» Voorhees 205 (V-205)
Adrianne Wortzel is a Professor of Entertainment Technology and Emerging Media Technologies. Her keystone course as a teacher is Topics and Perspectives in Emerging Technologies, a collaborative research and projects course open to the entire student body where students from all disciplines at the College.
Professor Wortzel is also on the doctoral faculty of the Interactive Technology and Pedagogy Certificate Program at the CUNY Graduate Center, where she co-teaches courses in developing inventive technologies for pedagogies in all disciplines of the PhD programs offered there. She has served as an Adjunct Professor of Mechanical Engineering at the Cooper Union for the Advancement of Science and Art where she teaches the course entitled Design, Illusion and Reality, an interdisciplinary, collaborative projects courses for students of art, architecture and engineering.
She is the Founding Director of StudioBlueLab, an interdisciplinary collaborative lab facility for faculty and student invention, first funded as The Robotic Renaissance Project in 2001 at the Cooper Union for the Advancement of Science and Art by the National Science Foundation. StudioBlueLab is currently active at New York City College of Technology, where it was funded by a 2005-2006 City University of New York Graduate Research Technology Initiative Grant entitled Innovative Multi-use Devices for Telerobotics and Theater.
Professor Wortzel creates innovative interactive web works, robotic and telerobotic installations, performance productions, videos and writings. These works explore historical and cultural perspectives by coupling fact and fiction via use of new technologies in both physical and virtual networked environments. She collaborates with research scientists working in the fields of robotics and/or artificial intelligence both in the US and internationally. Her work employs narratives nascent to technological research while examining comparatively the methodologies in order to point to its creative and intuitive nature built on an armature of empirical knowledge. The content examines, or displays, through fictive and dramatic scenarios, stories and scripts, aspects of how humans relate to machines.
Her art works have also received support from The Franklin Furnace Award for Performance, the Greenwall Foundation, the New York State Council on the Arts (three times: for video production of archipelago.ch (2006); for the live production of Sayonara Diorama, her original play featuring robotic and human actors (1998), and for Graphics (1981). She is also a recipient of six PSC-CUNY Research Foundation Grants (from 2000-2010), and a Robert Rauschenberg Foundation Award (1990).
Among the residency awards she has received are: Eyebeam Art and Technology Center, New York (July-December 2008), the Swiss Artist-in-Labs Residency Award at the Artificial Intelligence Laboratory, Department of Informatics, University of Zurich Switzerland (July-December 2004) , and Polar Circuit in Lapland (1997 and 1998), She is currently collaborating with scientists from Los Alamos and Sandia National Laboratories in New Mexico, for her project “A Dynamic Memory Palace.”
Exhibition venues for her works include the Whitney Museum of American Art commission of her interactive telerobotic piece Camouflage Town for the exhibition Data Dynamics (March 22-June 10, 2001) as well as an online work for the Whitney’s Artport web site (August 2005); StudioBlue@Citytech for Eliza Redux (also online) (2009-2010), 516Arts, Albuquerque, New Mexico (2010), Abrons Art Center (Performa 09 Performance Art Biennial), New York (2009); Re-enactment of the Battle of the Pyramids, Eyebeam Art and Technology Center (2008); and Light Industries, Brooklyn, New York (2009); Extensions Between Body, Mind And Electronic Worlds (online in 2005) in Naples, Italy; Lehman College Art Gallery and Lehman College Theater (1998); Arreale99, Baitz, Germany (1999); Ars Electronica, Linz, Austria (1997), Creative Time Art at the Anchorage (1997), MIT Vera List Center (1997); Orlando Museum of Art (1997).
Her writing and articles have been published in national and international publications. Examples are: The Dynamic Darwinian Diorama: A Landlocked Archipelago Enhances Epistemology in the Proceedings Of The 50th Anniversary Summit Of Artificial Intelligence (2008), Eliza Redux, in Second Person, M.I.T. Press (2006), Converse Engineering: Stories Of Emerging Differentiation and Otherness in Robotic Entities in Artists-In-Labs: Processes Of Inquiry, VerlangWien, NewYork (2006), and Sayonara Diorama: Acting Out The World As A Stage In Medieval Cartography and Cyberspace in the Hereford World Map: Medieval World Maps And Their Context (British Library Studies In Map History), The British Library (2006); On Medieval Cartography And The Ideological Mapping Of Cyberspace in Atlas Mapping, Linz, Austria, Verlag Turia & Kent, (1997) Wien Austria; Eliza Redux: A Mutable Iteration in Leonardo, Vol. 40, No.1 Eliza, pp. 33-36 (2007), Narrative In Robotics Scenarios For Art Works (with Dr. Daniel Bisig) in Proceedings Of The Symposium On Robotics, Mechatronics And Animatronics In The Creative And Entertainment Industries And Arts, AISB2005, University of Hertfordshire, Hatfield, UK, The Talking Cure In Hypermedia Performance Production in Performance Research Journal (1999); Adrianne Wortzel: Artist’s Statement in Leonardo (1999); A Facsimile Moo Play Capture Based On The Nun’s Priest Tale By Geoffrey Chaucer in New Observations Magazine (1999); Screening Our Lives-An Interview With Sherry Turkel, Intelligent Agent, Vol.2, No.2. Globe Theater Archives: A Blue Planet Discourse Intelligent Agent Magazine Intelligent Agent, Vol.2, No.1, Fall 1997; Venues Of Process: The Road Unraveled, The Changing Form Of Exhibition, by musEleanor, C.M.S.A., [musEleanor is a pseudonym, C.M.S.A. stands for Certified Muse in the Service of Art] in Intelligent Agent, Vol. 1 No. 11; Blast5drama: Art-Is It Stranger Than Diction, by musEleanor, CMSA, Intelligent Agent, Vol.1, No. 9; Cyborgesian Tenets And Indeterminate Endings, The Decline And Disappearance Of Destiny For Authors in Leonardo (1996). Her work has also been published on DVD in Aspect, The Chronicle Of New Media Art, Personas and Personalities, Volume 7 (2005); The Electronic Chronicles (as a pioneering work in new media) in The New Media Reader (2003), and in Electric Living in Canada (2000).
Her work has been documented in books such as in Rethinking Curating: Art After New Media, by Beryl Graham and Sarah Cook, Leonardo Press (2010); World Of Art: Digital Art by Christiane Paul, Thames and Hudson, (2008 and 2004 eds); Art In The Digital Age, by Bruce Wands, Thames and Hudson (2007); From Technological To Virtual Art, by Frank Popper, M.I.T. Press, pp. 382-387, (2007); Digital Current: Art In The Electronic Age, Author: Margot Lovejoy, Routledge, (2004).