External links
- Joline Blais's Homepage
- Joline Blais at the University of Maine New Media Department
- At the Edge of Art
- LongGreenHouse
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Joline J. Blais | |
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| Born | May 9, 1960 Lewiston, Maine |
| Nationality | American |
| Education | A.B. Harvard 1982; PhD University of Pennsylvania 1991 |
| Occupation | educator |
| Known for | scholarship at intersection of digital culture, indigenous culture, and permaculture |
Joline Blais is a writer, educator, new media scholar, and permaculture designer.
As Associate Professor in the University of Maine's New Media Department, Blais teaches classes on digital narrative, sustainable design, and permaculture. With Jon Ippolito in 2002, she co-founded Still Water, a new media lab she continues to co-direct that is devoted to studying and building creative networks. Blais' publications and creative work explore the overlap of digital culture, indigenous culture, and permaculture which has included advocacy for updated tenure and promotion criteria based on sharing rather than hierarchical principles. [1]
Blais' 2006 book At the Edge of Art, co-authored with Ippolito and published by Thames & Hudson, investigates how new media art puts the power of networks and distributed creativity into the hands of ordinary citizens in a variety of non-art contexts. [2] The book creates a metaphor between digital art and the human immune system, relating the auto-immune response to the important role of art in society. In this book Blais coins the terms "autobotography," personal histories automatically recorded by digital devices such as webcams and blogs, and "executability," an ability of 21st-century expression to operate on computable, social, or legal codes. [3]
Blais and collaborators, including John Bell, Ippolito, and Owen Smith, developed The Pool, an online project design workspace noted by the Chronicle of Higher Education as a "new avenue for new-media scholars to do their jobs." The Pool is a collaborative online environment for creating art, code, and texts. In place of the single-artist, single-artwork paradigm favored by the overwhelming majority of documentation systems, The Pool stimulates collaboration in a variety of forms, including multi-author, asynchronous, and cross-medium projects. [4]
In 2005 Blais partnered with New York's Eyebeam Art and Technology Center to conceive and produce an online forum on open culture that spanned six weeks and four continents. Entitled Distributed creativity, this system wove together correspondents from separate email lists based in California (Creative Commons), New York (Rhizome), Ireland (DATA), India (Sarai), and Australia (Fibreculture) in a global conversation on the future of creativity, intellectual property, and mobile media. [5]
Her sustainability projects include LongGreenHouse (2007–2011), which wove the Wabanaki Longhouse, permaculture gardens, and networked collaboration in a hybrid "communiversity," in partnership with UMaine, the Wassookeag school, and Wabanaki elders. Other projects include RFC: Request for Ceremony, a call for re-investing quotidian life with ceremony; and the Cross-Cultural Partnership, a legal framework for developing trust networks with indigenous peoples. [6]
In 2008 Blais expanded this work from the university to community contexts as a partner and equity member of Belfast Cohousing & Ecovillage, whose net zero prototype house was the US Green Building Council's 2011 Project of the Year. [7]
Joline Blais and Jon Ippolito, "Art As Antibody: A Redefinition of Art for the Internet Age," Intelligent Agent 6, no. 2 (Summer 2006), mirrored at http://www.intelligentagent.com/archive/ia6_2_transvergence_blaisippolito_artasantibody.pdf.
Joline Blais and Jon Ippolito, At the Edge of Art (London: Thames & Hudson, 2006).
Joline Blais, Indigenous Domain: Pilgrims, Permaculture, and Perl
Joline Blais, Jon Ippolito, Steve Evans, Owen Smith, and Nate Stormer, "New Criteria for New Media," Leonardo (MIT Press) 42, no. 1 (Spring 2009).
Joline Blais and Jon Ippolito, "New Media Innovators," in Lucas Dietrich, ed., 60: Innovators Shaping Our Creative Future (London: Thames & Hudson, 2010).
Joline Blais, Jon Ippolito, Lawrence Lessig, and Carrie McLaren, "Share/Share Alike," Intelligent Agent (New York and Baton Rouge) 4.2 (June 2004), http://www.intelligentagent.com.
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An ecovillage is a traditional or intentional community with the goal of becoming more socially, culturally, economically, and/or ecologically sustainable. An ecovillage strives to produce the least possible negative impact on the natural environment through intentional physical design and resident behavior choices. It is consciously designed through locally owned, participatory processes to regenerate and restore its social and natural environments. Most range from a population of 50 to 250 individuals, although some are smaller, and traditional ecovillages are often much larger. Larger ecovillages often exist as networks of smaller sub-communities. Some ecovillages have grown through like-minded individuals, families, or other small groups—who are not members, at least at the outset—settling on the ecovillage's periphery and participating de facto in the community.
Digital art is an artistic work or practice that uses digital technology as part of the creative or presentation process. Since the 1960s, various names have been used to describe the process, including computer art and multimedia art. Digital art is itself placed under the larger umbrella term new media art.
In music, montage or sound collage is a technique where newly branded sound objects or compositions, including songs, are created from collage, also known as montage. This is often done through the use of sampling, while some playable sound collages were produced by gluing together sectors of different vinyl records. In any case, it may be achieved through the use of previous sound recordings or musical scores. Like its visual cousin, the collage work may have a completely different effect than that of the component parts, even if the original parts are completely recognizable or from only one source.
Electronic art is a form of art that makes use of electronic media. More broadly, it refers to technology and/or electronic media. It is related to information art, new media art, video art, digital art, interactive art, internet art, and electronic music. It is considered an outgrowth of conceptual art and systems art.
Knowbotic Research is a German-Swiss electronic art group, established in 1991. Its members are Yvonne Wilhelm, Christian Hübler and Alexander Tuchacek. They hold a professorship for Art and Media at the University of the Arts in Zurich.
Digital painting is a relatively new but an already established art form. It’s a medium that typically combines a computer, a graphics tablet, and software of choice. The artist uses painting and drawing techniques with the stylus that comes with the graphics tablet to create 2D paintings within a digital art software. There are multiple techniques and tools that are utilized by digital artists, the first being digital brushes. These come standard with all digital art programs but users can create their own, altering their shape, texture, size, and transfer. Many of these brushes are created to represent traditional styles like oils, acrylics, pastels, charcoal, and airbrushing, but not all. Other effective tools include layers, lasso tools, shapes, and masks. Digital painting has evolved to not just mimic traditional art styles but fully become its own technique.
Bafut is a town located in a modern commune in Cameroon, it is also a traditional fondom. It is located in the Mezam Department, which in turn is located in the Northwest Province.
Joseph Nechvatal is an American post-conceptual digital artist and art theoretician who creates computer-assisted paintings and computer animations, often using custom-created computer viruses.
The conservation and restoration of new media art is the study and practice of techniques for sustaining new media art created using from materials such as digital, biological, performative, and other variable media.
Golan Levin is an American new media artist, composer, performer and engineer interested in developing artifacts and events which explore supple new modes of reactive expression.
Michael Mandiberg is an American artist, programmer, designer and educator.
Jon Ippolito is an artist, educator, new media scholar, and former curator at the Solomon R. Guggenheim Museum. Ippolito studied astrophysics and painting in the early 1980s, then pursued Internet art in the 1990s. His works explore digitally induced collaboration and networking, a theme that is prominent in his later scholarship.
Still Water was a research and development laboratory at the New Media Department of the University of Maine that studied and built networks for artists, academics, and other creative professions. Still Water examined networking from technical, social, and political angles; specific areas of interest included online collaboration, indigenous sharing protocols, and limits placed on artistic remixes and filesharing by intellectual property law.
Hybrid art is a contemporary art movement in which artists work with frontier areas of science and emerging technologies. Artists work with fields such as biology, robotics, physical sciences, experimental interface technologies, artificial intelligence, and information visualization. They address the research in many ways such as undertaking new research agendas, visualizing results in new ways, or critiquing the social implications of the research. The worldwide community has developed new kinds of art festivals, information sources, organizations, and university programs to explore these new arts.
Internet art is a form of new media art distributed via the Internet. This form of art circumvents the traditional dominance of the physical gallery and museum system. In many cases, the viewer is drawn into some kind of interaction with the work of art. Artists working in this manner are sometimes referred to as net artists.
Eva & Franco Mattes are a duo of artists based in New York City. Since meeting in Berlin in 1994, they have never separated. Operating under the pseudonym 0100101110101101.org, they are counted among the pioneers of the Net Art movement and are known for their subversion of public media. They produce art involving the ethical and political issues arising from the inception of the Internet. They are based in Brooklyn, New York, but also travel frequently throughout Europe and the United States.
Lia is an Austrian software artist. Born in Graz, she is now based in Vienna. Her work includes the early Net Art sites re-move.org and turux.at. In 2003 she co-curated the Abstraction Now exhibition at the Künstlerhaus Wien in Vienna, Austria. In 2003 Lia received an Award of Distinction in the Net Vision/Net Excellence Category for re-move.org.
John P. Bell is a digital artist, educator, and software developer at Dartmouth College and the University of Maine whose work centers on creative collaboration and digital culture.
Media art history is an interdisciplinary field of research that explores the current developments as well as the history and genealogy of new media art, digital art, and electronic art. On the one hand, media art histories addresses the contemporary interplay of art, technology, and science. On the other, it aims to reveal the historical relationships and aspects of the ‘afterlife’ in new media art by means of a historical comparative approach. This strand of research encompasses questions of the history of media and perception, of so-called archetypes, as well as those of iconography and the history of ideas. Moreover, one of the main agendas of media art histories is to point out the role of digital technologies for contemporary, post-industrial societies and to counteract the marginalization of according art practices and art objects: ″Digital technology has fundamentally changed the way art is made. Over the last forty years, media art has become a significant part of our networked information society. Although there are well-attended international festivals, collaborative research projects, exhibitions and database documentation resources, media art research is still marginal in universities, museums and archives. It remains largely under-resourced in our core cultural institutions.″
Les Levine is a naturalized American Irish artist known as a pioneer of video art and as a conceptual artist working with mass communication. In 1967, Levine won first prize for sculpture in the Canadian Sculpture Biennial.
