FACULTY

Stephanie Andrews

Extended Profile

Stephanie Andrews is an experimental media artist who uses techniques of illusion and transformation to bring people into her work as active agents of perception. She utilizes a variety of methodologies in her works, such as 3D computer graphics, stereoscopic and photographic imaging, video, neon, and computer-controlled pneumatics. She strives to create complex works that explore new perspectives while intertwining with the potentials of new technologies to unleash artistic expression. Her work has been exhibited in galleries, museums, theaters, and art festivals throughout the nation and internationally, including Chicago, New York, San Francisco, Washington DC, the UK, and Iceland.

She came to the UW as an Assistant Professor in 2004. Previously, she was an Instructor of 3D Animation and Rendering at the School of the Art Institute of Chicago, where she also earned her MFA. She is a University of Washington alumni, having earned a BA in Art in 1996. Andrews has also had additional training at the California College of Arts, Bay Area Theatre Sports, and the University of California, Berkeley. In the 90's she was a Technical Director for Pixar Animation Studios, contributing to the Lighting, Layout, and Modeling teams on the award-winning films A Bug's Life and Toy Story 2.

Andrews has recently brought the first Digital Stereoscopic Cinema curriculum in the nation to the the UW Center for Digital Art and Experimental Media (DXARTS). Her current research involves creating sculptural work from motion-captured performance and 3D film-making using stop-motion animation.

Paul Berger

Paul Berger has been at the University of Washington’s School of Art for 24 years, teaching in the Photography program, which he co-founded in 1978. He has been working in the photographic medium since 1965, and in digital electronic media since 1981. Although trained in a classical photographic tradition, he has been primarily involved in digital manipulation of electronic images for the past seventeen years, and initiated a sequence of digital imaging classes within the photography curriculum beginning in 1985. He has had a book version of his series Seattle Subtext published in 1984, and a catalog to the Seattle Art Museum exhibition “The Machine in the Window” published in 1990. He has received two NEA grants, in 1979 and 1986, and has exhibited his photographic and digital artworks widely, both nationally and in Europe (New York 1999; Copenhagen 2001).

Shawn Brixey

Extended Profile

Shawn Brixey (b. 1961) is the Floyd and Delores Jones Endowed Chair for the Arts, and is Co-Founder and the former Director of the University of Washington's research center and Ph.D. program in Digital Arts and Experimental Media. Previously, he was founder of the Digital Media Program at the University of California Berkeley, and Director of their Center for Digital Art and New Media Research. A graduate of MIT's, CAVS/Media Lab, Brixey has exhibited art and technology works internationally, including Documenta, the Deutscher Kunstlerbund, Karlsruhe, The Cranbrook Art Museum, The MIT Museum, The Contemporary Art Center of Cincinnati, The Chicago Art Institute, The 1998 Winter Olympics, The first American Design and Architecture Triennial at the Cooper Hewitt National Design Museum, New York, AME at Arizona State University, The Henry Art Gallery, University of Washington, and the Berkeley Art Museum. He has received all levels of major grants and awards, to support his research including: Apple Computer, AVID Incorporated, The Boxlight Corporation, The Intel Corporation, Silicon Graphics, Newport/Klinger Research Corporation, IBM GmbH, The National Institute of Health, The National Endowment for the Arts, The Corporation for Public Broadcasting, Leica and Hughes Aircraft. In 2003 he was honored with a prestigious Rockefeller Foundation Fellowship for New Media, past fellows include Bill Viola and Gary Hill. In 2006 Brixey was inducted as a lifetime fellow of the World Technology Network. He lectures widely in the U.S and Europe on new and emerging media art forms. Critical writing and reviews of his work have been featured in diverse sources, including The New York Times, The Boston Globe, The San Francisco Chronicle, The Seattle Times, The Cincinnati Inquirer, The Stranger, The Guardian, Wired Magazine, Surface Magazine, The Chronicle of Higher Education, Art News, WolkenKratzer Magazine (Germany), Smithsonian World Television, and KQED/MSNBC Radio. Significant review of his work is included in Thames and Hudson's 1992 book release, Art of the Electronic Age, Leonardo/The Journal of Art, Science and Technology 2001, Information Arts, The Intersection of Art, Science and Technology by Dr. Stephen Wilson, 2002 from MIT Press, and the major new hardcover book, "From Technological to Virtual Art", by renowned historian Frank Popper, MIT Press, 2007.

James Coupe

Extended Profile

James Coupe is an artist and Assistant Professor at DXARTS. His work is concerned with systems, agency and control: he builds projects that aim to expose the scale, materiality and politics of information networks. Educated in Fine Art at the University of Edinburgh (Scotland) and Creative Technology at the University of Salford (England), his recent projects have included appropriative powerline networks, parasitical cellular phone agents, autonomous robot systems, self-organizing telephone call centres, a data-driven viral war machine distributed simultaneously across nine art galleries. His most recent installation, (re)collector was commissioned as a public art work by Enter_ in Cambridge, England, and involved a city-wide network of surveillance cameras programmed to extract cinematic moments from people's everyday lives and recombine them into feature films.

His work has been exhibited throughout the UK and abroad, including IDEA (Manchester), Camden Arts Centre (London), The Northern Gallery of Contemporary Art (Sunderland), Artsadmin (London), Custard Factory (Birmingham), Aspex (Portsmouth), Artsway (Sway), Lighthouse (Poole), Folly Gallery (Lancaster), Stills Gallery (Edinburgh), Lee Center for the Arts (Seattle) and The Junction (Cambridge). He has received numerous commissions that include New Contemporaries, Metapod, Low-Fi, SCAN and Lancaster City Council. He has also lectured internationally, recently including ISEA (Nagoya), CHArt (Birkbeck College), State ofthe Real (Glasgow School of Art), CAA (Seattle and Boston), Pixelraiders (Sheffield Hallam University) and SLSA (New York). The recent Bloc Press publication, Remote, includes his essay, ÃíArt, Systems, Networks and ParasitesÃ“, and another essay, ÃíArt, Representation and Responsibility: Towards a System AestheticÃ“ has now been published as part of the book "The State of the Real: Aestheticsin the Digital Age". His research has attracted substantial funding, including an AHRB Innovation Award in 2003/4 for I, Project and numerous grants and commissions for Arts Council England. Before coming to DXARTS, he worked as Senior Lecturer in Digital Art, teaching undergraduate and graduate level at Thames Valley University (London) and London South Bank University. Whilst at DXARTS, has been constructing a number of new art projects, as well as developing arange of courses involving mechatronics, telematics and robotics.

Richard Karpen

Extended Profile

Richard Karpen (b. 1957) is one of the leading international figures in Computer Music. He is known not only for his pioneering compositions, but also for developing computer applications for composition, live/interactive performance and sound design.

Karpen is Founding Director of the Center for Digital Arts and Experimental Media (DXARTS) at the University of Washington and also currently serves as Director of the School of Music where he is Professor of Music Composition and Theory. He has been the recipient of many awards, grants and prizes including those from the National Endowment for the Arts, the ASCAP Foundation, the Bourges Contest in France, and the Luigi Russolo Foundation in Italy. Fellowships and grants for work outside of the U.S. include a Fulbright to Italy, a residency at IRCAM in France, and a Leverhulme Visiting Fellowship to the United Kingdom. He received his doctorate in composition from Stanford University, where he also worked at the Center for Computer Research in Music and Acoustics (CCRMA). Karpen is a native of New York, where he studied composition with Charles Dodge, Gheorghe Costinescu, and Morton Subotnick.

Karpen's works are widely performed in the U.S. and internationally. While he is primarily known for his work in electronic media, Karpen has also composed symphonic and chamber works for a wide variety of ensembles. Furthermore, he has composed works for many leading international solists such as soprano Judith Bettina, violist Garth Knox, trombonist Stuart Dempster, flutists Laura Chislett and Jos Zwaanenberg, and oboist Alex Klein. Along with numerous concert and radio performances, his works have been set to dance by groups such as the Royal Danish Ballet and the Guandong Dance Company of China. Karpen's compositions have been recorded on a variety of labels including Wergo, Centaur, Neuma, Le Chant du Monde, and DIFFUSION i MeDIA.

Barbara Mones

Barbara Mones has been working to develop innovative applications in the area of computer graphics and animation, both in academia and industry, for eighteen years. For ten years, she was a tenured Associate Professor and the Founding Director of the Visual Information Technologies MA/MFA Program, a course of study in multimedia, computer graphics and animation at George Mason University in Fairfax, Virginia. In addition, she designed and implemented training programs in the areas of digital modeling, animation and 3D paint at Dreamworks/Pacific Data Images and Industrial Light and Magic. She also consulted in the area of computer animation training for the Disney Company. She has served as the Art Chair for the Education Committee, and Panels Chair for the 1997 conference and coordinated an international Student Animation Competition for the ACM/SIGGRAPH organization for the past seventeen years.

Barbara worked for the White House and National Aeronautics and Space Administration on Al Gore’s GLOBE (Global Learning and Observations to Benefit the Environment) Program, a project whose mission is to connect children from over the world through the internet to study satellite imagery and learn about the ecological impact of soil and water use. For this she was presented with a NASA Group Achievement award. She has lectured extensively on an international level on topics related to computer graphics, animation and curriculum development and has designed and executed her own graphics and animation that have been shown in many museums and institutions worldwide, including the Smithsonian Institution and the Villa Ciani Museum in Switzerland. Her animated work has been shown in the SIGGRAPH Electronic Theater.

She continues to be a practicing sculptor and exhibit her work nationally and internationally.

Juan Pampin

Extended Profile

Juan Pampin has been teaching at the University of Washington since 1999. He was appointed Assistant Professor of Music (Computer Music Composition) in 2002. Pampin received an MA in Composition from Conservatoire National Supérieur de Musique de Lyon, France and a DMA in Composition from Stanford University. Juan Pampin’s research has focused on Spectral Modeling of sound. He has also undertaken research in the areas of Perceptual Audio Coding and Sound Spatialization. His compositions, including works for instrumental, digital, and mixed media, have been performed around the world by soloists and ensembles such as Arditi Quartet, Les Percussions de Strasbourg, and Sinfonia 21. Recent commissions include those from GRAME in France and La FÂábrica in Argentina. He has been Artist in Residence at LIEM-CDMC in Madrid, and IMEB in Bourges, France. His signal processing research has been presented at major international conferences, particularly his Analysis Synthesis Transformation (ATS) software project. He has taught at Stanford University’s Center for Computer Research in Music and often lectures and gives master classes in a number of South American countries.

Joshua Parmenter

Extended Profile

Joshua Parmenter recently completed his D.M.A. in Composition at the University of Washington, where he studied with Prof. Richard Karpen. He received his Master of Music in Composition in 2002 from the University of Washington. He received a Bachelor of Arts in Music from the University of California, Berkeley, where he studied with Edwin Dugger and Jorge Liderman.

Parmenter's music has been performed throughout the United States and Europe. He specializes in both acoustic and electro-acoustic music, especially music that combines performers with real-time electronics. An important part of his research has been in the development of real-time synthesis software as part of the SuperCollider open source project. He also uses the CSound and Common Music synthesis programs. Currently, his research is focused on extending the real-time analysis and performance tools in the SuperCollider programming language, as well as a suite of Ambisonic Unit Generators for sound spatialization.

Parmenter's piece Organon Sostenuto for flute, bassoon, cello, double bass and live electronics was premiered last year in Copenhagen, Denmark by the Ensemble 4+ of Copenhagen. He is currently working on commissions for guitarist Tom Baker, double bassist Kristjan Sigurliefsson and clarinetist Jesse Canterbury, as well as a new work for double bass and live electronics for Irina-Kalina Goudeva. His "Musical Changes", a set of four pieces that explore crescendo, decrescendo, accelerando and ritardando, and written for four different mediums (tape, bass and tape, cello and choir and bronze sculpture with interactive electronics) will be completed later this year. The first piece Cadence (III. Decrescendo) received its premiere last November, and the second Concerto for Bass and Computer-realized Sound (II. Accelerando) is due to be performed in March, 2006 in Seattle, WA and Vancouver, British Columbia.