Faculty Profile
Pamela Jennings
Assistant Professor of Art and Human Computer Interaction| Homepage | http://www.pamelajennings.org |
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Bio
PAMELA L. JENNINGS, Ph.D. Assistant Professor of Art and Human Computer Interaction E-mail: pamelaj@andrew.cmu.edu Homepage: http://studio416.cfa.cmu.edu Campus Address: CFA 407 Campus Phone: 412 268-5273 Bio: Pamela Jennings’ interactive digital artworks reveal personal narratives and hidden realities while simultaneously encouraging public discourse. Her exhibitions included Authenticating Digital Art: Expression and Cultural Hybridity at the Studio Museum of Harlem and the List Center for Visual Arts, Koodattu Kokemus at the Kiasma Museum of Contemporary Art in Helsinki, Finland, the NY State Governor’s Conference on Art and Technology, FE Gallery in Pittsburgh, 707 Gallery in Santa Fe, and many international film and video festivals. Jennings’ work has been featured in two books: Creating Their Own Image: A History of African-American Women Artists, and Struggles for Representation: African American Film/Video/New Media Makers. She has received grants from the Rockefeller Foundation, the New York State Council on the Arts, and the Pennsylvania Arts Council. She was named a 2006 Carnegie Mellon University Wimmer Faculty Fellow and is a MacDowell Artists’ Colony Fellow. She holds a PhD in Computer Science and Critical Digital Media from the University of Plymouth, U.K., and MFA from the School of Visual Arts, MA from the International Center of Photography New York University program, and BA from Oberlin College. She is an Assistant Professor of Art and Human Computer Interaction at Carnegie Mellon University. EDUCATION 2006 Ph.D., Computer Science and Critical Digital Media, University of Plymouth, U.K.. 1996 MFA, Computer Arts, School of Visual Arts, New York, New York. 1990 MA, Studio Art, New York University and the International Center of Photography, New York, N.Y.. 1986 BA, Psychology, Oberlin College, Oberlin, Ohio. APPOINTMENTS 2001 – current Assistant Professor of Art and Human Computer Interaction, Carnegie Mellon University. 2001 – 2003, Research Fellow, STUDIO for Creative Inquriy, Carnegie Mellon University. 1999 – 2000, Research Consultant, Rockefeller Foundation, New York, New York. 1998 – 2001, Interaction Design Researcher, Center for Technology in Learning and Speech Technology and Research Lab, SRI International, Menlo Park, California. 1997-1998, Interaction Design Researcher, User System Ergonomics Research Lab IBM Almaden Research Lab, San Jose, California. 1996 – 1997, Project Manager, IBM Advanced Internet Technology/Software Solutions San Jose, California. 1996, Adjunct Faculty, Computer Art program, School of Visual Arts, New York, New York. 1996, Web Producer, National Broadcasting Company (NBC) Interactive, , New York, New York. 1994 – 1995, Computer Programmer, , Time Warner Interactive Group, , New York, New York. 1993 – 1994, Senior Producer, In the Life, PBS television show, , New York, New York. 1990 – 1993, Development Officer, Creative Time, Inc., , New York, New York. VOLUNTEERING AND BOARDS OF DIRECTORS 2004-2005, Board of Directors, GLENDA Pittsburgh Community Volunteer Organization. 1999-2001, R.I.S.E. (Realizing Intellect Through Self-Empowerment), Mentor program for African American High School Students, Atherton, California. 1992 – 1996, New York Media Alliance, Board of Directors, , New York, New York. 1987-1990, Stay In School Partnership Program, Mentoring program for “at-risk” youth, , New York, N.Y.. CONFERENCE CHAIRS and POLICY ADVISORY BOARDS Chair, Speculative Data and the Creative Imaginary: shared visions between Art and Technology, Art Exhibition as part of the ACM Creativity and Cognition Conference 2007, to be held at the National Academy of Sciences Gallery, June – August, 2007, Washington D.C. Co-chair, About Face: Interface – Creative Engagement in New Media Arts and Human Computer Interaction, ACM CHI 2006 Workshop Montreal, Canada. (collaborators Elisa Giaccardi, Center for Lifelong Learning and Design, University of Colorado and Magda Wesolkowska, Faculty of the Built Environment, University of Montreal) http://studio416.cfa.cmu/CHi06workshop_AboutFace . Advisory Board (2004-2007). National Science Foundation Grant (#0307927) Attention, Emotion and Judgment: how do minds figure out what to do? Exploratorium: Museum of Science, Art and Human Perception, San Francisco, CA. http://www.nsf.gov/awardsearch/showAward.do?AwardNumber=0307927 . NSF Workshop on Creativity Support Tools (2005). Ben Shneiderman and Gerhard Fischer chairs, Washington D.C.. http://www.cs.umd.edu/hcil/CST . Helsinki Agenda, Experts Meeting on International New Media Arts Policy (2004). Helsinki, Finland. http://www.ifacca.org/files/040916Helsinki_agenda_final.pdf . Co-chair, Interactive Art Program in the Association for Computing Machinery (ACM) Multimedia Conference (2004). Columbia University, , New York, New York. Penuel, Michalchik, Daniels, Jennings, Stites, Yarnall, Kim (2001). "Community Technology Centers Case Study Report: Learning with Technology in Six Communities" prepared for the U.S. Department of Education. Penuel, Kim, Barron, Coleman, Gray, Jennings, Michalchik, Shear (2000). Promising Practices and Organizational Challenges in Community Technology Centers, SRI International, Menlo Park, California. CONFERENCE AND FOUNDATION REVIEW PANELS 2007, Program Committee, Tangible and Embodied Interaction, First International Conference. 2006, ACM Computer Human Interaction, short papers. 2004, ACM SIGGRAPH Courses proposal reviews. 2000, Rockefeller Foundation, Film/Video/Multimedia Fellowship Review Panel. 1999, Computer Supported Collaborative Learning Conference (CSCL). 1998 & 1999, ACM Computer Human Interface Conference (CHI) conference. 1998, Rockerfeller Foundation Media Fellowship Nominator. EXHIBITION AND FILM FESTIVAL REVIEW PANELS 2004, ACM Multimedia, Digital Boundaries exhibition curator, Columbia University, N.Y.C.. 1996, New York SIGGRAPH Digital Salon Exhibition Review Panel,New York, New York. 1993-1995, New York City International New Festival for Film and Video at the Joseph Papp Theater, review panel, , New York, New York. 1993, College Arts Association Women’s Caucus Panel. 1992, Women Make Movies Emerging Producers/Directors Workshop Panel, New York, New York. 1992, Experimental Television Center Finishing Funds, Owego, New York. 1992, Media Alliance Fellowship Resource Information Panel, New York, New York. GRANTS, FELLOWSHIPS and RESIDENCIES 2006, Carnegie Mellon University Wimmer Teaching Fellowship. 2004, Artists Fellowship, Pennsylvania Council on the Arts. 2002, Berkman Faculty Development Fund, Carnegie Mellon University. 2000, Rockefeller Foundation Creativity and Culture Division. 1996, 1994 & 1992, New York State Council On The Arts, Media Arts Grants. 1993, MacDowell Artist Colony Fellow, Peterborough, New Hampshire. 1992, Dance and Camera Workshop, Banff Centre for the Arts, Banff, Canada. 1992, Experimental Television Center, Owego, New York. 1990, Banff Centre for the Arts Media Arts Residency, Banff, Canada. 1990, Women Make Movies, Artist-In-Residence Program, , New York, New York. EXHIBITIONS 2007, Curator, Speculative Data and the Creative Imaginary: shared visions between Art and Technology, Art Exhibition as part of the ACM Creativity and Cognition Conference 2007, to be held at the National Academy of Sciences Gallery, June – August, 2007, Washington D.C. 2007, Invited to the 9th Master of Graphic Arts Biennial, (Fall 2007). Györ, Hungary. 2006, Crossing Lines: Art in an Age of All, group show with Pamela Jennings, Diane Samuels, Tony Oursler, and Chan Schatz, 707 Contemporary Gallery, Santa Fe, New Mexico. 2006, Extant Entities, Fe Gallery Summer Solo Show, Pittsburgh, Pennslyvania. 2005, Creating Their Own Image: A History of African American Women Artists, Parson’s School of Design, New York, New York. 2004, Koodattu Kokemus (Wireless Experience), Kiasma Museum of Contemporary Art as part of the Inter- Society for Electronic Arts (ISEA) conference, Helsinki, Finland. 2002, Authenticating Digital Art: Expression and Cultural Hybridity, Studio Museum of Harlem, N.Y.C.. 2001, Authenticating Digital Art: Expression and Cultural Hybridity, as part of the Race and Digital Space Conference, List Center for the Visual Arts, Massachusetts Institute of Technology, Cambridge, Mass. 1999, Art ex Machina Computer Art from the 1970’s to 1999, Carleton Univ. Art Gallery, Ottowa, Canada. 1998, New York State Governor’s Conference on Art and Technology, IBM Palisades Conference Center, Exhibit: "the book of ruins and desire," Palisades, New York. 1997, Flaherty Workshop on Independent Film, Cornell University. 1997, Women and the Art of MultiMedia, Goethe-Institut, Washington D.C.. 1996, Luminous Bodies, Rotunda Gallery, Brooklyn, New York. 1996 & 1995, SIGGRAPH New York Digital Salon, School of Visual Arts, New York, New York. 1996, 1995, 1993, 1991, International New Festival for Film and Video at the Joseph Papp Theater, N.Y.C.. 1996, 3rd Mostra de Video Independent, Ctr de Cultura Contemporania de Barcelona, Spain. 1996, Magic*Data, School of Visual Arts SOHO Gallery, New York, New York. 1995, Art as Signal: Inside the Loop, Krannert Art Museum, University of Illinois. 1995, Multiple Mediations, Colgate University, Hamilton, New York. 1995, New York Film and Video Festival, Lincoln Center, New York, New York. 1994, Mix Experimental Film Festival, Anthology Film Archives, New York, New York. 1994, Break Throughs: Stonewalls, 494 Gallery, New York, New York. 1993, Whitney Biennial, “those fluttering objects of desire” video installation collaboration produced by Shu Lea Cheang, , New York, New York. 1993, Video Art: The First 25 Years, Curated by the Museum of Modern Art and the American Federation of Arts, , New York, New York. 1993, Video Viewpoints, Museum of Modern Art, New York, New York. 1993, Video Etc… , Montage 93 International Festival of the Image, Rochester, New York. 1993, Video Review, Artspace, Wellington, New Zealand. 1993, Imaginaries, Herstory Archives,New York, New York. 1992, Outfest Film Festival, Los Angeles, California. 1992, Those Fluttering Objects of Desire, Exit Art Gallery , New York, New York.. 1992, Frameline International Film Festival, San Francisco, California. 1992, In the Outdoor, Randolf Street Gallery, Chicago, Illinois. 1992, Black Filmworks Festival, Oakland, California. 1992, Look Out Festival , Downtown Community Television, , New York, New York.. 1991, Silence Elles Tournent: Montreal International Festival of Women’s Films and Videos, Canada. 1991, 7th Berliner Lesbenfilmwoche, Berlin, Germany. 1991, 7th Annual International Women’s Day Video Festival, Boston, Massachusetts. 1991, St. Lawrence Festival of the Arts – Out Art, St. Lawrence University, Canton, New York. 1990, Residency Show, Banff Centre for the Arts, Banff, Canada. 1990, Media Alliance Conference, New York University, , New York, New York.. 1989, FIX -IT: The current state of women in photography education, Society of Photographic Education Exhibit, Rochester, New York, Univ. of Minnesota, Univ. of California, Santa Cruz, Rutgers Univ. 1987, Soho Photography Gallery, New York, New York. 1986, Allen Art Museum Inter Museum Conservation Association Hall, Oberlin College, Ohio. Circa 1980 – 1982, Several Plainfield and Scotch Plains Fanwood Street Art Festivals, New Jersey. INVITED LECTURES 2007, The Social Agency of Printing panel, Southern Graphics Conference, Kansas. 2006, Spelman College Reel Women Artist Lecture, Atlanta, Georgia. 2005, Computational Design Laboratory Lecture Series, Shape Grammars and Folded Spaces, School of Architecture, Carnegie Mellon University. 2003, New York Digital Salon’s International Digital Art and Culture Symposium, The Artist as Programmer, panel at the Museum of Modern Art’s Gramercy Theater, New York, New York. 2003, Hochschule für Gestaltung und Kunst, Nomadic Transitions: Dialogue on Art and Technology,Zurich Switzerland. 2002, Syracuse University, Art Media Program Visiting Artist Lecture, Syracuse, New York. 2002, Curtin University of Technology, CAiiA-STAR Symposium, Perth, Australia. 2002, National Association for Media Arts and Culture (NAMAC), Pull Focus: Pushing Forward conference, “Agents of Change Artists and Technology” panel, Seattle, Washington. 2002, Aspen Institute, Interpreting Culture and Communication Technologies: Exploring the Potential for New Approaches experts meeting, Aspen, Colorado. 2002, Sony Wonder Technology Lab, Race in Digital Space panel, New York, New York.. 2002, University of Arizona, NeuroNetworks Digital Art Symposium, Tuscon, Arizona. 2001, RIXC Center for New Media Arts, Network Interface for Cultural Exchange Training Workshop, workshop trainer, Riga, Latvia. 2001, Galleria Civica di Arte Moderna e Contemporanea, E-NAISSANCE Symposium: New Configurations of Mind, Body and Space, Turin, Italy. 2001, University of Southern California, Bridges: Collaboration, Communication, Convergence. 2001, Arts Alliance Laboratory, CriT 1.4, San Francisco, CA. 2000, Ecole National Superieure des Beaux-Arts, Art in the Post-Biological Era Symposium, Paris France. 2000, SRI International, Art frontiers: Partnerships in Art and Industry Conference, sponsored by The Kitchen (NYC) and Groundzero(Palo Alto, CA), panel moderator Redefining Reach: Community Models for Art and Technology, Menlo Park, California. 2000, Banff Centre for the Arts, Living Architetures, Think-Tank Summit. 2000, University of Arizona Digital Arts Symposium, Distributed Minds/Negotiated Spaces: a Framework for Mapping Discursive Interaction Patterns in an Augmented Environment. 1999, University of Wales College Newport, CAiiA presentation Distributed Minds/Negotiated Spaces: a Framework for Mapping Discursive Interaction Patterns in an Augmented Environment, Carleon, Wales. 1999, Banff Centre for the Arts, Navigating Intelligence Colloquium, presentation ART-I-TRONICSTM: Designing Technologies for the Post-Structural Age, Banff, Canada. 1999, Universidade Federal do Rio de Janeiro, Smart Art: The Fusion of Art and Advanced Computer Science, Rio de Janeiro, Brazil. 1999, C.Y.P.R.E.S. (Centre Interculturel de Pratiques Recherches et Echanges Transdisciplinaires), presentation, ART-I-TRONICSTM: Designing Technologies for the Post-Structural Age, Marseilles, France. 1999, Le Grenier du Sol, presentation ART-I-TRONICSTM: Designing Technologies for the Post-Structural Age, Avignon, France. 1998, New York State Governor’s Conference on Art and Technology, IBM Palisades Conference Center, roundtable: Creative Caveat, Palisades, New York. 1997, National Museum of Women in the Arts, Women and the Art of Multimedia conference, panel User Interface Design, Washington D.C.. 1996, Swarthmore College, 8th Annual Sager Symposium, Swarthmore, Pennsylvania. 1995, Renseselaer Polytechnic Institute iEAR Studio, Guest Lecturer, Troy, New York. 1992, Rutgers University, Guest Lecturer, New Brunswick, New Jersey. BOOK COVERS AND LIMITED EDITION CD-ROMs 1999, Book Cover Art, “Struggles for Representation: African American Documentary Film and Video,” Edited by Phyllis R. Klotman and Janet K. Cutler, interview in Black High Tech Documents, Indiana University Press. 1998, Inter-Society for Electronic Arts (ISEA98) Evolution 2.0 Generative Arts CD ROM, Liverpool, U.K.. PEER REVIEWED JOURNAL ARTICLES 2006, Shneiderman, B. Fischer,G., Czerwinski,M. Resnick, M. and Myers, B. (with contributions from Jennings, P.,et. al), “Creativity Support Tools: Report from a U.S. National Science Foundation Sponsored Workshop,” in International Journal of Human-Computer Interaction, 20(2), 61-77, Lawrence Erlbaum Associates, Inc. 2005, Jennings, P. and Giaccardi, E., Creativity Support Tools for and by the New Media Arts Community, white paper for the NSF Creativity Support Tools Workshop chaired by Ben Shneiderman and Gerhard Fischer, U.S. National Science Foundation, Washington D.C. 2004, Alejandro J., Jennings, P., Ortega H., Tribe, M. Yang, C.,Digital Boundaries: ACM Multimedia Interactive Art Program Exhibition, in Multimedia IEEE, Vol. 11( 4), October – December 2004, pp. 8 – 9. 2001, Jennings, P. , "Poetics of Engagement," in Convergence: The Journal of Research into New Media Technologies: Intelligent Environments, vol.7, no. 2., pp. 102 – 111. 1996, Jennings, P. , “Narrative Structures for New Media,” in Leonardo Journal for Art and Science, Vol. 29, No.5, pp. 345-350. 1995, Jennings, P., “Interpretation on the Electronic Landscape: a conversation with Toni Dove,” Felix: a Journal of Media Arts and Communication, Vol. 2, No. 1, pp.266-278. 1995, Jennings, P. , “Frontier Wanderings: Writings and Computer Generated Images,” Felix : a Journal of Media Arts and Communication, Vol. 2, No. 1, pp. 291-293. 1995, Jennings, P., Image reproduction from “Solitaire: dream journal” CD ROM, in Leonardo Journal for Art and Science, Volume 28, Num. 5. p. 457. PEER REVIEWED CONFERENCE PAPERS 2005, Jennings, P. , Tangible Social Interfaces: Critical Theory, Boundary Objects and Interdisciplinary Design Methods in the proceedings of Association for Computer Machinery (ACM) Creativity and Cognition Conference, University of London Goldsmith, pp. 176 – 186. 2005, Jennings, P. , Constructed Narratives, a Tangible Social Interface in the proceedings of Association for Computer Machinery (ACM) Creativity and Cognition Conference, University of London Goldsmith, 2005, pp. 263 – 266. 2005, Jennings, P. , Distributed Minds | Negotiated Spaces: Framework for Designing Tangible Social Interfaces for Mediating Public Dialogue full paper presentation at Human Computer Interaction Design and Emotion Consortium, Terry Winograd, Donald Norman and Jodi Forlizzi (chairs), Winterpark, Colorado. 2004, Jennings, P. , The Constructed Narrative Project in the Narratives, Subjectivity and Interaction panel at the Intersociety for Electronic Arts (ISEA) 2004, Helsinki, Finland. 2004, Jaime A., Jennings, P. , ACM multimedia interactive art program: an introduction to the digital boundaries exhibition, in the proceedings of Association for Computer Machinery (ACM) International Multimedia Conference, Columbia University New York, N.Y., ACM Press, pp. 979 – 980. 2004, Jennings, P. , “Crossing Boundaries: Fostering Interdisciplinary Arts Practice and Human Computer Interaction Research Teams” in the Cross-Dressing and Border Crossing: Exploring Experience Methods Across Disciplines Workshop, organized by Ron Wakkary, Thecla Schiphorst, and Jim Budd, CHI 2004 conference, Vienna, Austria. 2004, Jennings, P. , “Teaching Design to Technologist; Teaching Technology to Designers and Artists,” in the Design and HCI Workshop, organized by John Zimmerman, Shelley Evenson, Peter Purgathofer and Konrad Bauman, CHI 2004 conference, Vienna, Austria. 2004, Jennings, P. , “Distributed Minds | Negotiated Spaces: Social Interfaces for Public Spaces” in the Reflective HCI: Towards a Critical Technical Practice Workshop, organized by Paul Dourish, Janet Fenlay, Phoebe Sengers and Peter Wright, CHI 2004 conference, Vienna, Austria. 2003, Jennings P., Scupelli P., “Constructed Narratives: Using Play to Breakdown Social Barriers,” Interactive Experience Forum in the proceedings of Interact 2003 conference, Zurich, Switzerland. 2002, Jennings , Social Networks and Social Interfacing in the proceedings of Consciousness Reframed: Fourth International CAiiA-STAR Research Conference, Curtin University of Technology, Perth, Australia. 2000, Anders P., Jennings P., Little G., Lichty P., “Interrogation of Space in Three Acts: a Panel on Space, Architecture, and Electronic Arts,” panel in International Society for Electronic Arts conference (ISEA2000), Paris, France. 2000, Jennings P. , “Distributed Minds/Negotiated Spaces,” in the proceedings of Consciousness Reframed, University of Wales College Newport. 2000, Jennings P. , “Distributed Minds/Negotiated Spaces: a Framework for Mapping Discursive Interaction Patterns in an Augmented Environment,” poster session in Towards a Science of Consciousness Conference, University of Arizona. 2000, Penuel, W. R., Coleman, E. B., Means, B., Fenton, J., Jennings, P., Murray, F. G., & Chung, M., Measuring students’ environmental awareness and skill in data analysis and interpretation: Designing Web-based assessment for the GLOBE program. presented at the AERA Conference, New Orleans, LA. 1999, Jennings P. , “ART-I-TRONICSTM: Designing Technologies for the Post-Structural Age,” in the proceedings of International Workshop on Physicality and Tangibility in Interaction: Towards New Paradigms for Interaction Beyond the Desktop, I3net Annual Conference: Community of the Future New Visions of Information Technology Products in Everyday Life, Universita degli Studi di Siena, Italy; proceedings published by (Eds.) David M. Roy and Marilyn Panayi, of the Southern Danish Univeristy. 1999, Jennings , “Building Blocks for Constructing Social Narratives: a Framework for Augmenting Physical Space with Distributed Intelligence,” in the proceedings of I3net Annual Conference: Community of the Future, (Eds.) Mimo Caenepeel, David Benyon, Duncan Smith, published by Human Communication Research Centre, The University of Edinburgh. 1999, Jennings P. , “Smart Art: The Fusion of Art and Advanced Computer Science,” in the proceedings of Invencao: Thinking the Next Millennium, Sao Paulo, Brazil. 1999, Jennings P. , “ART-I-TRONICSTM: Designing Technologies for the Post-Structural Age,” presented at CADE99: Computers in Art and Design Education conference, presentation, University of Teesdale, Middlesbrough, England. 1998, Jennings P. , “the book of ruins and desire,” Interactive Sculpture presented at the panel Evolution 2.0 Generative Arts at the Inter-Society for Electronic Arts (ISEA98) conference Liverpool, UK. 1997, Jennings P., “Narrative Structures for New Media,” for the panel Hypermedia and Interactive Technology in the proceedings of Inter-Society for Electronic Arts (ISEA97) Chicago, USA. EXTERNAL PUBLICATIONS, CATALOGS AND INTERVIEWS 2005, Farrington, L., Creating Their Own Image: The History of African-American Women Artists, critical mention in chapter “’Post Black’ Art and the New Millennium” Oxford Univ. Press: Oxford, pp. 283 – 284. 2001, Muhammad, E., “Race in Digital Space: Conceptualizing the Media Project,” College Arts Association Art Journal, Volume 60, Number 3. 1999, Mohammad, E., Struggles for Representation: African American Documentary Film and Video, Phyllis R. Klotman and Janet K. Cutler (eds.), critical mention in chapter “Black High Tech Documents,” Indiana Univ. Press. 1998, Mohammad, E., 1997 Flaherty Seminar, AfterImage Journal, Winter Volume. 1997, Mirapaul, “An Electronic Artist and His Body of Work,” interview the New York Times: Cybertimes. 1996, Art as Signal, Krannert Art Museum catalog, Univ. of Illinois at Urbana-Champaign. 1991, The Townsend Report, New York City Cable Television, “Cinema Verite and the Sisterhood: Black Women Filmmakers.” 1990, This Week from the Banff Center, radio interview for Public Radio, Alberta Canada. 1991, Jennings P., photographs in “Voices,” Newsletter of the Harlem School of the Arts, Vol. 2, No. 1. 1983, Jennings P., “Power and the World Trade Center Tower,” photograph published in American Photographer Magazine, “Assignments.” essay page. 1982, Jennings P., photographs published in Photographer’s Forum, “Best Photography of the Year Annual.” TECHNICAL PAPERS 1999, Jennings P. , Field Survey Research in Augmented Reality: the state of the art?, available online athttp://digital-Bauhaus.com/html/paper1.html. 1998, Hoffman F., Jennings P., Vogt F., Digital Coach: A Computerized Exercise System, Technical Paper for the IBM Almaden Research Center.
