----------empyre- soft-skinned space----------------------
It is so fitting that end the week featuring Anna Munster with her
important recollection of the feminist roots of Melindha Rackham's
founding of -empyre-.  Thanks so much, Anna, for your helpful focusing of
the week's discussion of net.art and finance as well as for your other
important contextualizing of net.art and the -empyre- list.

We are now pleased to welcome to the third week of "Through the Net: Net
Art Then and Now," two other long time participants and supporters of
-empyre-, Simon Biggs (AU) and Madeleine Casad (US). I still remember how
energized I was to run across Simon's pionneering interactive digital art
in the early 1990s.   Many subscribers will recall with fondness that he
worked with Renate and me as a moderator of -empyre- and shaped so many
important discussions, which remain accessible on the -empyre- archive:
http://lists.cofa.unsw.edu.au/pipermail/empyre/.  Mickey also has been a
vital part of the -empyre- community ever since Cornell's Rose Goldsen
Archive of New Media Art stepped in as a cosponsor with the University of
New South Wales (where Anna Munster teaches, so the loops continue).  We
were very sad to see her leave Cornell for Vanderbilt University after
fifteen years of helping to build the infrastructures of the Goldsen
Archive since its founding in 2002.

So welcome back to -empyre- both Simon and Madeleine.


Simon Biggs (UU) is a media artist, writer and curator with interests in
digital poetics, auto-generative and interactive systems,
interdisciplinary research and co-creation. He is Professor of Art at the
University of South Australia and Honorary Professor at the University of
Edinburgh.  His work has been widely presented, including at Tate Modern,
Tate Liverpool, Tate Britain, Institute of Contemporary Arts London,
Centre for Contemporary Arts Glasgow, Kettles Yard Cambridge, Centre
Georges Pompidou Paris, Academy de Kunste Berlin, Berlin Kulturforum,
Rijksmuseum Twenthe, Kunsthalle Bergen, Maxxi Rome, Palazzo della Arti
Naples, Macau Arts Museum, Oi Futuro Rio de Janeiro, Arizona State Art
Museum, San Francisco Cameraworks, Walker Art Center Minneapolis,
Queensland Art Gallery and the Art Gallery of New South Wales. He has
presented at numerous international conferences, including the
International Symposium on Electronic Arts, ePoetry, Society for
Literature, Science and the Arts, Electronic Literature Organisation and
Festival International Literature Electronica Sao Paulo and lectured at
Cambridge, Newcastle, Cornell, UC Davis, UC Santa Barbara, Ohio State,
Paris 8, Sorbonne and Bergen Universities, amongst others. Publications
include Remediating the Social (2012, editor), Autopoeisis (with James
Leach, 2004), Great Wall of China (1999), Halo (1998), Magnet (1997) and
Book of Shadows (1996).  He has held lecturing posts at Middlesex
University and Academy Minerva Groningen and Professorships at Sheffield
Hallam University and the University of Edinburgh.  His URL is
http://www.littlepig.org.uk


Madeleine Casad (US) teaches in the Vanderbilt University Department of
Cinema and Media Arts and coordinates the Vanderbilt Center for Digital
Humanities.  She has been involved in efforts to preserve and historicize
digital media art practices since 2002, when she began working in Cornell
University¹s Rose Goldsen Archive of New Media Art, a collection for which
she became Associate Curator that spans six decades of global history and
a complex variety of electronic media formats.  Until 2016, she managed
outreach, education, and preservation initiatives in the Goldsen Archive
and developed digital humanities programs for graduate students as part of
Cornell University¹s cross-institutional Digital Humanities Collaboratory.
 Her academic interests focus on narrative, identity, counter-history, and
contested public memory across varied technologies of storytelling.  In
2012, she defended one of Cornell University¹s first comparative media
dissertations. In 2016, she oversaw and co-authored the Goldsen Archive's
innovative white paper, "Preserving and Emulating Digital Art Objects"
(https://ecommons.cornell.edu/handle/1813/41368).

So welcome back to -empyre- Simon and Madeleine.  We're really looking
forward to your thoughts on Net.Art.

All my best,

Tim 






Timothy Murray
Professor of Comparative Literature and English
Taylor Family Director, Society for the Humanities
http://www.arts.cornell.edu/sochum/
Curator, Rose Goldsen Archive of New Media Art
http://goldsen.library.cornell.edu
A D White House
Cornell University,
Ithaca, New York 14853


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