Media in Motion Biographies
keywords : Events
Biographies of the speakers at the Media in Motion Symposium
Laura Barreca, PhD (University of Tuscia, Viterbo), is an art critic from Italy, at present holding the position of Junior Curator at PANIPalazzo delle Arti Napoli, Naples, and Consultant of the national project of Conservation of Contemporary Art for the Ministry of Italian Culture. She has written extensively on the conservation and documentation of new media art and contemporary arts for catalogue, art periodicals, and reviews. She has curated exhibitions of national and international artists. Within the 15th exhibition Quadriennale of Rome, she curated the scientific project Documentation of Complex Installation of New Media Art.
Joanna Barwick is a PhD student at the Department of Information Science, Loughborough University, UK. Her research is focusing on barriers to the preservation of digital games, with particular reference to cultural perceptions towards digital media and the impact of these on current preservation selection policies. Her interest in this area arises from her previous career in academic libraries. Before starting her PhD, she worked in various university libraries in UK and most recently, she was the Institutional Repository Manager at Loughborough University. Other interests include electronic publishing and scholarly communication, in particular the developments in Open Access publishing.
Melitte Buchman has served as Digital Conversion Specialist at NYU’s Division of Libraries since 2003. She has been involved with digital imaging since 1999. In her current capacity, she is responsible for digital imaging, color management, and preservation video conversion. She is currently active in NYU’s recent initiative Afghanistan Digital Library, as well as the Hemispheric Institute Digital Video Library, and the Mondays With Merce Cunningham video project. Prior to working at NYU she worked at the New York Public Library both in their Digital Library Program and Exhibition Department. She also serves on the board of METRO’s Digitization Committee.
Stéphanie Corriveau est assistante de recherche DOCAM et elle détient une maîtrise en muséologie de l’Université du Québec à Montréal (2007). À titre de contractuelle en arts médiatiques au Musée des beaux-arts de Montréal (MBAM), elle collabore à la rédaction d’un outil d’apprentissage en ligne conçu par le MBAM en collaboration avec DOCAM et le Réseau canadien d’information sur le patrimoine (RCIP). Cet outil porte sur les exigences particulières des activités de documentation et de conservation des œuvres d’art médiatique. Participant aux activités du comité de Structure de catalogage DOCAM, Stéphanie Corriveau développe une réflexion sur le droit d’auteur et les arts médiatiques.
Jürgen Enge is an information scientist and researcher at Karlsruhe University of Arts and Design. Simultaneously, he is a Senior Fellow at the Institute for Technologies and Design ITD and a Project Manager at the IT Center at Zurich University of the Arts. Extensive involvements in varying international research projects on archiving and preserving media and computer-based art forms made Jürgen Enge suited for use as technical advisory board at AktiveArchive.
Kathleen Fear is a second-year graduate student at the University of Michigan’s School of Information. She is specializing in the Preservation of Information, which is a newly added concentration within the Master of Science in Information program, and will finish her degree in April. After graduating from U-M, she plans to continue her education in a PhD program focusing on digital preservation.
jonCates develops the curriculum and teaches in the New Media path of study of the Film, Video & New Media Department at The School of the Art Institute of Chicago (SAIC). In 2007, jonCates initiated the Phil Morton Memorial Research Archive to freely distribute and share the Media Art work of Phil Morton, founder of the Video Area and the Video Data Bank at SAIC. This collection documents an alternative history of collaborative and experimental Media Art made in Chicago during the 1970’s and 1980’s.
Perla Innocenti is Co-Principal Investigator for Requirements Analysis and Identification of User Scenarios in the project Sustaining Heritage Access through Multivalent ArchiviNg (SHAMAN). She is also involved in repository design, audit research (e.g. DRAMBORA) as part of DigitalPreservationEurope (DPE) and has contributed to usage models research within the project Preservation and Long-term Access through NETworked Services (Planets). Perla has a background as a researcher specializing in information systems for industrial design and as a digital librarian at Politecnico di Milano, Italy, where she coordinated digital library, digitization, and library portal projects. She has worked as a consultant and collaborator in digital libraries and e-learning projects.
Somaya Langley is a sound and media artist (www.criticalsenses.com) and has presented and performed work in conferences and festivals internationally. Her current practice focuses on embodied and immersive experiences mediated by technology to initiate socio-political dialogue, including such projects as the Suspect Backpack and Mobile Patters. She also performs live wearable electroacoustics under the pseudonym ID-i/o. She has worked for the National Library of Australia developing MusicAustralia and the Digital Collections online delivery system, as well as being the Library’s Digital Preservation Officer. She is currently a co-director of the Electrofringe festival, the Australian Network for Art and Technology’s media correspondent and works at the Australian Music Centre as their Online Projects Officer.
Tabea Lurk is scientific assistant at AktiveArchive and head of the Artlab in the Department of Conservation and Restoration at Berne University of the Arts. She studied art history and media theory at Karlsruhe University of Arts and Design and in Leipzig, Osnabrück and Kassel. Before moving to Bern in Summer 2006, Tabea Lurk completed a two years traineeship in the EU-project OASIS at ZKM – Center for Art and Media in Karlsruhe. She has worked at different departments of ZKM and at the MARS LAB of Fraunhofer Association St. Augustin (Netzspannung.org).
Corina MacDonald recently completed her Masters degree in Library and Information Studies at McGill, and works as an information analyst at the Canadian Heritage Information Network. She is also a research assistant with DOCAM’s Terminology Committee. Her interests include the social dimensions of information behavior in technological environments as well as the representation, use and preservation of digital objects.
Andrew McHugh earned a degree in Scots Law from Glasgow University (2000) and went on to complete his MSc in Information Technology (2001). Since then, he has been employed within HATII (the Humanities Advanced Technology and Information Institute at the University of Glasgow) in various capacities including taking responsibility for revolutionizing the information infrastructure in the Department of Music. In late 2004, he joined the Digital Curation Centre in the position of Advisory Services Manager, leading a world-class team of digital curation practitioners in offering leading-edge expertise and insight in a range of issues to a primarily higher and further education audience. His most recent work at the DCC has involved leading its work in trusted repository Audit and Certification. In Spring 2008, he joined the PLANETS project, researching intelligent object technologies to support information preservation. He also lectures on multimedia systems and design on the MSc in Information Technology run by the Computing Science Department at Glasgow.
Alice Moscoso is the Moving Image Preservation Specialist at NYU Libraries. She is responsible for the Media Preservation Unit, which oversees the preservation of the Library’s film, video and audio collections. She is a graduate of the L. Jeffrey Selznick School of Film Preservation at George Eastman House and holds an MA in Film Studies at the University of La Sorbonne Nouvelle in Paris. Her previous professional experience includes positions at the Museum of Modern Art in New York, Jean Painlevé’s film archive in Paris and the Academy Film Archive in Los Angeles.
Ariane Noël de Tilly is a PhD candidate at the Amsterdam School for Cultural Analysis (Universiteit van Amsterdam). Her dissertation topic relates to the re-exhibition of moving-image works that were sold in limited editions. She has previously interned at the National Gallery of Canada where she worked on improving the documentation around the institution’s time-based art collection. In 2006–2007, she worked as a research assistant for the Conservation and Preservation Committee of the DOCAM Alliance.
Tracy Popp is a graduate student at the University of Illinois-Urbana Champaign in the Masters of Library and Information Science program. She holds a BFA in Photography/Intermedia with a minor in Computer Information Systems. Tracy’s art interests lie in contemporary art works which incorporate non-traditional media such as sound works and Internet art, and how these art works are curated. Her Library Science research interests are in data curation, audiovisual preservation, and digital preservation.
Seamus Ross is Professor of Humanities Informatics and Digital Curation and Director of HATII (Humanities Advanced Technology and Information Institute) at the University of Glasgow and Associate Director of the Digital Curation Centre. Other projects on which he was either the co-PI or PI include DELOS, DigitalPreservationEurope (DPE), Planets, ERPANET, and DigiCULT.
Marilyn Terzic is a doctoral candidate in Communication Studies at McGill University. Her work examines the perceptual, cognitive, and compositional bases of television images.
Nina Wenhart is a graduate student of Professor Oliver Grau’s Media Art Histories program at the Danube University in Krems, Austria. She is an independent researcher and was the Head of the Ars Electronica Futurelab’s videostudio, where she was creating the video archive and working primarily with its historical material. In Fall 2008, she will be teaching the Prehistories of New Media class at the School of the Art Institute of Chicago (SAIC) and will give a series of lectures on the 30-year history of Ars Electronica at SAIC, the Electronic Visualization Lab (EVL) at the University of Illinois, and Columbia College.
Kam Woods is a PhD student in Computer Science and Research Assistant at Indiana University, Bloomington. He received his BA with a major in Computer Science from Swarthmore College and his MS in Computer Science from Baylor University. His research currently focuses on the development and evaluation of software systems to facilitate long-term digital preservation.
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