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Media Arts and Technology |
Faculty and Researchers
Faculty and Lecturers
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Professor Ph.D., Georgia Institute of Technology, Computer Science, specialties: computer networks and protocols, large-scale multimedia systems, performance evaluation, distributed systems. "One of my primary areas of interest is networking requirements for multimedia-capable systems. Research in this hot new area is taking place both from a top-down and from a bottom-up approach. Researchers are looking at ways of making networks like the Internet capable of supporting the growing number of real-time, data-intensive applications. While at the same time application developers are interested in how to take advantage of existing network services to meet their needs. All of these factors make the topic of networking extremely important. And the coupling between networking and other areas related to multimedia means that are significant opportunities for inter-disciplinary education. Many of the courses I already teach are of interest to students in other departments. I am committed to MAT because a formal program would prepare students in other disciplines to take my existing courses and new potential offerings". |
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Professor Born in 1945, Clarence Barlow obtained a science degree at Calcutta University in 1965 and a concert pianist diploma from Trinity College of Music London the same year. He studied acoustic and electronic composition from 1968-73 at Cologne Music University as well as sonology from 1971-72 at Utrecht University. His use of a computer as an algorithmic music tool dates from 1971. He initiated and in 1986 co-founded GIMIK: Initiative Music and Informatics Cologne and served as chair for thirteen years. He was in charge of computer music from 1982-1994 at the Darmstadt Summer Courses for New Music and from 1984-2005 at Cologne Music University. In 1988 he was Director of Music of the XIVth International Computer Music Conference, held that year in Cologne. From 1990-94 he was Artistic Director of the Institute of Sonology at the Royal Conservatory in The Hague, where from 1994-2006 he was Professor of Composition and Sonology. Since 1994 he has been a member of the International Academy of Electroacoustic Music in Bourges, France. At UCSB he functions as professor at MAT, the Music Department (as Corwin Endowed Chair and Head of Composition) and the College of Creative Studies. His interests are the algorithmic composition of instrumental, electronic and computer music, music software development as well as interdisciplinary activities, e.g. between music and language, and the visual, and would welcome collaboration with MAT students in any of these fields. |
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Professor Jerry D. Gibson is Professor of Media Arts & Technology and Electrical and Computer Engineering at the University of California, Santa Barbara. He is co-author of the books Digital Compression for Multimedia (Morgan-Kaufmann, 1998) and Introduction to Nonparametric Detection with Applications (Academic Press, 1975 and IEEE Press, 1995) and author of the textbook, Principles of Digital and Analog Communications (Prentice-Hall, second ed., 1993). He is Editor-in-Chief of The Mobile Communications Handbook (CRC Press, 2nd ed., 1999), Editor-in-Chief of The Communications Handbook (CRC Press, 2nd ed., 2002), and Editor of the book, Multimedia Communications: Directions and Innovations (Academic Press, 2000). Dr. Gibson was Associate Editor for Speech Processing for the IEEE Transactions on Communications from 1981 to 1985 and Associate Editor for Communications for the IEEE Transactions on Information Theory from 1988-1991. He was President of the IEEE Information Theory Society in 1996. Dr. Gibson served as Technical Program Chair of the 1999 IEEE Wireless Communications and Networking Conference, Technical Program Chair of the 1997 Asilomar Conference on Signals, Systems, and Computers, and General Co-Chair of the 1993 IEEE International Symposium on Information Theory. Currently, he serves on the Steering Committee for the Wireless Communications and Networking Conference. He is an elected Member-at-Large on the Communications Society Board of Governors for 2005-2007, and he serves on the Editorial Board of the IEEE Transactions on Information Forensics and Security. In 1990, Dr. Gibson received The Fredrick Emmons Terman Award from the American Society for Engineering Education, and in 1992, was elected Fellow of the IEEE "for contributions to the theory and practice of adaptive prediction and speech waveform coding". He was co-recipient of the 1993 IEEE Signal Processing Society Senior Paper Award for the Speech Processing area. His research interests include data, speech, image, and video compression, multimedia over networks, wireless communications, information theory, and digital signal processing. |
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Professor Tobias Hollerer is Associate Professor of Computer Science at the University of California, Santa Barbara and Adjunct Professor in Media Arts and Technology. He co-directs the "Four Eyes Laboratory" conducting research in the four I's of Imaging, Interaction, and Innovative Interfaces. Tobias holds a graduate degree in informatics from the Technical University of Berlin and MS and PhD degrees in computer science from Columbia University. He is a recipient of the National Science Foundation's CAREER award, for his work on "Anywhere Augmentation", which enables computer users to place annotations in 3D space wherever they go, employing the physical world as user interface. Beyond this, Tobias's main research interests lie in virtual reality, 3D displays and interaction, visualization, mobile and wearable computing, and adaptive user interfaces. |
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Associate Professor www.arts.ucsb.edu/faculty/jevbratt www.interspeciescollaboration.net Lisa Jevbratt's work - ranging from internet visualization software to biofeedback and interspecies collaboration - is concerned with collectives and systems, the languages and conditions that generate them, and the exchanges within them. The projects explore alternative, distributed and unintentional collaborations and expressions of these collectives. Her projects have been exhibited internationally, in venues such as The Walker Art Center (Minneapolis), Banff Centre for the Arts (Canada), The New Museum (New York), The Swedish National Public Art Council (Stockholm, Sweden), and the Biennial at the Whitney Museum of American Art (New York). Her work is discussed in numerous books, for example, in "Internet Art" by Rachel Greene and "Digital Art" by Christiane Paul (Thames and Hudson). Jevbratt also publishes texts on topics related to her work and research, for example in the anthology "Network Art - Practices and Positions" (Routledge). MFA Computers in Fine Arts, CADRE, San Jose State University. Specialization: Software/Network Art, Information Mapping/Visualization. |
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Studio Professor Nancy Kawalek is a professional New York theatre-trained actor with 25 years' experience, including work on and off Broadway and in regional theatre, in which she has been privileged to work with directors such as Frank Galati, JoAnne Akalaitis and Dennis Zacek. Nancy has also acted in film, television, and numerous commercials, as well as on National Public Radio's acclaimed Selected Shorts series. A graduate of Northwestern University in Theatre and Performance Studies, Nancy honed her improvisational skills with Chicago's distinguished Second City. Santa Barbara audiences may recognize Nancy from her role as Doris in The Loman Family Picnic at the Ensemble Theatre Company and from her frequent performances with Speaking of Stories at the historic Lobero Theatre. Among Nancy's credits as a director is the documentary film, Lost and Found. As a Studio Professor at UCSB, she teaches acting, directing and the adaptation of literature for the stage. Nancy is the founder/director of the Professional Artists Lab, a dynamic artistic laboratory in which professional actors, directors, writers and producers create and develop new works in theatre, film, television, radio and multi-media performance. Nancy is also the founder/director of STAGE, a collaboration between the Professional Artists Lab and the California NanoSystems Institute. STAGE (Scientists, Technologists and Artists Generating Exploration) is comprised of both an international script competition that awards a $10,000 prize to the best new play about science and technology, and the STAGE Project, a developmental lab where professional artists create multi-media theatre pieces in which science and technology play prominent roles in content and/or form. |
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Professor Dr. Kuchera-Morin is a composer, Professor of Media Arts and Technology and Music, and a researcher in multi-modal media systems, content and facilities design. She created, built, and designed the Center for Research in Electronic Art Technology and is the Center Director since its inception in 1986. Her years of experience in digital media research led to the creation of a multi-million dollar sponsored research program for the University of California, the Digital Media Innovation Program. She was Chief Scientist of the Program from 1998 to 2003. In 2000 she began the creation, design, and development of a Digital Media Center within the California Nanosystems Institute. The culmination of her design is the Allosphere Research Laboratory, a three-story metal sphere inside an echo-free cube, designed for immersive, interactive scientific and artistic investigation of multi-dimensional data sets. A composer of mixed media works, she received her Ph.D in 1984 from the Eastman School of Music, University of Rochester. Her current music research is focusing on a general purpose interface for control of digital information through natural performance gesture. A composer of primarily electro-acoustic works, her music has been performed throughout the United States, Europe and Asia. |
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Professor MFA San Francisco Art Institute. Joint appointment in MAT and Art Studio. Specialties: interactive art installation, collaborative narrative development, data visualization through semantic categorization and self-organizing algorithms. George Legrady, a Professor of Interactive Media, holds a joint appointment in the Media Arts & Technology graduate program and the department of Art Studio. Prior academic appointments were held at the Merz Akademie, Stuttgart, San Francisco State University, UCLA, University of Southern California, California Institute of the Arts and the University of Western Ontario. His research and production work in interactive media installation brings together a number of specialized interests such as collaborative narrative development through audience interaction and data management through semantic categorization using neural-net based self-organizing map algorithms. Recent interactive installations have been presented at the Centre Pompidou, Paris with "Pockets full of Memories", 2001; "Transitional Spaces" at the Rotunda, Siemens World Headquarters, Munich, 1999/2000; "Tracing" at the Museum of Contemporary Art, Los Angeles, 1998 and the Kunst und AustellungHalle der Bundes Republik, Bonn 1997-98; a solo retrospective at the National Gallery of Canada and the Canadian Museum of Contemporary Photography, Ottawa, 1997-98; "Slippery Traces" at the Palais des beaux-arts, Brussels, 1997, also in "Deep Storage" a travelling exhibition at the Haus der Kunst, Munich, 97; the Kunstforum, Berlin, 1997; the kunstmuseum, Dusseldorf, 1998; PS1, New York, 1998. Awards include a National Endowment of the Arts Visual Fellowship, Canada Council Computer Media Awards in 1994 and 1997, and Honorable Mentions at Ars Electronica, Linz in 1989 and 1994. His cd-rom publication "An Anecdoted Archive from the Cold War" received the "New Voices, New Visions" prize from Voyager and Interval Research Corporation. |
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Professor Ph.D. University of Southern California, Electrical and Computer Engineering, specialties: image processing, computer vision, neural networks, learning algorithms, self-organizing systems, multimedia databases and data mining. B. S. Manjunath has long been interested in the applications of computing to image processing. "Multimedia computing is an important research area that is going to have a significant influence in a wide spectrum of activities, including digital libraries, medical imaging, entertainment industry and multimedia databases. The next generation of video coding standards such as MPEG-4 and MPEG-7 have components that related to not just data compression but also content-related functionalities. We have industry sponsored projects to advance the state of the art in image/video representations that facilitate search, retrieval, and manipulation of audio/video objects. Our current efforts are on reliable spatio-temporal segmentation and in combining audio with images to facilitate this analysis. NSF is supporting a project on developing a visual thesaurus that includes learning, segmentation and texture analysis as the main components. In short, multimedia information processing will be the main focus of my research group for the next few years". |
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Professor M. Arch+Certificate of Specialization in CAAD (Computer Aided Architectural Design), Ohio State University, Professor (specialties: Media and Virtual Architecture, Transvergence, TransArchitecture). Marcos Novak is a pioneer in the field of virtual architecture. In the mid 90s, his contribution to International architectural discourse was further expanded by the coining and definition of the term "Transarchitectures" His approach: "we conceive algorithmically (morphogenesis); we model numerically (rapid prototyping); we build robotically (new tectonics); we inhabit interactively (intelligent space); we telecommunicate instantly (pantopicon); we are informed immersively (liquid architectures); we socialise nonlocally (nonlocal public domain); we evert virtuality (transarchitectures)". He has also posited a new "Soft Babylon," a theoretical stance which posits that our digitized architectural palette is causing us to create a wired Situationist city, while we struggle with some of the massive paradigm shifts that our era will and must face. Whilst articulating highly fluent theory, he has practiced, producing beautiful ethereal architectures that flux and shimmer as his algorithms run their designed logics. He received the Masters of Architecture at Ohio State university in 1983. Since that time he has taught at Ohio State, University of Texas Austin, the Architecture program at UCLA, the Digital Media program at UCLA, and the Art Center College of Design, in Pasadena. He has published, lectured and exhibited his work internationally. |
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Associate Professor Marko Peljhan was born in 1969 in Sempeter pri Gorici, and studied theatre and radio directing at the University of Ljubljana, and in 1992 founded the arts organisation Projekt Atol in the frame of which he works in the performance, visual arts, situation and communications fields. In 1995 he founded the technological branch of Projekt Atol PACT SYSTEMS, co-founded LJUDMILA and from 1996 on worked at LJUDMILA (Ljubljana Digital Media Lab) as a programs coordinator on many different fields. He is also coordinator of the international INSULAR TECHNOLOGIES initiative (www.insular.net) and the Makrolab (makrolab.ljudmila.org) project as well as coordinator of flights for zero-gravity artistic projects in conjunction with the Yuri Gagarin Cosmonaut Training Centre in Moscow. In 2001 he became a member of the strategic council for information society established by the government of the Republic of Slovenia. He also invented and coordinated the production of a mobile media lab project, Transhub-01, which was first realised as MOBILATORIJ and now succesfully travels europe. His work was presented at major international exhibitions such as documenta X in Kassel, the 2nd Johannesburg Biennale, Ars Electronica, Media City Seoul and Manifesta. In 2000 he received the special Medienkunst prize at the ZKM and in 2001 the Golden Nica Prix Ars Electronica together with Carsten Nicolai. His ongoing laboratory project Makrolab, focusing on telecommunications, migrations and weather systems has been set up in northern Scotland this summer, and previously at other places including Australia and at the international art fair Documenta X in Kassel. Marko has exhibited in Japan at Canonlab amongst other projects, and also been working with the Russian Space Agency getting dancers from the UK up into zero gravity space. |
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Lecturer Nicholas Pisca received his BSAS from the University of Wisconsin Milwaukee School of Architecture and Urban Planning in 2003 and his Master of Architecture from the Southern California Institute of Architecture in 2005. He focused his academic research on 4D computational design, working with a combination of emergent and evolutionary techniques in Rhinoscript, ActionScript and Maya MEL. His thesis, called Flesh[]logically.transparent++rand[$x], served as a launch pad for his professorial career. Hired in 2005 at Gehry Technologies, he became the company's first Automation Consultant where he investigated automation for Building Information Modeling and the parametric applications Digital Project and CATIA in VB. In 2007, he became the Senior Automation Consultant and undertakes various scripting projects for large-scale architectural, engineering, contracting, fabrication, and research projects. Pisca is the founder of 0001d and Generative Omnibus, and he promotes WVO awareness and other environmental causes. |
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Senior Lecturer Cornell University, Vienna Music Academy. Specialties: computer music software, music representation and databases, graphical user interfaces, spatial sound and virtual environments. Stephen Travis Pope's research interests are distributed programming, Internet content delivery, audio signal processing, and music representation languages. His technical love is applying object-oriented software technology (primarily the Smalltalk programming language) to real-world problems. From 1988 through 1997, he served as editor-in-chief of "Computer Music Journal," published by the MIT Press, and has over 80 publications on topics related to music theory and composition, computer music, artificial intelligence, graphics and user interfaces, integrated programming environments, and object-oriented programming. He has realized his musical works atcomputer music studios in the Americas (Toronto, Stanford, Berkeley, Santa Barbara) and Europe (Paris, Amsterdam, Stockholm, Salzburg, Vienna, Berlin); his music is available in recorded form from Centaur Records, Perspectives of New Music, Touch Records, SBC Records, The Electronic Music Foundation, and on MIT Press CD/CD-ROMs. He has been an officer of the International Computer Music Association, and was elected a lifetime member by the board of directors in 1990. He is also a member of advisory committees of both the Institute of Electrical and Electronics Engineers (IEEE) and the Audio Engineering Society (AES). |
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Professor, Department Vice Chair Doctorat. Université Paris 8, Music. Specialties: composition, microsound synthesis, graphical synthesis, sound analysis and transformation, sound spatialisation, history of electronic music.
Curtis Roads teaches and pursues research in the interdisciplinary
territory spanning music and technology. He was Editor and Associate
Editor of Computer Music Journal (The MIT Press) from 1978 to 2000,
and cofounded the International Computer Music Association in 1979. A
researcher in computer music at MIT (1980-1986), he also worked in
the computer industry for a decade. He taught electronic music
composition at Harvard University, and sound synthesis techniques at
the University of Naples. He was appointed Director of Pedagogy at
Les Ateliers UPIC (later CCMIX) and Lecturer in the Music Department
of the Université Among his books are the anthologies "Foundations of Computer Music" (1985, The MIT Press) and "The Music Machine" (1989, The MIT Press). His textbook "The Computer Music Tutorial" (1996, The MIT Press) is widely adopted as a standard classroom text and has been published in French (1999, second edition 2007), Japanese (2001), and Chinese (2008) editions. He edited the anthology "Musical Signal Processing" in 1997. His book, "Microsound" (2002, The MIT Press) presents the techniques and aesthetics of composition with sound particles. A pioneer in the development of granular synthesis (1974), he also developed (with Alberto de Campo) a sound particle synthesis program PulsarGenerator (2001), distributed by the Center for Research in Electronic Art Technology (CREATE) at UCSB. His collection of electronic music compositions "POINT LINE CLOUD" won the Award of Distinction at the 2002 Ars Electronica in Linz and was released as a CD + DVD on the Asphodel label in 2005. His new book is "Composing Electronic Music" (forthcoming) published by Oxford University Press in 2009. A new revised edition of "The Computer Music Tutorial" by The MIT Press is also forthcoming. He is keenly interested in the integration of electronic music with visual and spatial media. Since 2004, he has been researching a new method of sound analysis that is the analytical counterpart of granular synthesis called atomic decompositions, sponsored by the National Science Foundation. A new collection of electronic music is forthcoming. |
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Professor, Department Chair Ph.D. Massachusetts Institute of Technology, MAT and Computer Science. Specialties: computer vision, human-computer interaction, multimodal/perceptual interfaces, gesture recognition. Matthew Turk is interested in expanding the ways in which people interact with computers. "Graphical user interfaces are very useful and quite appropriate for some uses of computers, but the computing landscape is changing: we are moving beyond the days when computers are primarily boxes that sit on a desk, used for spreadsheets and word processing. Computers are becoming more ubiquitous, appearing in a proliferation of shapes and sizes. They are being embedded into the world around us, and we are carrying (soon wearing) them wherever we go. We need new ways of conveying and accessing information, without requiring undue effort or attention on our part. We need to make computers accessible to all people in all situations. My particular expertise in this area is vision-based interfaces, using computer vision as an input modality: tracking, recognizing, and modeling people and their activity. New interface technologies become new tools for musical and artistic expression. MAT provides a great opportunity to explore this domain". |
Researchers and Visitors
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Research Engineer, AlloSphere Research Facilty
2211 Elings Hall |
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CREATE Research Director PhD, Stanford/CCRMA, B.A. UC Berkeley/CNMAT, Post-Doc UVic/MISTIC Dr. Wright's dissertation "The Shape of an Instant: Measuring and Modeling Perceptual Attack Time with Probability Density Functions" concerned models of musical rhythm, including onsets, repetition, pulsation, meter, and phrasing, with particular emphasis on the question of when exactly we perceive musical events to occur. His interests are both theoretical and practical, aimed towards computer simulation of perceptual aspects of listening to musical rhythm for the construction of "automatic listeners". He worked for 15 years as the Musical Systems Designer at UC Berkeley's Center for New Music and Audio Technology (CNMAT), conducting research in topics including intimate musical control of computers, sound analysis and resynthesis, and rhythm; at CNMAT he helped to develop and propagate the now well established and much appreciated SDIF (Sound Description Interchange Format) and OSC (Open Sound Control) standards. His post-doctoral fellowship at the University of Victoria was devoted to the emerging field of computational ethnomusicology, and he is now the Research Director at UC Santa Barbara's Center for Research in Electronic Art Technology (CREATE). He is also an accomplished musician, focusing for the last many years on musics of non-Western cultures, with a special interest in Afro-Brazilian percussion and on the musics of India, Afghanistan, the Middle East, and North Africa. |