Note: If you see this text you use a browser which does not support usual Web-standards. Therefore the design of Media Art Net will not display correctly. Contents are nevertheless provided. For greatest possible comfort and full functionality you should use one of the recommended browsers.
 
Bill Seaman «The Exquisite Mechanism of Shivers» | Screenshot from the CD artintact1
Bill Seaman, «The Exquisite Mechanism of Shivers», 1991
Screenshot from the CD artintact1, 1994 | Screenshot | ©
 


 
 
Australia | 28' | Concept: Bill Seaman | Director: Bill Seaman | Camera: Bill Seaman | Sound: Bill Seaman | Music: Suhanya Raffel (Cello), Bill Seaman | Programming: New York Production and Design Crows Nest | Schnitt: Bill Seaman, Bernadette Jones | Edition / Production: Bill Seaman / ICC Tokio | Archive / Collection: ZKM Videosammlung, Karlsruhe
 

 Bill Seaman

b 1956 (USA); 1975–1977 Rhode Island School of Design; 1979 B.F.A. San Francisco Art Institute; 1985 M.A. in Visual Studies at M.I.T; 1982 Adjunct Faculty, Sculpture Department, Rhode Island School of Design, Providence, RI; 1986/87, 1989 Lecturer, Massachusetts Institute of Technology, Cambridge, MA: 1987-88; Adjunct Faculty, Video Rhode Island School of Design, Providence, R.I.; 1990 Lecturer, Sydney College of the Arts, University of Sydney and 1992-95 Senior Lecturer, Media Art College of Fine Arts, University of New South Wales; 1996-99 Associate Professor and Director of Graduate Program Imaging and Digital Arts, University of Maryland, Baltimore, Maryland; 1999-2002 Professor, Department of Design and Media Arts, UCLA, Los Angeles, CA; Head, Digital Media Department, Rhode Island School of Design, Providence, R.I.; 1993–1994 artist-in-residence at ICC Tokyo (J) and ZKM Karlsruhe (D); 1995 at C3-Center for Culture & Communication; Budapest (H); Ph.D. at the University of Wales, Centre for Advanced Inquiry into Interactive Art; lives in Providence, RI.
Bill Seaman's work has developed a unique visual language. His early videotapes already explored image-text combinations. The interactive installations of the 1990s confront the visitor with a high potential of combinations of text, still images and moving images in an attempt to offer parallel accesses to narrative. The intensity of the work is driven by a tight texture of individually readable structures offered in a poetic space.