Carolyn Handler Miller is one of the pioneering writers of interactive media. She his worked as a writer or writer-content designer on over three-dozen new media projects in a wide variety of media, including interactive TV, the Web, CD-ROMs, electronic kiosks, and even three-dimensional “smart toys.”Carolyn’s projects have included the landmark Carmen Sandiego series and the interactive version of the Pixar-Disney film, Toy Story, one of the most popular CD-ROMs ever released. She has also served as a mentor-writer for the American Film Institute’s renowned Enhanced Television Workshop and as a consultant to numerous new media companies.

http://www.carolynmiller.com
Carolyn’s just published book, DIGITAL STORYTELLING: A CREATOR’S GUIDE TO INTERACTIVE ENTERTAINMENT, covers the vast universe of interactive media, and includes such new developments as wireless devices, alternate reality games, (ARGs), and integrated media productions. In the book, she showcases cutting edge projects in each area and examines broader topics that include all advanced media, such as narrative structure, character development, and the effects of interactivity. Prior to her involvement in interactive media, Miller was an award-winning screenwriter, and is thus able to approach the development of new media projects with the knowledge gained from working in linear media. She has taught workshops and given presentations in Johannesburg, Rome, and Paris, as well as at major domestic conferences and at universities throughout Southern California.



Jared Tarbell was born in 1973 to William and Suzon Tarbell.  First introduced to personal computers in 1987, Jared's interest in computation has grown in direct relation to the processing power of these machines. Jared holds a Bachelor of Science degree in Computer Science from New MexicoState University.  He sits on the Board of the Austin Museum of Digital Art ( amoda.org ) where he helps promote and encourage appreciation of the digital arts within the global community. Jared is most interested in the visualization of large data sets, and the emergent, life-like properties of complex computational systems.
Jared believes that all code is dead unless executing within the computer.  For this reason, he actively encourages the distribution of his work in modifiable form.  Additional work from Jared Tarbell can be found at levitated.net and complexification.net. 

http://levitated.net
Screening Presentation
Visualizing the Unexpected Nature of Numbers

In this presentation, Tarbell will discuss several methods in which beautiful computational constructs are built up with simple coded instructions.  Code from both Flash MX and the Processing environments will be shown.  Topics from chaos, emergence, and complexity will be presented along with their visual compliments.   The general theory behind these systems will be explored, and a few key examples will be presented in detail.  If numbers describe the universe, we can create new universes within the computer.  You need not have a programmer's background to enjoy the inspirational material of this presentation.
Workshop Presentation
A Day in the Life of Flash MX 

In an open discussion setting, Jared Tarbell presents Macromedia's Flash MX2004 from the perspective from which he approaches the development environment. Flash has typically been considered an animation tool but has evolved into something much more powerful.  With each new release, the ActionScript library has doubled. With a background in computer science, Jared is most interested in exploring this programmable aspect of Flash. The advantages of using ActionScript, general workflow patterns, and specific solutions to common problems will all be discussed.

Through direct example, the presentation will touch on the 'one frame' Flash movie, consideration of the MovieClip as a building block for life, publishing to the web, as well as outputting high-resolution graphics suitable for print. Time will be reserved during the presentation for questions and discussion.



Steina Vasulka was born in Reykjavik, Iceland in 1940. She studied at the Music Conservatory in Prague, 1959-63, and emigrated to the United States in 1965. With Woody Vasulka, she has won numerous awards; their collaborative works have been widely exhibited internationally Exhibitions of her individual works have been seen at festivals and institutions including Centre Georges Pompidou, Paris; The Kitchen, New York; Museum of Art, Carnegie Institute, Pittsburgh; The Jonson Gallery, University of New Mexico Art Museum, Albuquerque; and the Whitney Museum of American Art Biennial, among many others.
Since the mid-1970s, Steina has explored intricate transformations of vision, space and sound, through a dynamic confluence of digital technologies, mechanical devices and natural landscape. After producing a pioneering body of work with Woody Vasulka in the early 1970s, Steina has pursued several distinct inquiries in her more recent videotapes and installations: The electronic interrelation of sound and image; the use of mechanized, pre-programmed image devices for phenomenological explorations of perception, space, and modes of seeing; and the textural fusion of digital and "real" imagery and sound to create layered spatial and temporal systems. In many of her works, the natural landscape of the American Southwest has been an integral visual material.

www.vasulka.org



Golan Levin is an artist, composer, performer and engineer interested in developing artifacts and events which explore supple new modes of reactive expression. His work focuses on the design of systems for the creation, manipulation and performance of simultaneous image and sound, as part of a more general inquiry into the formal language of interactivity, and of nonverbal communications protocols in cybernetic systems. Through performances, digital artifacts, and virtual environments, often created with a variety of collaborators, Levin applies creative twists to digital technologies that highlight our relationship with machines, make visible our ways of interacting with each other, and explore the intersection of abstract communication and interactivity.
Identified by Technology Review as one of the world's "Top 100 Innovators Under 35" [2004], and dubbed by El Pais as "one of the most brilliant figures in contemporary audiovisual art" [2002], Levin has exhibited widely in Europe, America and Asia.

www.flong.com



Derek Holzer [USA 1972] is a sound and radio artist based in the Netherlands. He was involved with some of the first net.radio experiments in Hungary (Pararadio) and the Czech Republic (Radio Jeleni). Together with the RIXC (Riga, Latvia) helped organize the Acoustic Space Lab, which brought together an international team of 30 sound artists, community radio activists, and scientists to experiment with a 32 meter antenna, recording sounds and data from planets, communication satellites and thesurrounding environment. His work focuses on capturing and transforming small, unnoticed sounds and electromagnetic resonances from various natural and urban locations,participatory and collaborative media projects, live audiovisual performance and the use and teaching of free software such as Linux and Pure-Data. He has curated music and new media for the Next 5 Minutes (Amsterdam) and Impakt (Utrecht) Festivals, and has created projects for STEIM (Amsterdam), Transmediale (Berlin), the European Media Art Festival (Osnabrueck), Medienturm (Graz) and Garage (Stralsund). His lectures on Free + Open Source Software and the issues around audiovisual synthesis and communication have been well received in Holland, the UK, Brazil, France, Austria, Latvia, Lithuania, Estonia, Yugoslavia and Norway, among other locations.

http://n5m4.org/indexfd74.html?118+3174+3195 
Screening Presentation
Visible Sound / Audible Image 

The development of video and computer technology has expanded and complicated the relationship of sound to image within the context of audiovisual works. This lecture and screening, comprised of "historic" and contemporary works from the collection of Montevideo/Nederlands Instituut voor Mediakunst (Amsterdam), charts a few of these developments and investigates the synthesis of what has often considered to be two seperate disciplines: audio and video. Featured artists include: Vasulkas, Servaas, Matthew Schlanger, Nicolas Provost, Jan van Nuenen and Bas van Koolwijk.




Marcia Zellers is the Director of the AFI Digital Content Lab for the American Film Institute (AFI). Founded in 1998 as the Enhanced TV Workshop, the AFI Digital Content Lab works with top TV, film and entertainment properties to guide their transition to a digital, interactive future. Projects are selected to participate in a variety of digital production and planning initiatives, including but not limited to program development and storyboarding, business planning, prototyping, user testing, and full scale production for deployment. Recent participants include MTV Networks, Bravo, ABC/Disney, PBS, HBO, Showtime, Discovery, Scripps Networks, and many more. The AFI Digital Content Lab has become the gathering place for the American digital creative and technology communities, and is renowned as the premier environment for enhanced and interactive TV exploration and development. 
Zellers began her career in newspaper and magazines. After a number of years in the music press, including a stint as Marketing and Promotions Director at Spin magazine, Zellers joined MTV Interactive’s New York headquarters in 1994 as a founding member. There she created and produced some of the earliest enhanced TV programming. In 1999 Zellers moved to Los Angeles, where she spearheaded Warner Bros. Online’s Entertaindom project, one of the Web’s then-highest profile entertainment destinations and the first planned broadcast-style distribution model. Zellers has been a new media consultant for entities like New Line Cinema and composer Giorgio Moroder, and previous to AFI was the Vice President of Web Development and Creative Director for Greater Relations Worldwide, a nascent dotcom. Zellers is an Executive Committee member of the Academy of Television Arts and Sciences (ATAS) Interactive Peer Group, and is the Co-Chair of the peer group’s Emmy Awards Committee. Zellers is also a published writer and editor, and has an eclectic background that includes publishing, marketing, advertising, fundraising, and stock brokerage.

http://www.afi.com/education/etv




Yvonne Spielmann is Professor of Visual Media at the Braunschweig School of Art, Germany, previously Assistant Professor of Media Studies at the University of Siegen, Germany. She has edited “Kunst und Politik der Avantgarde” (1989), with Gundolf Winter “Image - Media - Art” (German and English, 1999) and with Jürgen Heinrichs "What is Intermedia?", special issue of Convergence, winter 2002; and authored "Eine Pfütze in bezug aufs Mehr. Avantgarde” (1991), and “Intermedialität. Das System Peter Greenaway” (1998).
Forthcoming is the book in German on the topic of “Video, the Reflexive Medium” at Suhrkamp Press in April 2005. Residential research fellowships include the Getty Center (1989/90), The Society for the Humanities at Cornell University (2000/2001), The Rockefeller Foundation's Bellagio Study & Conference Center (2002) and The Daniel Langlois Foundation (2003 and 2004).

http://www.yvonne-spielmann.com




Roger Holzberg is Vice President-Creative Director at the Walt Disney Company. Current projects include leading the Walt Disney Parks and Resorts Online world-wide initiative designed to create new personalized, customized, CRM driven guest experiences for all Parks, Resorts and Cruise Line properties, as well as developing new forms of interactive experiences that take the Disney theme park brand “beyond the berm” and into the home. Recent projects include the creative direction for Walt Disney World’s 100 Years of Magic celebration, with the new 120’ Sorcerer’s hat Icon, “One Man’s Dream” Attraction/Film at the Disney MGM Studios, “Stories Behind the Magic” installations at all four parks, and “Magic Moment Pins”, a new mass audience interactive retail product. Roger was Sr. Producer/Creative Lead for Walt Disney World’s Millennium Celebration; responsibilities included Epcot’s new Icon, “Leave a Legacy”, and “Millennium Central”, as well as AT&T’s “New Global Neighborhood” within Space Ship Earth.  He also completed the animatronic dolphin projects at Epcot’s Living Seas and Castaway Cay.  In addition he worked on the “Circle of Hands” and “Soarin” attractions for Disney’s California Adventure.  
Previously at Disney he was Creative Director of Disney Interactive Entertainment where responsibilities included supervising game concept and design, managing the creative design and development process for multiple teams, and helping to define the company vision of mass market interactive family entertainment.  The largest of these projects, “Disney Villain’s Revenge” (a collaboration between DI and Imagineering), won “Best Children’s Game – 1999” from the Interactive Academy of Arts and Sciences. Pre-Disney "New Media" projects have included Executive Producing / Designing "Steven Spielberg’s Director’s Chair, and “My First Encyclopedia”; Interactive Academy Award (education).  He was the Producer / Designer / Writer of the Interactive IMAX adaptations of “The Discoverers” and “Speed”.  On-line projects include “The Adventurers” and the design team for “Steven Spielberg's Starbrite Worlds”. "Classic Media" efforts include concepting, scouting, and writing the IMAX movie “The Living Sea”, Academy Award Nomination (documentary); as well as projects for The United Nations Environment Program and feature films.

www.disney.com



Julia Heyward is a NYC-based artist whose work centers on the orchestration of music, image, and language through the forms of multi-media and live performance. She has written, directed, and performed numerous pieces in the US and internationally. 
An Excerpt from Article in Artful Media    January–March 2004Engaging Characters at Art Interactive - By Kathy Brew See Complete Article -  http://www.computer.org/multimedia/homepage/2004/EngagingCharacters.htm 
Heyward's work centers around the orchestration of music, image, and language in the forms of multimedia, performance and video. Heyward's "No Local Stops" won a 'BESSIE' for outstanding performance of the year for 1984 presented by DTW New York Dance and Theater Award. Heyward has written, produced and performed in two other large scale multimedia performances entitled respectively "Mood Music" premiered May 1988 and "Miracles in Reverse" premiering in Potsdam, Germany in 1996. In addition to writing, directing, and creating the 3-D visuals Heyward also wrote the music for “Miracles.”

In 1991 Heyward was signed as a recording artist to Columbia Records but left the label because of 'artistic differences.' The following year Heyward was commissioned to produce visuals for a large scale multimedia performance piece for the 1992 World Expo collaborating with the Barcelona theater group La Fura del Baus and musician John Paul Jones. In 1995 Heyward was nominated for a Cal Arts / Herb Alpert Award in the Arts in the field of music composition and again in 2004-05 in Film/Video/New Media. In 1999 Heyward received a Guggenheim Fellowship in Multimedia. In 2001 Heyward received grants from the Rockefeller Foundation, The Greenwall Foundation and the New York State Council for the Arts in New Media. For the past six years Heyward has been totally submerged in digital and interactive technologies. The DVD-ROM version of “Miracles in Reverse" has been shown at The Daejeon Municipal Museum in Korea (curated by Lawrence Rinder), at Art Interactive in Boston, and at the Wood Street Galleries in Pittsburgh as an installation.



David Stout is an artist, director, composer and performer. His work in interactive media and expanded cinematic forms include video-dance, analog image-sound synthesis, experimental narrative, video installation, electro-acoustic scores for stage and screen, telematic and interactive video performance, algorithmic animation, networked recursive systems and large scale immersive events that emphasize multi-screen film/video projection as an extension of performer, audience and environment. He is the recent recipient of the Harvestworks Interactive Technology Award (2004) and a nominee for the both the WTN World Technology Award (2003) and the International Media Art Prize (2004). David is an Associate Professor in the Department of Moving Image Arts at the College of Santa Fe.

http://www.i2o.org





Gene Youngblood is an internationally known theorist of new media arts, and a respected scholar in the history and theory of experimental film and video art, which he has taught for 35 years. He is the author of Expanded Cinema (1970), the first book about video as an art medium, which was influential in establishing the field of media arts. He is also widely known as a pioneering voice in the media democracy movement.

Mr. Youngblood has lectured at more than 400 colleges and universities throughout North America, Europe, Japan, and Australia, and his writing is published extensively around the world.  He has received research grants from the Rockefeller Foundation, the Rockefeller Brothers Fund, The U.S. National Endowment for the Arts, The New Mexico Arts Division, and the New Mexico Endowment for the Humanities.

Mr. Youngblood is a consultant to academic, philanthropic, governmental, and business organizations, including the U.S. Library of Congress, the Council of Europe, the J. Paul Getty Trust, the Metropolitan Museum, the Rockefeller Foundation, and the U.S. National Endowment for the Arts.

He has taught at California Institute of the Arts, California Institute of Technology, Columbia University, the School of the Art Institute of Chicago, and in the film departments at UCLA and USC. He is currently Professor of Critical Studies in the Department of Moving Image Arts at the College of Santa Fe.



Edward Angel is Professor of Computer Science, Electricaland Computer Engineering, and Media Arts and Director of the Arts TechnologyCenter at the University of New Mexico. He recently became the director of the new Art, Research, Technology and Science Laboratory (the ARTSLab) at UNM. He is the first UNM Presidential Teaching Fellow. Professor Angel was educated at the California Institute of Technology (B.S.) and the University of Southern California (Ph.D.). He has held academic positions at the University of Southern California (Electrical Engineering and Biomathematics), the University of California at Berkeley (Electrical Engineering and Computer Science) andthe University of Rochester (Electrical Engineering and Gynecology and Obstetrics). His visiting positions include appointments at the Lund Institute of Technology, University College London, Imperial College, and Universidad de los Andes. He was also a Senior Fulbright Lectureship at the Indian Institute of Science in Bangalore. The fourth edition Professor Angel's texbook, "Interactive Computer Graphics,"(Addison-Wesley) will be published in March, 2005. The second edition of "OpenGL, A Primer," (Addison-Wesley) appeared in 2004.He has created and taught intensive short courses on Computer Graphics and Image Processing worldwide to thousands of scientists, engineers and programmers. He has been an instructor for the SIGGRAPH OpenGL tutorial five times.

http://www.cs.unm.edu/~angel
Keep Adding are an artist collective based in New Mexico. Their work includes digital prints, analog prints, graffiti art, collage, video, and site-specific works. They often incorporate themes of surgery, architecture, wreckage, and the organic into their works.

Keepadding recently collaborated with Funkstörung on a series of designs to accompany their latest record release. They also curated an exhibition in 2004 at the Santa Fe Art Institute featuring artists such as Scott Pagano, Phoenix Perry, Michael Rees, GreyscaleNet, and a live performance by Richard Devine.

http://www.keepadding.com