xtine is a new media artist and educator. Her projects motivate interactive audiences to understand virtual experiences as personal arenas for discovery and meaning-making. She is an abstract thinker, conceptual artist, collaborator, and writer.
This morning at 11am in room 518B Sabrina Starnaman and I are presenting the pilot project that we developed in the classroom before arriving at our ongoing project, The Laboring Self, at the National Women’s Studies Association annual conference. In “The Korl Woman & the Crowd: The Laboring Body as a Site of Digital Resilience/Resistance” we relate the invisibility of immaterial laborers to the recovery of a text that was near-invisible for a century, Rebecca Harding Davis’ Life in the Iron Mills.
This month Sabrina Starnaman and I delivered a presentation of our ongoing project (now called The Laboring Self, which was a 21st Century Korl Woman in its first iteration) to the Digital Frontiers conference audience from my classroom at UTD. This was the first time that I brought a class with me to a conference by presenting electronically from my home-podium. It was not difficult and my students enjoyed hearing a conference presentation from the seats they occupy each week.
While we couldn’t see our peers in the room at Rice University, we were delighted with their engagement in our Twitter feed. Thank you Frontiersfolk—hope to see you in person next year!
I’m in New York for the Platform Cooperativism event at the New School and the buzz is in the air about an upcoming internet revolution. Will there be a revolution? Radicals here suggest alternative paradigms for sharing and owning the way we collaborate online. Other radicals (maybe with a different history or experience) talk about the potential for creating change within the present capitalist system. Yes, there is a lot of talk about capitalism, and yes, it’s time to get down to it. The event is free and it is being live-streamed. So, you can see me on this channel on 11/14 at 11am EST.
I’m delighted to be included in this monumental coming together–the third in a series of conferences at the intersection of the internet, society, and labor hosted this year by Trebor Scholz and Nathan Schneider. I’ll be providing an introduction to the “Worker’s Voice” session, with a brief nod towards some of my creative collaborations with Mechanical Turk workers and some survey findings of an experiment I ran on Mturk to determine which dimensions of online work were important to the workers. My presentation is not as great without my voice over, but you can see the visuals (including some survey findings) here.
I’m sitting in the Burlington airport, awaiting my flight home from a sweet time in Montpelier, Vermont during “Hi-Res.” In opposition to the MFA low-residency program that alumni undergo at VCFA (some from as long ago as 1992!), Hi-Res is the first annual, multidisciplinary alumni conference for VCFA MFA students. In the good company of visual arts grads who presented works such as Ambivalently Yours by (I was going to include her name but remembered how she likes to remain anonymous online…let’s just say a 2012 graduate) and Cards Against Brutality (Kristin Serafini 2014), I presented my recent project Mediations on Digital Labor. MFA grads from the writing programs as well as a spectacular presentation made by Beth Bradfish from the Music Composition MFA program all centered on the theme of advocacy in the arts.
I’m still abuzz from my Vermont experience. VCFA never fails to deliver a sense of belonging, community, and commitment to our practices that fills the soul.
I’m posting this a bit late, but I didn’t want to forget to mention how much I enjoyed presenting my current work, a collaboration with Dan Sutko titled The Women of El Toro (made possible by a grant from CalHumanities) at Digital Frontiers. It was refreshing to talk about our iOS app among like-minded peers interested in the digital, the humanities and storytelling.
I also enjoyed speaking up about women making with code. Yes! Learn to code. Learn to make. Women aren’t, typically, afraid to make a blanket for a newborn (well, I must admit, I’m a bit fearful of the sewing machine and I do recognize this is a problematic way to start the sentence but hang with me here), why should we be afraid to make apps or websites or software or anything else that requires code? It especially felt good to talk to some female grad students after the session about their practice in development.
I’m excited to be traveling to New Orleans this week for the annual Popular Culture Association/American Culture Association Conference. The Communication and Digital Culture area, led by Mark Nunes, has been a long time theoretical “home” for me and I’m looking forward to experiencing all of the C&DC sessions this Thursday in Studio 8 at the Marriott.
This year I’ll be presenting thoughts and images from my recent exhibit Please Participate using the framework presented in Francisco Ricardo’s book, The Engagement Aesthetic: Experiencing New Media Art through Critique.
Chapman University published its first design journal to accompany their 2013 Design Symposium. Though I wasn’t able to attend the symposium, my article, On Brands and Branding was included in the journal—a beautiful, hard-cover issue that also includes contributions from Brittany Rosenblatt, selections from the 2013 Orange County Design Awards, Iridium Group, and Armin Vit.
My article, “On Death Brands and Dying Branding” is a selective remix of Elisabeth Kübler-Ross’ 1969 book, On Death and Dying. The words “brand” and “branding” are substituted in salient quotes from Kübler-Ross’ text for the words “death” and “dying.” The Swiss-born psychiatrist developed her “5 Stages of Grief” hypothesis to help the medical industry understand the emotional processes undergone by patients suffering from terminal illnesses. By substituting “brand/branding” for Kübler-Ross’ primary target (death/dying), I suggest a culture in which brands and branding are the norm will enact a process of grieving akin to that of the terminally ill.
“On Death Brands and Dying Branding” appears on pages 39-47, but the bulk of the investigation is within the footnotes, pages 44-7.
Angelica is an up and coming web designer. She just moved to Seattle. She is, I’m sure, going to be a life-long learner. She also loves dogs. This project of hers pairs dog breeds with people’s personality types based on a combination of the Myers-Briggs Type Indicator Test, the Keirsey Temperament Sorter and the Brain Color assessment tool.
If you like dogs, or web design, or both, you should check out her award-winning work!
This year my colleague Genelle Belmas and I collaborated on a presentation for the annual Popular Culture Association conference, titled Appropriation as Legitimate Practice: Rethinking Fair Use in a Networked Society. Genelle delivered our talk in Washington DC while I stayed home with my five-week old twin newborns (!). We suggest the four-pronged fair use “test” does not accurately assist a judge or jury with little or no previous visual communication knowledge to understand the nuances of appropriation art.
xtine burrough makes participatory projects for networked publics. Her recent work recovers feminist texts through mediation and reimagines virtual crowd workers as bodies with agency.
Using social platforms, databases, search engines, blogs, and applications in combination with popular sites like Facebook, YouTube, or Mechanical Turk, she creates web communities promoting interpretation and autonomy. burrough is passionate about using digital tools to translate common experiences into personal arenas for discovery. Emergent themes in her work include culture jamming, net.art, appropriation, and translation.
As an author, burrough has written, edited, and co-edited several books including The Routledge Companion to Remix Studies (2014), Foundations of Digital Art and Design (2013) and Net Works: Case Studies in Web Art and Design (2011). She is the editor of The Visual Communication Quarterly.
With Dr. Sabrina Starnaman, burrough is a recipient of a Humanities Texas Award (2016-2017). She received a California Humanities Award (2015-16 with Dr. Dan Sutko); a Terminal Net Art Award, a UK Big Lottery commission developed by Cornerhouse for the Abandon Normal Devices and Looping the Loop Festivals; and she is a 13th Annual (2009) Webby Award Honoree in the Weird category. Her 2005 project, Delocator.net was positively reviewed in a wide range of media outlets including newspapers, radio, television, and film. burrough has participated in international festivals promoting digital art and culture including Abandon Normal Devices (Manchester, UK), Designs on E-Learning (Helsinki), Electrofringe (AU), Futuresonic (UK), iDMAa, ISEA (Hong Kong 2016, Albuquerque 2012, and Belfast 2009), Sonar (SP) and Prog:ME (BR).
Recent projects include The Women of El Toro, A Vigil For Some Bodies, @IKnowTheseWords, On the Web, O Browser, My Browser, and multiple iterations of the Mechanical Olympics. Her website is missconceptions.net.
xtine is an associate professor in the School of Arts, Technology, and Emerging Communication at The University of Texas at Dallas, where she co-directs SPACE Media Lab with Dr. Banner and Dr. Knight; and she regularly works in collaboration with LabSynthe directed by Dr. Dufour. She is an Advisory Board Member of the Feminist Research Collective.