Peter Benjamin Lunenfeld

UCLA Design | Media Arts
4252 Broad Art Center
240 Charles E. Young Dr.
Suite 2275, Box 951456
Los Angeles, CA 90095-1456

Founder and Director, The Institute for Technology & Aesthetics (The ITA)

Steering Committee Member, UCLA Digital Humanities and Media Studies

Faculty, UCLA Urban Humanities


UCLA, Department of Film and Television. Ph.D., 1994.
Special concentration on digital media.
Dissertation: Film Rouge: Genre, Postmodern Theory, and the American Cinema of the 1980s. Advisor: Steve Mamber.
State University of New York at Buffalo, Center for Media Study. M.A.
Columbia University, B.A. in History.


Professor, UCLA Design | Media Arts Department, 2008-.
Professor, Media Design Program, Art Center College of Design. 1993-2008.
Applications Coordinator, Lyon Lamb Video Animation Systems. 1991-92.


Residential Fellowship, Ingmar Bergman Foundation, Faro Island, Sweden, 2024

Co-Principal Investigator, UC CAT IIP Major Grant, “Lay of the Land, Eye in the Sky: Drones for Environmental Justice Design Research and Practice” [with Rebeca Mendez and Erin Cooney]. 2021.

Co-Principal Investigator, SoAA Research Grant, “Environmental Justice Design Research as Embedded, Embodied Learning” [with Rebeca Mendez and Erin Cooney].  2020.

International Award for Art Criticism (IAAC), granted by Minsheng Art Museum (PRC) /Royal College of Art (UK) . 2017

Dana and David Dornsife Fellow, Huntington Library, 2015-16.

Dorothy Lee Award for Outstanding Scholarship in the Ecology of Media, Media Ecology Association, 2013.

University of California Humanities Research Institute (UCHRI) Conference & Seminar Grant recipient, 2009.

Vectors Fellow, Annenberg School of Communication, USC, 2007.

Resident Fellow, Columbia University Institute for Scholars, Reid Hall, Paris, France. 2005.

Creativity & Culture Grant, Rockefeller Foundation, 2000-2005.

Venture Grant, Jeffrey and Catherine Soros 2000-2003.


City at the Edge of Forever: Los Angeles Reimagined (Viking, 2020)

Digital_Humanities, co-authors Anne Burdick, Johanna Drucker, Todd Presner, and Jeffrey Schnapp (MIT Press, 2012).

The Secret War Between Downloading and Uploading: Tales of the Computer as Culture Machine (MIT Press, 2011). Winner of the Dorothy Lee Award for Outstanding Scholarship, 2013.

USER: InfoTechnoDemo (MIT Press, 2005), visuals by Mieke Gerritzen.

Snap to Grid: A User’s Guide to Digital Arts, Media, and Cultures (MIT Press, 2000).

The Digital Dialectic: New Essays on New Media, editor (MIT Press, 1999).

College Basics, co-author (Semester Press, 1991).


Editorial Director, Mediawork Pamphlet Series & Web Site (MIT Press, 2001-).
The Mediawork project, an Institute for Technologies & Aesthetics project,  has won awards for writing (the Susan K. Langer Award for Writing Machines), design (official selection for the California Design Biennial, the Cooper-Hewitt Design Triennial, and AIGA’s 50 Books/50 Covers) and interactive design (an I.D. Magazine medal for WMWS). For information and access to the interactive Web Takes, go to http://mitpress.mit.edu/mediawork

Shaping Things (2005) by Bruce Sterling, designed by Lorraine Wild
Web Take: “Macroscopes” text by John Thackara, applet by Schoenerwissen/OfCD

Rhythm Science (2004) by Paul D. Miller aka Dj Spooky that Subliminal Kid, designed by COMA Amsterdam/New York.
Web Take: Hypnotext by Peter Halley & Casey Reas

Writing Machines (2002), by N. Katherine Hayles, designed by Anne Burdick.
Web Take: Hollowbound Book, interactive animation by Erik Loyer
Web Supplement: WMWS by Anne Burdick & Sean Donahue

Utopian Entrepreneur (2001) by Brenda Laurel, designed by Denise Gonzales Crisp.
Web Take: “Idea Tree,” an on-line comic by Scott McCloud


“Colloidal Suspension: Immersion and the Pedagogies of Making” is a mix of media theory, design practice, and digital humanities, published by Sensate: A Journal for Experiments in Critical Media Practice. The piece combines an essay on immersive, virtual, and augmented realities, a curated selection of UCLA undergraduate work from the Desma 104: Design Futures class. The boundary-pushing format based on Google Sheets is by renowned media designer Denise Gonzales Crisp. January, 2020. https://sensatejournal.com/colloidal-suspension-immersion-and-the-pedagogies-of-making/

“Gidget on the Couch,” Memory Issue, Vectors: Journal of Culture and Technology in a Dynamic Vernacular v. 3, n. 2 (Summer, 2012). 12 minute on-line narrative docufiction. Produced with a Vectors Fellowship. Writer and Narrator, Peter Lunenfeld, Producer/designer Dmitri Siegel, Director, Matthew Nourse. http://vectors.usc.edu/projects/index.php?project=96.

Gentext App for Apple iPads. GenText is a powerful and innovative interactive text application that allows readers to access arguments at three levels “short abstract, single screen synopsis, and full selection” with the dynamic interaction offered by pinching and reverse pinching literalizing the metaphor of “zooming” between the levels in a text. The app was developed by media artist Chandler McWilliams with input from Peter Lunenfeld, (2011). http://itunes.apple.com/us/app/gentext/id449002205?mt=8.

The Directorate, Web intervention. The Directorate offers an alternate mode of accessing The Secret War Between Downloading and Uploading via URLs (not recommended for those with carpal tunnel, weak fingers, or short attention spans). Interface by Jon Gacnik from a concept by Peter Lunenfeld, Chandler McWilliams, and Brian Roettinger (2011). http://secret-war.com.

Sex and Death in LA, at the Biggest Visual Power Show, produced by Koert van Mensvoort and Mieke Gerritzen. Performance lecture at the Million Dollar Theater in Downtown Los Angeles featuring critical theory with back-up dancers (2008).

The following WebTakes and Web Supplement were commissioned dynamic media responses to the Mediawork Pamphlets. I served a combined role as producer and publisher on these projects. They can be found at mitpress.mit.edu/mediawork, a site I developed in 2001 with the design firm Triplecode:
“Macroscopes,” WebTake for Shaping Things, text John Thackara, applet (2005).
Hypnotext, WebTake for Rhythm Science by Peter Halley & Casey Reas (2004).
Hollowbound Book, WebTake for Writing Machines by Erik Loyer (2002).
WMWS, Supplement for Writing Machines, Anne Burdick and Sean Donahue (2002).
Idea Tree, Web Take for Utopian Entrepreneur by Scott McCloud (2001).


“Days of the Dead: Frozen Bodies, Real Martyrs, and the Quest for Immortality in the City of Angels,” Los Angeles Review of Books Quarterly n. 27 (Fall, 2020).

“How the Corvette Helped Create California Cool: Peter Lunenfeld on Joan Didion and Angelyne,” August 23, 2020, https://lithub.com/how-the-corvette-helped-create-southern-california-cool/

“The California Design Dominion: Thirteen Propositions,” Los Angeles Review of Books Quarterly n. 24 (Winter, 2020). Literary Hub,

“State of Transcendence: Spiritual Technologies and the California Dream,” in Justin McGuirk and Brendan McGetrick, eds. California: Designing Freedom (London: Phaidon / Design Museum, 2017).

“Demo n.0” in Samuel Bianchini and Erik Verhagen, eds., Practicable: From Participation to Interaction in Contemporary Art (MIT Press, 2016)

“Cal Tech: Art & Technology at LACMA,”Artforum (September, 2015)

“Cameron: The Season of the Witch,” Artforum (January, 2015)

“Barking at Memetics: The Rant that Wasn’t,” Journal of Visual Culture v. 13, n. 3 (December, 2014).

“Fanfare for the Antifan,” Journal of Visual Culture v. 13, n. 1 (April, 2014).

“Unimodernism, or the Aesthetics of Permanent Present,” in Brunella Antomarini and Adam Berg, eds., Aesthetics in Future Present: The Arts and the Technological Horizon (Lanham, MD: Lexington Books, 2013).

“XL: Celebrating the 40th Anniversary of John Berger’s Ways of Seeing,” Journal of Visual Culture v. 11, n. 2 (August, 2012).

“Quintessence,” in Sarah Cook, Sara Diamond, eds., Euphoria & Dystopia: The Banff New Media Institute Dialogues (Cambridge, Ontario: Riverside Architectural Press / ABC Art Books Canada, 2012).

“The Networked Culture Machine,” in Mieke Gerritzen, Geert Lovink, and Minke Kampman, eds., I Read Where I Am: Exploring New Information Cultures (Breda: Valiz/Graphic Design Museum, 2011).

“From Main Street to the Mansion,”n Koert van Mensvoort and Hendrik Jan Grievink, eds., (Barcelona/New York: Actar, 2012).

“Generacje: Jak komputer staÅ‚ siÄ™ maszynÄ… generujÄ…cÄ… naszÄ… kulturÄ™?” in Piotr Celinski, Mindware: Technologie dialogu (Lublin, Poland: LubMAN UMCS, 2012).

“The Factory Model of Desire: Walt Disney and Hugh Hefner Moved to L.A. and Forever Changed Sex, Death, and Boredom in America,” The Believer (March/April, 2011). http://www.believermag.com/issues/201103/?read=article_lunenfeld

“Ten Foot, Four,” in Fiona Candlin and Raiford Guins, eds., The Object Reader (London and New York: Routledge, 2009).

“MaSAI Warriors,” ACM SIGGRAPH Arts Review 01.01 (2009) http://arts.siggraph.org/review/01-01/siggraph-review1.html

“Gidget on the Couch: Freud, Dora (No Not That Dora), and the Secret Austro-Hungarin Roots of Surfing,” The Believer (June, 2008). http://www.believermag.com/issues/200806/?read=article_lunenfeld
also collected in Read Hard: Five Years of Great Writing from the Believer, eds. Heidi Julavits, Ed Park, Vendela Vida (San Francisco: McSweeney’s, 2009).

“Style’s Cruelty,” in Mieke Gerritzen, ed., Style First (Lausanne: mudac [Musée de Design et d’Arts Appliqués Contemporains] and Basil: Berkhaüser Verlag, 2007). Translated into German and French.

“Bespoke Futures: Media Design and the Future of the Future,” Think Tank: Adobe Design Center, 2007. http://www.adobe.com/designcenter/thinktank/lunenfeld.html

“Dispatches from the Front: Battling for Meaning in the War between Downloading and Uploading,” Re:Public: Re:Imagining Democracy on-line journal. 2007. http://www.re-public.gr/en/?p=167 Translated into Greek: http://www.re-public.gr/?p=180

“Pour une pragmatique des flux,” a translation of “History as Remix: How the Computer Became a Culture Machine,” Rue Descartes no. 55: Philosophies entoilées (Février, 2007).

“The God Scan,” in Caroline A. Jones, ed., Sensorium: Embodied Experience, Technology, and Contemporary Art (Cambridge, MA: List Visual Art Center and MIT Press, 2006).

“Web Design’s Long First Decade: A Micro-Meta-History,” Afterimage v. 33, n. 5 (March/April 2006). Italian translation forthcoming.

“Power & Play,” in Catharine Fishel, ed., 401 Design Meditations: Wisdom, Insights, and Intriguing Thoughts from 150 Leading Designers (Beberly, MA, 2005).

“Preface: The Design Cluster,” in Brenda Laurel, ed., Design Research (Cambridge: MIT Press, 2004).

“New Media Design,” New Media & Society Special Fifth Anniversary Issue, v. 6, n. 1 (Spring 2004).

“The Perfect Machine: Hollis Frampton, Magellan and the Promise of Digital Media,” in Reception Studies in Film, Television and Digital Culture, ed. Jan Olsson (London: John Libbey, 2003).

“Space Invaders: Thoughts on Technology and the Production of Culture,” in Anna Everett and John Caldwell, eds., New Media: Theories and Practices of Digitextuality (New York: Routledge, 2003).

“The Myths of Interactive Cinema,” in Dan Harries, ed. The New Media Book (London: British Film Institute, 2002). Reprinted in Marie-Laure Ryan, ed., Narrative Across Media (Lincoln: University of Nebraska Press, 2004).

“Moire Eels” catalogue essay for ChanShatz at Lemon Sky (Los Angeles: 2002).

“Five Probes,” in Mieke Gerritzen and Geert Lovink, eds., Mobile Minded (Amsterdam: Bis Publishers, 2000).

“Untitled (Essay for John Morris)” catalogue for Works on Paper, Inc. (Los Angeles: 2001).

“Media-based Art at the Williamson Gallery,” Dot (Spring/Summer 2001).

“Alien Aesthetics: Politics, Theory & Technology,” in Erkki Huhtamo, ed., Alien Intelligence (Helsinki: Kiasma Museum of Contemporary Art, 2000).

“Cosmopolitan Philtre,”n Mitchell Kane, ed., Tt: Plan (Northbrook, IL: Hirsch Foundation, 2000).

“Four Probes,” in Mieke Gerritzen and Geert Lovink, eds., Everyone Is a Designer! Manifest for the Design Economy (Amsterdam: Bis Publishers, 2000).

“Hyperaesthetics: Theorizing in Real Time about Digital Cultures,” in Thomas Carmichael and Alison Lee, eds., Postmodern Life: A Critical Guide to the Contemporary (Northern Illinois University Press, 2000).

“High-Q Art: The Seductions of Broadcast Romanticism,” X-Tra v.2, n. 3 (Spring 1999).

“Unfinished Business,” in Peter Lunenfeld, ed., The Digital Dialectic: New Essays on New Media, (Cambridge: MIT Press, 1999).

“Diana Thater: Constraint Decree,” art/text 62 (August-October, 1998).

“Alchemical Portraits,” catalogue essay for The Unreal Person: Portaiture in the Digital Age, Huntington Beach Art Center, 1998.

“Hipbrow,” Telepolis – Magazine of NetCulture (12.22.97) Also translated into German.

“Demo or Die,” Afterimage v. 25, n. 2 (October/November, 1997).

“Hybrid Architectures & the Paradox of Unfolding,” in Intelligent Environments: Spatial Aspects of the Information Revolution, ed. Peter Droege (Amsterdam: Elsevier Science, 1997).

“Questions of Scale,” Ylem v. 17, n. 9 (Sept./Oct., 1997).

“In Search of the Telephone Opera: From Communications to Art,” Afterimage v. 25, n. 1 (July/August, 1997). Translated and published in Swedish, Spanish and Portuguese.

“Jennifer Steinkamp / Light in Space,” Art/Text 58 (August-October, 1997).

“Why Are You Doing What You’re Doing?: A Short Rant about Form, Digital Artists & Cultural Production,” on the LA Freewaves CD-ROM (Los Angeles: Produced in Collaboration with L.A. Culture Net & the Getty Center, 1997).

“Jennifer Steinkamp: Hyperaesthetic Case Study,” Isea96 Proceedings (seventh International Symposium on Electronic Art: Rotterdam, 1997).

“Click: Imagescape As Ruin,” in Artintact 3, ed. Astrid’ Sommer (Karhlsruhe: Zentrum für Kunst und Medientechnologie, 1996).Also translated into German.

“Art Post-History: Digital Photography & Electronic Semiotics,” in the catalogue, Photography after Photography: Memory and Representation in the Digital Age, eds. Hubertus von Amelunxen, Stefan Inglhaut, Florian Rötzer (Sydney: G+B Arts, 1996). Also translated into German.

“Light in Space: Hyperaesthetic Case Studies,” in Conference Proceeding, 1996 International Symposium on Electronic Art (Rotterdam: ISEA, 1996).

“Theorizing in Real Time: Hyperaesthetics for the Techno-culture,” Afterimage, v. 23, n. 4 (January/February, 1996).

“The Beverly Hills Post-Moderne,” Art issues (January, 1995) [co-author, Susan Kandel].

“There Are People in the Streets Who’ve Never Had a Chance to Speak: James Blue and the Complex Documentary,” Journal of Film and Video v. 46, n. 1 (spring, 1994).

“Digital Dialectics: A Hybrid Theory of New Media,” Afterimage v. 21, n. 4 (November, 1993).

“Commodity Camaraderie and the TechnoVolksgiest,”rame-Work v. 6, issue 2 (Summer, 1993).

“Genre-alizations,” Spectator, Vol. 12, No. 2, (Spring, 1992).

“Fighting for Turf in the Vast Wasteland: Television and Censorship,” Frame-Work. v. 3, issue 2/3, (Winter/Spring, 1990).


User Column, 1998-2002: “Anthropomorphometric,” artext 76; “Figure/Ground” artext 75; “Extrusion Vertigo” artext 74; “Growing Up Pulp” artext 73; “Urine Nation” artext 72; “25/8” artext 71; “Visual Intellectuals” artext 70; “For Ever” artext 69; “Game Boy” artext 68; “Cosmopolitan Media” artext 67; “Top 10,” artext 66; “TEOTWAWKI,” artext 65; “Solitude Enhancement Machines,” artext 64; “Permanent Present,” artext 63.

Guest editor, Special Issue, “Art/Tech,” art/text 58 (August–October, 1997).

Editor, The N E double U Issue: Arts, Media, Technologies, Frame-Work v. 6, issue 2 (Summer, 1993), an Institute for Technologies & Aesthetics project,

“Welcome to Web 2.0: David Weinberger’s Everything Is Miscellaneous: The Power of the New Digital Disorder, Los Angeles Times Sunday Book Review, June 17, 2006.

“Upward Mobility in a Laptop,” Los Angeles Times Opinion Section, October 24, 2006. Syndicated and also run by the Cincinnati Post, the South Florida Sun Sentinel, Dubai’s Gulf News, and The China Post, among other media outlets. Translated into Portuguese as “Upload, download. De que lado você está?” by Serpro.

“The Order of Things,” a review of Broken Screen: Expanding the Image, Breaking the Narrative: 26 Conversations With Doug Aitken, Los Angeles Times Sunday Book Review, April 16, 2006.

“Babes in Toyland: A Review of Mark Pesce’s The Playful World: How Technology Is Transforming Our Imagination,” Wired 8.10 (October, 2000)

“The Scottish Show,” art/text 70 (August-October, 2000)

“Curating Dinner,” X-Tra v.3, n. 2 (Spring 2000) ) [co-author, Susan Kandel].

“Bill Viola at LACMA,” art/text 61 (March-July, 1998).

“Stim City: Norman Klein’s The History of Forgetting: The Erasure of Memory in Los Angeles,” in Telepolis – Magazine of NetCulture (12.22.97) . Also translated into German.

“Focus: Hall of Mirrors: Art and Film Since 1945 At The Museum of Contemporary Art, Los Angeles,” Artforum (Summer, 1996).

“TechnoFornia,” An Aperto for Flash Art (March/April, 1996).

“Osmose, A Virtual Reality Installation by Char Davies” at the Museé d’Art Contemporain de Montréal,” art/text 54 (February, 1996).

“All the Vermeers in New York, A Film by Jon Jost,” Film Quarterly, n. 45, n. 2, (Summer, 1992).

“Danny Lyon: Old and New Work,” Arts Magazine, (November, 1991).

“How the War was Remembered: Hollywood & Vietnam by Albert Auster and Leonard Quart,” review, Journal of American Studies. (Summer, 1990). [co-author, Marvin Lunenfeld].


“Towards a Visual Intellectuality: The Mediawork Pamphlet Series (An Interview by Elizabeth Guffey and Raiford Guins, Part 1), “Journal of Visual Culture 9(2), September 2010.

“Electrifying the Enlightenment: Interview with Peter Lunenfeld, Part 2,” Elizabeth Guffey and Raiford Guins Design and Culture 2(3), November 2010.

“Critic as Curator,” interview by Roy Christopher, Follow for Now: Interviews with Friends and Heroes (Seattle: Well-Red Bear, 2007).

“Ubiquitous Computing and the Vertigo of the Contemporary,” interview by Madelyne Aktypi, in Invisibile, ed. Emanuele Quinz (Sienna: Gli Ori / Pallazo delle Papesse Centro Arte Contemporanea, 2005).

“Enemy of Nostalgia, Victim of the Present,” interview by Geert Lovink, Uncanny Networks: Dialogues with the Virtual Intelligentsia (Cambridge, MA: MIT Press, 2003)

“Net Gains: Roundtable on Digital Art,” coordinated by Saul Anton, Artforum v. 39 n. 7 (March 2001)

“Museum Europe: Geert Lovink and Peter Lunenfeld talk about Continents and History,” April 3, 2000 http://www.nettime.org/Lists-Archives/nettime-l-0004/msg00031.html

Daniel Hernandez “In the Classroom: Bus Tour Peels Away L.A.’s Prevailing Myths,” Los Angeles Times, September 15, 2004 http://www.latimes.co/news/local/la-me-class15sep15,1,4951963.story?coll=la-headlines-california

Tara McPherson, “Making Space: Conference Review of Scripted Spaces,” Convergence: The Journal of Research into New Media Technologies v. 5, n. 2 (Summer, 1998).

Charles Tashiro, “Contradiction versus Convergence?: Conference Review of The Digital Dialectic,” Convergence: The Journal of Research into New Media Technologies v. 1, n. 2 (Autumn, 1995).

Cited or quoted in the New York Times, the Los Angeles Times, the San Francisco Chronicle, the LA Weekly, Artforum, Dwell, the Times of India, the New York Review of Books and Wired.


“Null Demos: The Long Confidence Games of Crypto Currencies,” International Colloquium on Demonstrations, Centre de Recherche Français à Jérusalem (2022, virtual), https://www.youtube.com/watch?v=rMXC56dPAi0

“Playing Sunset Strip,” live pirate radio performance in support of The City at the Edge of Forever: Los Angeles Reimagined, Holloway Lot, 2020, an Institute for Technologies & Aesthetics project.

“Hello, World,” Plenary, Cinekid for Professionals, Amsterdam, 2019.

“Manifesting Hope,” Media Laboratory Curators Roundtable, Amsterdam, 2019.

“New Thoughts on Old Virtualities,” at “Immersion: Social and Technological Pasts and Futures,” Accelerator Workshop at the Radcliffe Institute, Harvard University, 2019.

“The California (Design) Ideology: Information Wants to Be Free (To Make Money),” College Art Association, Los Angeles, 2018.

“Facts are not White Noise,” Plenary, Wikipedia Day, Ace Hotel, Los Angeles, 2017.

“City on the Edge of Forever” Compositions Across/Between Edges, Surfaces and Materialities, UCLA, 2016.

“The Alchemist’s Map of LA,” New Urban Mapping Symposium, UC Irvine, 2016.

“Big DH / small dh,” New York Institute for the Humanities, NYU, 2015.

“Your Client Is the Future,” Lingua Franca: The 2014 SVA D-Crit Conference, New York, 2014.

“Hedgefoxes of the New Humanities,” TEDxRoma, Rome, Italy, 2014.

“Is the Uncanny Valley a Meme?,” at “The Uncanny Valley Revisited: A Tribute to Masahiro Mori” a special session of the IEEE/RSJ International Conference on Robots and Intelligent Systems in Tokyo, Japan, 2013.

“Designing the Future of Knowledge” at Art Center College of Design, a panel with Art Center’s President and the co-authors of Digital_Humanities, Anne Burdick, Johanna Drucker, Todd Presner, and Jeffrey Schnapp, 2013.

“Generative Humanities,” Berkeley Center for New Media/History & Theory in New Media Lecture Series, UC Berkeley, 2013.

“Generative Humanities,” keynote at Digital Humanities 2013 @ arts.kuleuven, University of Leuven, Belgium, 2013.

“La Guerra Segreta,” MACRO, Museum of Contemporary Art, Rome, 2012.

“Mia Laboro: Maker’s Envy and the Generative Humanities,” Book Presence in a Digital Age Conference, University of Utrecht, 2012.

Panelist, “Digital Humanities 2.0: A Conversation about Emerging Paradigms in the Arts and Humanities in the Information Age,” Humanities Center at Harvard, 2011

Plenary Speaker, “Demo-Monstation and Demonstration of Interactive Dispotifs” Lille, France, April, sponsored by MESHS (Maison Européenne des Sciences de l’Homme et de la Société / European Institute of Social Sciences and Humanities), 2010

“Hedgehogs, Foxes and Digital Creativity,” EnsadLab, École nationale supérieure des arts, Paris, France 2010

Discussion Panel Chair, “Gadget OK!” Symposium, Los Angeles, 2010.

“In Dialogue: Peter Lunenfeld and James Welling on Hollis Frampton,” Khastoo Gallery, Los Angeles, 2010

“The Maker’s Discourse,” Critical Mass: the Legacy of Hollis Frampton, Invited Conference, University of Chicago, 2010

“More Than A Union Card,” Celebration of the 35th Anniversary of the Founding of Media Study, State University of New York at Buffalo, 2009.

“Info-Triage and Sticky Media: Intersections of Design Theory & the Digital Humanities,” UCLA Mellon Seminar, 2009.

“Augmented Bodies and Techno-Aesthetic Affordances,” UCLA Program in Experimental Critical Theory (ETC), 2009.

“Bespoke Futures,” UCLA Information Sciences Colloquium, 2009

“The Secret War Between Downloading and Uploading,” Interface Cultures Seminar, North Carolina State University, 2009

“The Care and Feeding of Hedgefoxes,” UCLA GSEIS 50th Aniversary Celebration, 2009

“New Modes, New Meanings,” Inaugural iMAP/Adobe Panel, USC Interactive Media Arts and Practice Program, 2007.

“The Book, the Brand, and the Box,” UCI Design Alliance, 2007.

“3×3: Writing About Design” AIGA/Art Center College of Design, 2007.

“Bespoke Futures: The Future of the Future,” Main Stage Talk, AIGA Schools of Thoughts 3, Pasadena, 2007.

“Forgetting as a Productive Activity,” Designing for Forgetting and Exclusion, National Science Foundation Workshop, UCLA GSEIS, 2007.

“The Secret War Between Downloading and Uploading,” Convergence Lecture Series, UCLA School of Film, Television, and Digital Media, 2007.

“Design as Paradigm,” Text & Image: From Book History to the Book is History Conference, UC Irvine, 2007.

Lamar Dodd Visiting Scholar, School of the Arts, University of Georgia, 2006.

Conceptual Studies Colloquium, Peck School of the Arts and the Department of Film, University of Wisconsin, Milwaukee, 2006.

“Proof of Concept: The Mediawork Project,” Third Annual Seminar in Experimental Critical Theory, University of California Humanities Research Institute, Irvine, 2006.

“Documenting the Future in Advance,” Stifo@Sandberg, Amsterdam, 2005.

“The Mediawork Project,” Piet Zwart Institute, Rotterdam, 2005.

“Text/Image/Interaction,” Working Group on Alternate Modes of Knowledge Dissemination, CUIS, Paris, 2005.

“The Long First Decade of Webdesign,” The History of Web Design, Institute for Network Cultures, Steadlick Museum, Amsterdam, 2005.

“Bespoke Futures: Media Design and the Vision Deficit,” Oxford Internet Institute, Oxford University, 2005.

“Jane Jacobs, Interface Expert,” Street Talk: Urban Computing Conference, Intel Research Laboratory, Berkeley, 2004.

“Site(ing) Yves Klein,” a panel discussion in conjunction with Yves Klein: Air Architecture, MAK Center, Los Angeles, 2004.

Aspen Design Conference, Los Angeles Satellite, 2004.

“The Point of It All,” Interaction Institute Ivrea, Italy, 2003.

“Digital Culture Group,” USC Annenberg Center, 2003.

“Colloquium,” MIT Media Lab, Cambridge, MA, 2003.

“Public Desires & Commercial Spaces,” a panel discussion sponsored by the Fondazione Prada at the Prada New York Epicenter, 2003.

“New Modes, New Models,” Presentation for the USC/Getty Arts Journalism Fellows, 2003.

“Trendy Art, Trendy Science,” Quintessence: The Clumpy Matter of Art, Math and Science Visualization, conference at the Banff New Media Institute, Canada, 2002.

“The Book & the Network,” Integrated Media Program, California Institute of the Arts, 2002.

“Cadre Invitational,” San Jose State University, 2002.

“Interfacing Knowledge: New Paradigms in Computing in the Humanities, the Arts and the Social Sciences,” UC Santa Barbara, 2002.

Deans Lecture, University of North Carolina School of the Arts, 2002.

“Soft Theory: A Dialogue between Peter Lunenfeld and Lev Manovich,” Streaming Media Conference, American Film Institute, 2001.

“Visual Intellectualism,” UCLA Department of Design | Media Arts, 2001.

“When Things Think,” Razorfish Science Summit, Tarrytown, NY, 2000.

Dean’s Lecture, Yale University School of Art and Architecture, 2000.

Authors @ MIT, Cambridge, MA, 2000.

“The Digital Object,” The American Museum of the Moving Image, New York, 2000.

“Magical Naming,” Miltos Manetas and Yvonne Force, ?WORD Presentation, Gagosian Gallery, New York, 2000.

“Permanent Present,” Departmental Lecture, UCLA Film & Television, 2000.

LA Forum for Architecture and Urban Design, MAK Center for Art and Architecture, 2000.

“Ways of Seeing, Modes of Doing,” Lecture, UCSD Art & Art History, 2000.

“CRASH – net art 2000,” Symposium at UC Berkeley, 2000.

“Post ’89 Theory,” Plenary, Society for Photographic Education, Los Angeles, 1999.

“Every Pixel Tells a Story: Interface as Narrative,” Interactive Frictions, University of Southern California, 1999.

“The Alphanumeric Phoenix: Textuality’s Rebirth in Digital Environments,” UCLA Information Studies Seminar, 1999.

“Beyond the Californian Ideology,” Cyber.Salon 6, London, 1998.

“The Perfect Machine: Frampton, Magellan and the Promise of Digital Media,” Plenary, Technologies of Moving Images, Stockholm, 1998.

“The Alchemical Imaginary: Magic, Technology & Digital Media,” The Art, Technology and Culture Colloquium, UC Berkeley, 1998.

“Theorizing New Media Forms: Multimedia and New Forms of Art and Artistic Presentation,” University of Southern California, 1997.

“The Digital Campus,” Chips & Bits: A Digital Symposium, UCLA Film/Television Archive Conference, 1997.

“In Search of the Telephone Opera: The Web As Communication Art,” College Art Association (CAA) Annual Conference, New York, 1997.

“Contemporary Digital Practice,” Muse [X] Panel Discussion at the Shoshana Wayne Gallery, Santa Monica, 1996.

“SimCities: Towards an Electronic Urbanism,” [with Norman Klein, California Institute of the Arts] The Atheneum, San Diego, 1996.

“Light in Space: Hyperaesthetic Case Studies,” International Symposium of Electronic Art (ISEA), Rotterdam, 1996.

“The Aesthetics of Unfinish,” Mellon-Pew Lecture, California Institute of the Arts, 1996.

“The Arts, Entertainment and Technology: The Role of the Artist in the Digital Age,” The Governor’s Conference on the Arts VII, Los Angeles, 1996.

“Unfinished Business,” The Digital Dialectic: A Conference on the Covergence of Technology, Media & Theory, Pasadena, CA, 1995, an Institute for Technologies & Aesthetics project.

“Are We Having Fun Yet?,” International Symposium of Electronic Art (ISEA), Montreal, 1995.

“The Last Avant-Garde?: HyperAesthetics for the Close of the Millenium,” Department Seminar, USC School of Cinema/Television, 1995.

“Artists & Activists CD-ROMs,” L.A. Freewaves, USC, 1995.

“New Media, New Theory,” Presentation for the Royal College of Art’s European Interactive MultiMedia Group, London, 1994.

“Art Post-History: Digital Photography & Electronic Semiotics,” Photography and the Photographic: Theories, Practices, Histories, Conference, Riverside, CA, 1994.

“Hardscapes, Imagescapes & the Paradox of Unfolding: Architecture in the Age of Electronic Ubiquity,” Cine City: Film and Perceptions of Urban Space 1895-1995, Getty Center for the History of Art and the Humanities, Santa Monica, 1994.

“Hyperaesthetics: Art, Speed and Interpretation,” Fourth International Symposium of Electronic Art (FISEA), Minneapolis, 1993.

“When The Newest Isn’t the Best: Who Judges Computer Art and How,” LA SIGGRAPH, 1993 [with Dr. Ken Goldberg, USC Dept. of Computer Science].

“Commodity Camaraderie and the TechnoVolksgiest,” College Art Association (CAA) Annual Conference, Seattle, 1993.

“Towards a Digital Dialectic,” Society for Cinema Studies (SCS) Conference, New Orleans, 1993.

“Genre-alizations: Contemporary Theorizations on the Notion of Genre,”Dangerous Liaisons?: A Conference on Literature, Film, And Video, Los Angeles, 1992.

“Tangled Up in Blue,” University Film & Video Association Conference (UFVA), Corvalis, 1991.

“James Blue and the Complex Documentary,” SCS Conference, Los Angeles, 1991.

“Film’s High Style, Arnheim’s Great Moment: The Influence of the German Art Theoretical/Historical Tradition on Film as Art,” SCS Conference, Washington, 1990.

“Blade Runner as Attainable Post-Modern Text: Interactive Close Analysis in the Digital Age.” Guest lecture on the application of new technologies to the teaching of the humanities at the Carpenter Center, Harvard University, 1990.


Chair and convener, “e-Pub: A Roundtable on Design, Technology and Meaning-Making in 21st Century Academic Publishing,” UCLA, 2010, an Institute for Technologies & Aesthetics project.

Seminar Chair, “Nowcasting: Design Theory & the Digital Humanities,” UCLA, 2009, an Institute for Technologies & Aesthetics project.

Coordinator, “Up Next 2007: The Long Zoom: Media Design Now,” ACCD, Pasadena, 2007, an Institute for Technologies & Aesthetics project.

Conference Chair, “Alternate Modes of Knowledge Dissemination,” CUIS, Paris, 2005.

Conference Co-Chair, SCRIPTED SPACES: An ITA Conference on Entertainment Design, Narrative Architecture, and Virtual Environments, 1998, an Institute for Technologies & Aesthetics project.

Conference Chair, The Digital Dialectic: A Conference on the Covergence of Technology, Media & Theory, Pasadena, CA, 1995, an Institute for Technologies & Aesthetics project.

Conference Chair, Curating New Media: A Technocultural Roundtable for Curators, Audiences, and Audiences, Cyberarts Gallery, Los Angeles, 1993, an Institute for Technologies & Aesthetics project.

Panel Chair, “The New Lexicon, The Re:Structured Screen,” an on-line conference sponsored by Eyebeam Atelier, 2002.

Panel Chair, “Data, Design, And Content Streams,” Streaming Media conference, American Film Institute, 2001.

Moderator, “Micro Space/Global Time” Panel. MAK Center for Art & Architecture, LA. 1999.

Panel Chair, “Media Interventions 1,” Technologies of Moving Images, Stockholm, 1998.

Panel Chair, “Places & Spaces: Physical & Electronic,” Digital Assets Management Conference, Annenberg Center, USC 1998.

Panel Chair, “New Technologies & Interactive Media for Interdisciplinary Artists,” About Productions/UCLA Interdisciplinary Arts Caucus, Los Angeles, 1994.

Panel Chair, “Theorizing New Media,” SCS Conference, New Orleans, 1993.

Panel Chair, “Enough Already About the Director: The Other Craftspeople in the Contemporary Cinema,” SCS Conference, Los Angeles, l991.

Panel Chair, “Making an Impact on Television: James Blue, The Complex Documentary, and the Articulation of Local Issues,” UFVA Conference, Corvalis, 1991.


Director, Institute for Technologies & Aesthetics (ITA). The ITA is an interdisciplinary space unique to Southern California for the development of new forms and theories of computers and culture. The ITA’s mission is to ground the discourses of technologies in the constraints of their practice and to create interdisciplinary collaborations that expand the parameters of visual intellectual culture. Projects include SCRIPTED SPACES: An ITA Conference on Entertainment Design, Narrative Architecture, and Virtual Environments, 1998, co-sponsorship of Unwriting the Word: A Festival of Music, Murmurs, & Media, 1999 at Loyola Marymount University, the Mediawork Pamphlet Series, “Zines for Grown-Ups,” the first of which was released in 2001,

Affiliated Faculty, UCLA Digital Humantities and Media Studies, 2008-.

Member, Gerson Lehrman Group Consultant Management Platform, Speciality: Media, Telecommunications, 2007-.

Juror, Interactive Media Design Review for I.D. Magazine, 2002.

Founder, mediawork: The Southern California New Media Working Group. Meeting quarterly at Art Center, this group gathers specialists from a range of disciplines and institutions to discuss their work and debate the impact of the computer on contemporary culture. 1993-2001.

Member, National Nominating Committee for the Rockefeller Foundation Intercultural Film/Video/Multimedia Fellowships. 1995-97.

Participant, Labyrinth Group on Interactive Media, Annenberg Center, USC. 1997.

Contributor, PainOnline Catalogue, Shauna Sampson and Steven Overman, Curators, on The Thing Art & Communication, New York, 1994.

Manuscript Reviewer for the MIT Press, Computer Science division. 1993-.

Manuscript Reviewer for the University of Texas Press, Constructs Series. 1995-.

North American Representative, Steering Committee, Media Futures: Policy and Performance International Conference, Queensland, Australia. 1993.

Member, Advisory Committee, American Film Institute-Apple Computer Center For Film and Videomakers. 1992.

Applications Coordinator for multi-media for Academy Award-winning company, Lyon Lamb Video Animation Systems, of Burbank, CA. Responsibilities included managing software developers, evaluating 3D computer graphics systems, doing demonstrations, and coordinating development and marketing of Macintosh, Windows, and UNIX based graphical user interface software systems for animation controllers. 1991-92.

Consultant for New Technologies with Creative Intelligence Associates, Inc., an architectural and design consortium based in Tokyo, Japan. 1991-92.

Member, the Interactive Technologies Analysis Group, an organization associated with the international federation of film archives and the Society for Cinema Studies. 1990-.


Extensive work in higher education and non-profit administration in the area of grants and sponsored programs. Specific expertise in the development of private and public funding sources in the area of the humanities and advanced media technologies.

Chair, UCLA School of the Arts and Architecture Faculty Executive Committee, 2020-2022.

Member, UCLA Faculty Senate Committee on Instruction and Technology, 2012-.

Member, Reconstitution of the UCLA School of art and Architecture Work Group, 2014-15.

Member, UCLA SoAA Faculty Executive Committee, 2009-2013.

Member, Development Subcommittee, DMA Faculty Senate, 2014-.

Chair, Development Subcommittee, DMA Faculty Senate, 2008-2014.

Outside Reviewer and Panelist, City University of Hong Kong School for Creative Media Presidential Evaluation Initiative, 2008.

Reviewer & Evaluator, Israel Science Foundation (ISF), 2007-

Nominator & Evaluator, McArthur Foundation Fellowship Programs, 2001-

Nominator, World Technology Awards, 2001-

“Media Design as Business Practice,”San Gabriel Valley Economic Outlook Development Conference, 2002.

“Art, The Web, and Contemporary Giving Strategies,” The James Irvine Foundation Board Retreat, Newport Beach, CA. October, 1996.

Member, Editorial Board, Art/Text, 1996-2001.

Member, Art Center Academic Task Force, 1996-; Art Center Web Site Development Advisory Committee, 1995-; President’s Committee on the Future of Computing at Art Center. 1994-

Member, Editorial Advisory Board, Los Angeles Center for Photographic Studies. 1989-95.

Editor, “Grants Bulletin,” Cinema Journal, 30, No. 3, Spring 1991.

Chair, “Special Session on Grants,” Society for Cinema Studies Conference, Los Angeles, 1991.

Editor, Fellowships and Funding Opportunities for Faculty in the Arts and Humanities, distributed by Research Foundation of the State University of New York. 1988.

Assistant to the Editor, The Journal for Higher Education Management. 1986-87.

Program Specialist, Office of the Vice President for Sponsored Programs, SUNY at Buffalo, liaison to the graduate and faculty communities for fellowship information and development. 1986-88.


Co-Chair, Tara Zeppel, Doctoral Committee, UCSD Visual Arts 2018.
Member, Megan Driscoll , Doctoral Committee, UCLA Art History, 2018.
Member, Mike D’Errico, Doctoral Committee, UCLA Musicology, 2016.
Chair, Tuangkamol Thongborisute, Masters Committee, UCLA Design Media Arts, 2018.
Chair, David Ertel, Masters Committee, UCLA Design Media Arts, 2017.
Chair, John Brumley, Masters Committee, UCLA Design Media Arts, 2015.
Chair, Rhazes Spell, Masters Committee, UCLA Design Media Arts, 2013.
Chair, Diego Gomez, Masters Committee, UCLA Design Media Arts, 2012.
Chair, Madeleine Gallagher, Masters Committee, UCLA Design Media Arts, 2011.