundaries of all kinds. Yet\, most modern wars have introduced technological innovations that transform social relations and modes of communication and representation. In this paper Caren Kaplan focuses on a period that includes the Vietnam War (1955-1975) and extends into the “War on Terror” through a consideration of Martha Rosler’s photo collage series “House Beautiful: Bringing the War Home” (1967-2004). The technique of collage reinforces the artist’s emphatic effort to bring together seemingly incommensurable elements—images of exquisite domestic interiors\, glamorous consumer commodities\, and landscapes and bodies damaged by warfare. Literally bringing wars waged by the United States throughout this long durée into the hyper commodified environment of fashion layouts and magazine advertisement\, Rosler demonstrates the impossibility of limiting domestic space\, an impossibility that challenges representation across genres and practices—televisual\, photographic\, cinematic\, social media\, analogue\, digital\, etc. Such disturbances of “here” and “there\,” “now” and “then\,” resonate as powerful “aftermaths” of wars visible and invisible\, always already underway. \nCaren Kaplan is Professor of American Studies at the UC Davis. Her research draws on cultural geography\, landscape art\, and military history to explore the ways in which undeclared as well as declared wars produce representational practices of atmospheric politics. Recent publications include Aerial Aftermaths: Wartime from Above (Duke 2018) and Life in the Age of Drone Warfare (Duke 2017).
URL:https://cms.mit.edu/event/civic-arts-series-bringing-the-war-home-visual-aftermaths-and-domestic-disturbances-in-the-era-of-modern-warfare/
LOCATION:MIT Building 4\, Room 270\, 182 Memorial Drive (Rear)\, Cambridge\, MA\, 02139\, United States
CATEGORIES:Civic Arts
ATTACH;FMTTYPE=image/jpeg:https://cms.mit.edu/wp/wp-content/uploads/2019/01/Caren-Kaplan.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20181115T170000
DTEND;TZID=America/New_York:20181115T183000
DTSTAMP:20260504T132524
CREATED:20180828T145516Z
LAST-MODIFIED:20200518T195402Z
UID:32655-1542301200-1542306600@cms.mit.edu
SUMMARY:Civic Arts Series: Myron Dewey
DESCRIPTION:“Protecting the Water in Solidarity and Unity”\nMyron Dewey – Illustration by Mauricio Cordero\nMyron Dewey is an indigenous journalist\, educator\, documentary filmmaker and the developer of Digital Smoke Signals\, a social networking and filmmaking initiative\, emerging out of the Standing Rock Sioux Reservation protests against the Dakota Access Pipeline project of 2016-17. Using a full range of contemporary media\, including drone technologies\, Dewey has pioneered the blending of citizen monitoring\, documentary filmmaking\, and social networking in the cause of environment\, social justice and indigenous people’s rights; he co-directed the 2017 award-winning documentary\, Awake: A Dream from Standing Rock. \nIntroduction by Lisa Parks\, Professor\, Comparative Media Studies; Director\, Global Media Technologies & Cultures Lab and recently awarded MacArthur Fellow. \nRespondents\nNicholas A. Brown\, Artist\, Cultural Geographer\, Assoc. Teaching Prof\, Northeastern University \nMarisa Morán Jahn\, Visiting Artist\, MIT Art\, Culture\, Technology  \nRecent MacArthur Fellow (2018) Lisa Parks is a media scholar whose research focuses on satellite technologies and media cultures; critical studies of media infrastructures; and media\, militarization and surveillance. Parks has held visiting appointments at the Institute for Advanced Study (Wissenschaftskolleg) in Berlin\, McGill University\, University of Southern California\, and the Annenberg School of Communication at the University of Pennsylvania. She is committed to exploring how greater understanding of media systems can inform and assist citizens\, scholars and policymakers in the US and abroad to advance campaigns for technological literacy\, creative expression\, social justice\, and human rights.  \nNicholas A. Brown is a scholar and artist based in Boston\, MA and La Farge\, WI. He teaches in the School of Architecture and Department of History at Northeastern University. His work examines the production of cultural landscapes and the politics of connectivity in settler colonial contexts. Recent and ongoing projects include: Kickapoo Conversations\, A People’s Guide to Firsting and Lasting in Boston\, Re-Collecting Black Hawk: Landscape\, Memory\, and Power in the American Midwest\, The Vanishing Indian Repeat Photography Project\, and Ni-aazhawa’am-minis Spur.  \nAn artist\, filmmaker\, and creative technologist of Ecuadorian and Chinese descent\, Marisa Morán Jahn’s artworks redistribute power\, “exemplifying the possibilities of art as social practice” (ArtForum). Her work has been presented in a range of venues including Obama’s White House\, Museum of Modern Art\, ITVS/PBS\, and worker centers. An awardee of Creative Capital\, Sundance\, and Tribeca Institute\, Jahn is the founder of Studio REV\, an art and social justice non-profit organization\, an Assistant Professor at The New School\, and a Visiting Artist at MIT Art\, Culture\, Technology. \n\nThe Civic Arts Series\, which is part of the CMS graduate program Colloquium\, features talks by four artists and activists who are making innovative uses of media to reshape the possibilities of art as a source of civic imagination\, experience and advocacy. Using a variety of contemporary media technologies–film\, web platforms\, game engines\, drones–the series presenters have opened up new pathways to artistic expression that broaden public awareness around compelling civic issues and aspirations of our time.
URL:https://cms.mit.edu/event/civic-arts-series-myron-dewey/
LOCATION:MIT Building E15\, Room 001 (“The Cube”)\, 20 Ames Street\, Cambridge\, MA\, 02139\, United States
CATEGORIES:Civic Arts
ATTACH;FMTTYPE=image/jpeg:https://cms.mit.edu/wp/wp-content/uploads/2018/08/Myron-Dewey.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20181018T170000
DTEND;TZID=America/New_York:20181018T183000
DTSTAMP:20260504T132524
CREATED:20180828T145830Z
LAST-MODIFIED:20181015T174206Z
UID:32653-1539882000-1539887400@cms.mit.edu
SUMMARY:Civic Arts Series: Marisa Morán Jahn
DESCRIPTION:Marisa Morán Jahn – Illustration by Mauricio Cordero\nMarisa Morán Jahn is a multi-media artist\, writer\, educator and activist\, whose colorful\, often humorous uses of personae and media create imaginative pathways to civic awareness of urgent public issues. Working collaboratively\, her projects include a classic American road trip\, CareForce One\, in a 50-year-old station wagon\, advocating issues concerning care workers that became a PBS film series; and Bibliobandido\, a story-telling initiative for Honduran children featuring a masked bandit who devours stories. Jahn\, winner of numerous awards\, is co-founder of Studio REV-\, a non-profit organization of artists\, technologists\, media makers\, low-wage workers\, immigrants and teens who producing creative media and public art about the issues they face. \nShe will be sharing Snatch-ural History of Copper (working title)\, an art project\, book\, and feature-length film initiated by artist Marisa Morán Jahn that investigates copper\, an element found in electrical wires\, computers\, lightning rods\, and the IUD (intrauterine device) implanted in Jahn’s own ‘snatch’ (womb). Jahn interviews a range of experts in search of otherworldly answers that trammel the boundaries of myth\, literary studies\, science\, alchemy and political controversy. Interviewing scientists in Saint Petersburg Florida who use rockets outfitted with a copper nose to trigger (and capture) lightning\, Jahn asks\, “Do you think that when the lightning goes off I’ll feel it in my cooch?” She visits a shrine on the island of Cyprus\, home of the earliest copper mines dating to 8700 BCE as well as the pre-Christian god\, Venus of Aphrodite who share the same symbol (♀) most familiar to us today as the symbol for women\, females\, and a movement for women’s liberation. Throughout these real-world investigations\, Jahn seeks access to the top of a building and solder her copper IUD on top of a copper lightning rod\, raising its height by an imperceptible inch. “I can’t wait for the moment when a bolt of lightning hits this thing — just imagine my little IUD radiating. It might even be sizzled into a thousand little parts distributed and distended into the atmosphere.” Poetically and playfully weaving the issues into a new cosmology\, the film touches upon timely issues such as planetary sustainability\, labor\, and reproductive self-determination during a moment when both sides of the spectrum mount all-offensive campaigns. \nAlso featuring… \nSasha Costanza-Chock (pronouns: they/them or she/her) is a scholar\, activist\, and media-maker\, and currently Associate Professor of Civic Media at MIT. They are a Faculty Associate at the Berkman-Klein Center for Internet & Society at Harvard University\, Faculty Affiliate with the MIT Open Documentary Lab and the MIT Center for Civic Media\, and creator of the MIT Codesign Studio (codesign.mit.edu). Their work focuses on social movements\, transformative media organizing\, and design justice. Sasha’s first book\, Out of the Shadows\, Into the Streets: Transmedia Organizing and the Immigrant Rights Movement was published by the MIT Press in 2014. They are a board member of Allied Media Projects (AMP); AMP convenes the annual Allied Media Conference and cultivates media strategies for a more just\, creative and collaborative world (alliedmedia.org). \nJane M. Saks is a creative collaborator\, arts producer\, writer\, and educator who has worked to challenge and champion issues of gender\, sexuality\, human rights\, race and power within the worlds of arts and culture\, politics and civil rights\, academia and philanthropy. She is Founding President and Artistic Director of Project& (projectand.org)\, an organization that creates new models of cultural participation and experience with social impact. Previously\, she was the founding Executive Director at the Institute for the Study of Women and Gender in the Arts and Media where she created the award-winning Fellowship program\, developing and launching works that went on to win Pulitzer Prizes\, MacArthur Genius Awards\, Obie Awards and Guggenheims. She is an invited lecturer at civic\, cultural and educational institutions internationally\, a visiting critic at Yale University\, Regional Judge for the White House Fellows\, and will be a visiting Professor at Harvard University. A published poet\, Saks has been the Creator\, Author\, Producer\, Co-Producer\, Creative Advisor and Series Producer on many original creative works in various media and art forms. \nSteve Seidel holds the Patricia Bauman and John Landrum Bryant Chair in Arts in Education at the Harvard Graduate School of Education. He is Faculty Director of the Arts in Education program and a former director of Project Zero (2000-2008). His current research includes Talking with Artists who Teach\, a study of working artists’ ideas and insights into the nature of artistic development and learning. Before becoming a researcher\, Seidel taught high-school theater and language arts in the Boston area for 17 years. He has also worked as a professional actor and stage director. \n\nThe Civic Arts Series\, which is part of the CMS graduate program Colloquium\, features talks by four artists and activists who are making innovative uses of media to reshape the possibilities of art as a source of civic imagination\, experience and advocacy. Using a variety of contemporary media technologies–film\, web platforms\, game engines\, drones–the series presenters have opened up new pathways to artistic expression that broaden public awareness around compelling civic issues and aspirations of our time.
URL:https://cms.mit.edu/event/civic-arts-series-marisa-moran-jahn/
LOCATION:MIT Building E15\, Room 001 (“The Cube”)\, 20 Ames Street\, Cambridge\, MA\, 02139\, United States
CATEGORIES:Civic Arts
ATTACH;FMTTYPE=image/jpeg:https://cms.mit.edu/wp/wp-content/uploads/2018/08/Marisa-Morán-Jahn.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20181004T170000
DTEND;TZID=America/New_York:20181004T183000
DTSTAMP:20260504T132524
CREATED:20180827T175036Z
LAST-MODIFIED:20180828T150236Z
UID:32649-1538672400-1538677800@cms.mit.edu
SUMMARY:Civic Arts Series: Daniel Bacchieri
DESCRIPTION:Daniel Bacchieri – Illustration by Mauricio Cordero\nDaniel Bacchieri is an award-winning Brazilian journalist\, documentary film maker and collaborative web developer/curator\, whose visually inspiring StreetMusicMap platform has been widely praised for its curation of street performers from across the globe. Combining a documentarian vision with a trans-cultural appreciation of the public art of vernacular musicians\, the StreetMusicMap collaborators are exploring the creative possibilities of collective story-telling through performance. The StreetMusicMap Instagram channel has more than 41\,000 followers and 1\,300 artists documented on videos in 97 countries\, all filmed by more than 700 collaborators. \n\nThe Civic Arts Series\, which is part of the CMS graduate program Colloquium\, features talks by four artists and activists who are making innovative uses of media to reshape the possibilities of art as a source of civic imagination\, experience and advocacy. Using a variety of contemporary media technologies–film\, web platforms\, game engines\, drones–the series presenters have opened up new pathways to artistic expression that broaden public awareness around compelling civic issues and aspirations of our time.
URL:https://cms.mit.edu/event/civic-arts-series-daniel-bacchieri/
LOCATION:MIT Building E15\, Room 001 (“The Cube”)\, 20 Ames Street\, Cambridge\, MA\, 02139\, United States
CATEGORIES:Civic Arts
ATTACH;FMTTYPE=image/jpeg:https://cms.mit.edu/wp/wp-content/uploads/2018/08/Daniel-Bacchieri.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180913T170000
DTEND;TZID=America/New_York:20180913T183000
DTSTAMP:20260504T132524
CREATED:20180827T180238Z
LAST-MODIFIED:20180912T144551Z
UID:32646-1536858000-1536863400@cms.mit.edu
SUMMARY:Civic Arts Series: Erik Loyer
DESCRIPTION:Erik Loyer – Illustration by Mauricio Cordero\nErik Loyer‘s award-winning work explores new blends of game dynamics\, poetic expression and interactive visual storytelling. From his best-selling Strange Rain story-playing iPad/iPhone app\, to his visually stunning digital fiction The Lair of the Marrow Monkey (powered by Shockwave software animation)\, and his interactive explorations of post-Katrina racial politics in Blue Velvet\, Loyer’s interactive artistic hybridizations of music\, new narratives and algorithmic play have won numerous awards\, been exhibited widely\, and found their way into permanent museum collections. \n\nThe Civic Arts Series\, which is part of the CMS graduate program Colloquium\, features talks by four artists and activists who are making innovative uses of media to reshape the possibilities of art as a source of civic imagination\, experience and advocacy. Using a variety of contemporary media technologies–film\, web platforms\, game engines\, drones–the series presenters have opened up new pathways to artistic expression that broaden public awareness around compelling civic issues and aspirations of our time.
URL:https://cms.mit.edu/event/civic-arts-series-erik-loyer/
LOCATION:MIT Building E15\, Room 001 (“The Cube”)\, 20 Ames Street\, Cambridge\, MA\, 02139\, United States
CATEGORIES:Civic Arts
ATTACH;FMTTYPE=image/jpeg:https://cms.mit.edu/wp/wp-content/uploads/2018/08/Erik-Loyer.jpg
END:VEVENT
END:VCALENDAR