Terms Of Participation	Discussions	History	Organizers	Exhibition	Winners and Prizes

	Lev Manovich

• http://jupiter.ucsd.edu/~manovich
• http://jupiter.ucsd.edu/~manovich/little-movies

Born: Moscow, Russia.

Citizenship: USA

Biography:

Lev Manovich is an artist and a theorist of new media. He was born in Moscow, where he studied fine arts and computer science. He continued his education in the U.S. receiving an M.A. in experimental psychology from NYU and a Ph.D. in Visual and Cultural Studies from University of Rochester. He has lectured widely on digital arts, and his writings have been published in many countries. He is an Assistant Professor at the University of California, San Diego. In 1995 he was awarded a Mellon Fellowship in Art Criticism by California Institute of the Arts. He is currently working on two books: a collection of essays on digital realism and a history of the social and cultural origins of computer graphics technologies entitled "The Engineering of Vision from Constructivism to Computer" (University of Texas Press, forthcoming.)

Education

University of Rochester, 1989- 1993 Ph.D. in Visual and Cultural Studies, 1993 Coursework in art history, literary theory, film theory and cultural studies. Dissertation title: "The Engineering of Vision from Constructivism to Virtual Reality" Committee: Mieke Bal, Norman Bryson, Michael Ann Holly, Lisa Cartwright

New York University M.A., Department of Psychology, 1988 Coursework in image processing, computer vision, visual perception, cognition. Thesis: a software package for simulation of mathematical models of human vision B.A., 1985 Gallatin Division 1983-1984 Department of Film and Television, Tisch School of the Arts, 1982- 1983 Coursework in animation, video, graphic design, printmaking, liberal arts.

ADDITIONAL STUDIES

Cornell University, Graduate Student Exchange Scholar, 1991-1992 International Summer Institute for Semiotic Studies, University of Toronto, 1990 NEH Summer Institute "Theory and Interpretation in the Visual Arts," University of Rochester, 1989 New School for Social Research, New York, 1987-1988 Art Students League, New York, 1983 Moscow Institute of Architecture, 1977-79 Classical Drawing Workshop, Moscow, 1975-1979 School of Fine Arts, Moscow, 1974-1975

GRANTS AND FELLOWSHIPS

• Critic in residence, Art Academy, Budapesht, 1997
• Hellman Faculty Fellowship, UCSD, 1997-1998
• Summer Faculty Fellowship, UCSD, 1997
• Faculty Career Fund Fellowship, UCSD, 1997-1998
• Academic Senate Research Fellowship, UCSD, 1996-1997
• Critic in residence, Medialabor Munich, Munich, May 1996
• Villa Waldberta residency, Cultural Department, Munich, May 1996
• Mellon Fellowship in Art Criticism, California
• Institute of the Arts, 1995- 1996
• Special Research Initiative Support award, University of Maryland, 1994- 1995
• Faculty Development Grant, University of Maryland, 1994
• Summer Faculty Fellowship, University of Maryland, 1994
• Research Grant, Center in Russian and East
• European Studies, University of Illinois, 1991
• University of Rochester Graduate Fellowship,1990-1992
• National Institute of Health Fellow, 1987-1988
• New York University Graduate Fellowship,1986-1988
• Dean's Fellowship, Graduate School of Arts and Sciences, New York University, 1987-1988
• Founder's Day Award, New York University, 1984
• Dean's Fellowship, New York University, 1984

TEACHING EXPERIENCE

Studio Classes:

• 2-D computer animation
• 3-D computer animation
• interactive multimedia
• digital video
• digital filmmaking
• digital imaging
• computer graphics programming

Theory and History Classes:

• history of electronic art
• overview of computer media
• theories of new media
• theories of visual culture
• visual semiotics
• art theory

TEACHING POSITIONS

• University of California, San Diego Assistant Professor, Visual Arts Department,1996
• California Institute of the Arts Mellon Fellow in Art Criticism, Division of Critical Studies, 1995-1996
• Instructor, "Art, Digital Media and Cyberculture," 1995
• Participant, Mellon-Pew Criticism Seminar,1995-1996
• UCLA, School of Film and Television, Laboratory for New Media Instructor, "Digital Movie Making," 1996
• Art Center College of Design Graduate Advisor, 1995
• University of Maryland Baltimore County
  Assistant Professor of Imaging and Digital Arts, Department of Visual Arts, 1993 - 1996
  Courses in computer graphics, computer animation, history and theory of new media, art theory
• University of Syracuse
  Visiting Assistant Professor, Department of Art Media Studies, 1992- 1993
  Courses in computer graphics, computer animation, computer graphics programing
• University of Rochester
  Department of Art and Art History
  Instructor, "Vision Machines from Renaissance to Computer Age," 1992
• Teaching Assistant, "Art History Survey," 1991
• Film/Video Arts, New York Instructor, workshop on computer graphics and animation, 1990
• New York University Teaching Assistant, Department of Psychology, 1986-1988

INDUSTRY EXPERIENCE

3D COMPUTER GRAPHICS AND ANIMATION

Consultant in Computer Animation, Visual Impressions, Rochester, NY, 1991-1992
Director of Computer Animation Production,Visual Impressions, Rochester, NY, 1988-1990
Computer Animator, Digital Effects, New York, 1984-85

SOFTWARE DEVELOPMENT

Software Engineer, COM-PRO, Rochester, 1988
Design, coding (C/UNIX) and documentation of real-time telecommunication application.
Research Assistant, Visual Modeling Lab, New York University, 1986- 1988
Design, coding (C/UNIX) and documentation of a software package for simulation of mathematical models of human vision.

PUBLICATIONS

BOOKS IN PROGRESS

• Digital Realism: Simulating Life in Computer Media (in progress).
• From Constructivism to Computer: The Origins of Computer Media (University of Texas Press, under contract).

BOOKS, EDITED

Editor and translator. Tekstura: Russian Essays on Visual Culture. University of Chicago Press, 1993. With Alla Efimova.

ARTICLES AND BOOK CHAPTERS

Forthcoming:

• "What is Digital Cinema?" In The Digital Dialectics, edited by Peter Lunenfeld. Cambridge, Mass.: The MIT Press. First published in Telepolis - das Magazin der Netzkultur
• "What is Digital Cinema?" In an anthology on cinema and new media, edited by Andrea Zapp, Berlin.
• "Reality Effects in Computer Animation." In an anthology on animation, edited by Jayne Pilling. London: John Libbey. A revised version of the paper first published as "Assembling Reality: Myths of Computer Graphics." Afterimage 20, no.2 (September 1992): 12-14.
• "Computers as Cinema." In Telepolis - das Magazin der Netzkultur. Munich: Verlag Heinz Heise, 1997.
• "Behind the Screen / Russian New Media." In BLIMP (Vienna). First published in art / text 58 (August - October 1997): 40-43. 1997
• "Behind the Screen / Russian New Media." In RHIZOME. First published in art / text 58 (August - October 1997): 40-43.
• "Behind the Screen / Russian New Media." In CTHEORY. First published in art / text 58 (August - October 1997): 40-43.
  "Behind the Screen / Russian New Media." In Telepolis - das Magazin der Netzkultur. Munich: Verlag Heinz Heise, 1997. First published in art /text 58 (August - October 1997): 40-43.
• "Behind the Screen / Russian New Media." In art/text 58 (August - October 1997): 40-43.
• (In Japanese.) "On Totalitarian Interactivity." In Intercommunications 20 (Tokyo), 1997. First published in RHIZOME (www.rhizome.com).
• "Digital Realism and Virtual Worlds." In Digital Delirium, edited by Arthur and Marilouise Kroker. New York: St. Martin's Press. An earlier version published in CTHEORY and in Telepolis.
• "Distance and Aura." In RHIZOME. First published as "Respect for Distance. Film/Telecommunication Benjamin/Virilio." In Telepolis - das Magazin der Netzkultur. Munich: Verlag Heinz Heise, 1996.
• 1996 (In Finish.) "Archeology of a Computer Screen." In Johdatus uuteen mediaan, edited by Minna Tarrka, Kari Hintikka and Asko Mдkelд. Helsinki: Edita. First published in Kunstforum International 132 (November - January 1996): 124-135.
• "Automation of Sight from Photography to Computer Vision." In Electronic Culture: Technology and Visual Representation, edited by Timothy Druckery and Michael Sand. New York: Aperture, 1996.
• "The Labor of Perception." In Art in the Age of Digital Presence, edited by Lynn Hersman. Seatlle: Bay Press. First published in Schзneneue Welten?, edited by Florian Rзtzer,158-170. Mыnhen: Klaus Boer Verlag, 1995.
• "Computer as a Filter to Culture." In Mediorama (Club.Nokia/Magazine/Medi-O-Rama).
• "On Totalitarian Interactivity." In RHIZOME.
• "The Death of Computer Art." In RHIZOME.
• (In English and German). "Respect for Distance. Film/Telecommunication -- Benjamin/Virilio." In Telepolis - das Magazin der Netzkultur (www.ix.de/tp). Munich: Verlag Heinz Heise, 1996.
• (In German). "Digital Reality." In TRIEBWERK(Vienna). A revised and shortened version of "The Aesthetics of Virtual Worlds: Report from Los Angeles," first published in Telepolis - das Magazin der Netzkultur. Munich: Verlag Heinz Heise, 1996.
• "The Aesthetics of Virtual Worlds: Report from Los Angeles." In CTHEORY. First published in German in Telepolis - das Magazin der Netzkultur. Munich: Verlag Heinz Heise, 1996.
• (In English and in German.)"The Labor of Perception." In Telepolis - das Magazin der Netzkultur. First published in Schзneneue Welten?, edited by Florian Rзtzer, 158-170. Mыnhen: Klaus Boer Verlag, 1995.
• (In English and German) "What is Digital Cinema?" In Telepolis - das Magazin der Netzkultur. Munich: Verlag Heinz Heise, 1996.
• (In German). "The Aesthetics of Virtual Worlds: Report from Los Angeles." In Telepolis - das Magazin der Netzkultur. Munich: Verlag Heinz Heise, 1996.
• "Cinema and Digital Media." In Viper: International Film, Video and Multimedia Festival 1996, Zurich, 1996. First published in Perspektiven der Medienkunst/Perspectives of Media Art.
• (In English and German). "Cinema and Digital Media." In Perspektiven der Medienkunst/Perspectives of Media Art, edited by Jeffrey Shaw and Hans Peter Schwarz. Cantz Verlag Ostfildern, 1996.
• (In German) "Avant-Garde, Cyberspace, and Architecture of a Future." In Stadt am Netz. Ansichten von Telepolis, edited by Stefan Iglhaut, Armin Medosch, Florian Rзtzer, 39-40. Bollman Verlag, 1996.
• (In English and German.) "To Lie and to Act: Potemkin's Villages, Cinema and Telepresence." In Mythos Information -- Welcome to the Wired World. Ars Electronica 95, edited by Karl Gebel and Peter Weibel, 343-353. Vienna and New York: Springler-Verlag, 1995.
• (In Russian.) "Archeology of a Computer Screen." In NewMediaTopia. Moscow: Soros Center for the Contemporary Art. First published in Kunstforum International 132 (November - Juanary 1996): 124- 135.
• (In German.) "Reading Media Art." In Mediagramm (ZKM / Zentrum fыr Kunst und Medientechnologie Karlsruhe) 20 (July 1995): 4-5.
• (In German.) "Reality Effects in Computer Animation." In Illusion und Simulation. Begegnung mit der Reality, edited by Stefan Iglhaut, Florian Rзtzer, Elisabeth Schweeger. Cantz Verlag, Ostfildern, 1995. First published as "Assembling Reality: Myths of Computer Graphics." Afterimage 20, no. 2 (September 1992): 12-14.
• (In English and German.) "Paradoxes of Digital Photography." In Photography After Photography, edited by v. Amelunxen, Stefan Iglhaut, Florian Rзtzer, 58-66. Mыnhen: Verlag der Kunst, 1995. A part of this article was first pubslihed as "Digital (R)evolution." In European Media Art Festival 1994, 306-309. Osnabrыck: Europдisches Medienkunst Festival, 1994.
• (In German.) "Archeology of a Computer Screen." In Kunstforum International 132 (November - January 1996): 124-135.
• (In Finish.) "Mapping Space: Perspective, Radar and Computer Graphics." In Archeology of Virtuality, edited by Erkki Huhtamo. Finland: The University of Lapland, 1995. Originally published in SIGGRAPH '93 Visual Proceedings, edited by Thomas Linehan, 143-147. New York: ACM, 1993.
• (In German.)"The Labor of Perception." In Schзneneue Welten?, edited by Florian Rзtzer, 158-170. Mыnhen: Klaus Boer Verlag, 1995.
• "From the Externalization of the Psyche to the Implantation of Technology." In Mind Revolution: Interface Brain/Computer, edited by Florian Rзtzer, 90-100. Mыnchen: Akademie Zum Dritten Jahrtausend, 1995.
• (In English and German.) "Digital (R)evolution." In European Media Art Festival 1994, 306-309.Osnabrыck: Europдisches Medienkunst Festival, 1994.
• "The Labor of Perception: Electronic Art in Post-Industrial Society." In ISEA '94. Fifth International Symposium on Electronic Art Proceedings. Helsinki: University of Art and Design, 1994. Originally published as "The Engineering of Vision and the Aesthetics of Computer Art." In Computer Graphics 28, no. 4 (1994): 259-263.
• "The Engineering of Vision and the Aesthetics of Computer Art." In Computer Graphics 28, no. 4 (1994): 259-263.
• "Mapping Space: Perspective, Radar and Computer Graphics." In SIGGRAPH '93 Visual Proceedings, edited by Thomas Linehan, 143-147. New York: ACM, 1993.
• "Insights and Blind Spots of Pictorial Semiotics." The American Journal of Semiotics 9, no. 1 (1992): 131-142. A revised version of a review first published in The Art Bulletin LXXIII, no. 3 (September 1991): 500-502.
• "Virtual Cave Dwellers: SIGGRAPH '92." Afterimage 20, no. 3 (October 1992): 3-4.
• "Assembling Reality: Myths of Computer Graphics." Afterimage 20, no. 2 (September 1992): 12-14. 1991
• "'Real' Wars: Esthetics and Professionalism in Computer Animation." Design Issues 6, no. 1 (Fall 1991): 18-25.
• "The Soviets' Other Arsenal: An Interview with Michael Yampolsky." Afterimage 18, no. 7 (February 1991): 5-7. With Alla Efimova.
• Review of Semiotics of Visual Language, by F. Saint-Martin and Pictorial Concepts, by G. Sonneson. The Art Bulletin LXXIII, no. 3 (September 1991): 500-502.
• "Altered States." Afterimage 18, no. 5 (January 1991): 5. 1989
• "Describing the Structure of a Visual Image." In Semiotics 1989, edited by J. Deely, K. Haworth, T. Previtt, 193-200. New York: University Press of America.
• "All About EVE: The Early Vision Emulation Software." Behavior Research Methods, Instruments and Computers 21, no. 5 (1989). With M. Landy and G. Stetten.
• "Applications of the EVE Software for Visual Modelling." Vision Research (1989). With M. Landy and G. Stetten. 1988
• "Perceptual Semiotics: Functions of Repetitions in a Visual Image." In Semiotics 1988, edited by J. Deely, K. Haworth, T. Previtt, 479-486. New York: University Press of America, 1988.

TRANSLATIONS

• Misiano, Victor. "Cool Reflections. Art Journal 53, no. 2 (Summer 1994): 85- 87.
• Goushchin, Gennady. "On my Photographs." Art Journal, 53, no. 2 (Summer 1994): 76-79.

INVITED PAPERS AND CONFERENCE PRESENTATIONS

• Panel participant, "The Future of the Future," Hummer Museum, Los Angeles, August 1997.
• Panel participant, SIGGRAPH '97, Los Angeles, August 1997.
• Panel participant, "Clicking In: Hot Links to a Digital Culture," MOCA, Los Angeles, June 1997.
• Digital Media Symposium, UCLA, May 1997.
• Symposium LEAF97, Liverpool. April 1997.
• WRO 97 Media Art Biennale, Poland, April 1997.
• Mediawork Colloquium, Pasadena Arts Center. March 1997.
• Department of Medical Cybermetics and Artificial Intelligence, University of Vienna, May 1996.
• Series of lectures, Medialabor Munich, Munich, May 1996.
• University of Southern California, School of Film and Television, April 1996.
• Symposium "Third Reality," St. Petersburg, October 1995.
• "Gallery 21," St. Petersburg, October 1995.
• St. Petersburg State Academy of Art and Design, October 1995.
• ISEA '95, Montreal, September 1995.
• "Archeology of Media" session, SIGGRAPH '95, Los Angeles, August 1995.
• Conference "Digital Dialectics," Los Angeles, August 1995.
• Symposium "Multimediale 4," Karlsruhe, Germany, May 1995
• Pasadena Arts Center, Pasadena, March 1995.
• UCLA, Department of Film & TV, Los Angeles, March 1995.
• Mediawork Colloquium, Pasadena Arts Center. March 1995.
• 1994 Symposium "NewMediaLogia," Moscow, November 1994.
• Dutch Electronic Arts Festival, Rotterdam, November 1994.
• ISEA '94 (Fifth International Symposium on Electronic Art), Helsinki, August 1994.
• Nordicil '94 Symposium "New Techniques -- New Narratives of Cinema," Helsinki, August 1994.
• Conference "Photography and the Photographic: Theories, Practices, Histories," University of California, Riverside, April 1994.
• 1993 Creat Inc., St. Petersburg, December 1993. FISEA '93 (Fourth International Symposium on Electronic Art), Minneapolis, November 1993.
• Panel Series on the Aesthetics of Art and Technology, San Francisco Art Institute, October 1993.
• College Art Association Annual Convention, Seattle, February 1993.
• Society for Animation Studies Annual Conference, Rochester, October 1991.>> Fast Rewind II (Moving Image Archeology), Rochester, May 1991.
• Society for Animation Studies Annual Conference, Ottawa, October 1990.
• Semiotic Society of America Annual Conference, Indianapolis, July 1989.
• Semiotic Society of America Annual Conference, Cincinnati, October 1988.
• The Association for Research in Vision and Ophthalmology Annual Conference, Sarasota, May 1988.

EXHIBITIONS

• "Hidden in Plain Sight: Illusions in Art from Jasper Johns to Virtual Reality," Los Angeles County Museum of Art. A project for the exhibition catalog. (The exhibition was cancelled). 1996.
• "Can you Digit it?" PostMasters Gallery, New York. 1996.
• "Photography After Photography," Aktionsforum Praterinsel, Munich. 1995.
• Traveling in 1996-1998 to:
• Kunst.Halle.Krems (Austria),
• Stadtische Galerie Erlangen (Germany),
• Bradenburgische Kunstsammlungen Cottbus (Germany),
• Musset for Fotokunst Odense (Denmark),
• Fotomuseum Winterthur (Switzerland),
• Finland fotografiska museum (Helsinki, Finland),
• Institute of Contemporary Art (Philadelphia, USA),
• Adelaide Festival 1988 (Australia) "Bridge -- Checkpoint '95," telecommunication project between Linz, New York and Moscow, Ars Electronica, Linz, Austria, June 1995. Participant in a group project.
• ISEA 94 (5th International Symposium on Electronic Art) Media Lounge, Helsinki. `1994 Faculty Show, Department of Visual Art, University of Maryland Baltimore County, Baltimore. 1994.
• Faculty Show, School of Art, Syracuse University, Syracuse. 1993. "Terra Sovietica," Rush Rhees Gallery, University of Rochester, Rochester. 1990.
• "The End of Perspective," Pyramid Arts Center, Rochester. 1990.
• "The Artist and the Computer" Louisville Visual Art Association, Louisville. 1989.
• Electronic Imaging Show, Florissant Valley Gallery, St. Louis. 1989.
• "Art in Exile," Nexus Gallery, Philadelphia.1987.
• Computer Graphics Show, McGovern's Bar, New York City. 1987.
• SIGGRAPH '85 Video Show, San Francisco. 1985.
• Computer Art Show, ADP Corporation, New Jersey. 1985.
• Electronic Art Show, New York City Art Expo. 1985.
• "International Printmaking," Drew University. 1984.
• Apartment show, Moscow. 1980.

COMPUTER FILMS

"Little Movies." 1995. Screened at:

• "Third Reality," St. Petersburg, October 1995;
• "Digital Dialectics," Los Angeles, August 1995;
• "NewMediaLogia," Moscow, November 1994.

"Train Ride." 1990 - 1995.

CD-ROM WORKS

"Little Movies: Volume 1." 1996.
Exhibited at: "Can you Digit it?" PostMasters Gallery, New York, March 1996.

COLLABORATIVE PROJECTS

• Videography for "Databank of the Everyday," a CD-ROM by Natalie Bookchin, 1996.
• Computer animator for "WAX or the discovery of television among the bees" (85:00), directed by David Blair, 1991. Grand Prize at the 6th Montbeliard Film and Television Festival.
• Computer animator for "Traces of a Presence to Come" (39:00), directed by Irit Batsry, 1993.

PROFESSIONAL SERVICE

• Contributing Editor, RHIZOME journal, 1996
• Jury member, "Third Reality" Festival of Russian Video and Computer Animation, St. Petersburg,1995.
• Manuscript reviewer, SUNY Press, 1993.

MEMBERSHIPS
College Arts Association, Society for Cinema
Studies, SIGGRAPH