Melissa Ragona Bio

A Center fellow in 2001-2002, Melissa Ragona was a visiting assistant professor in the Department of English during the 2002-2003 school year, where she coordinated the University Film Festival. Ragona's critical and creative work focuses on sound design, film theory and new media practice and reception. Her essay, "Hidden Noise: Strategies of Sound Montage in the Films of Hollis Frampton," appeared in the journal, October in 2004. She also participated in the Princeton conference: Gloria! The Legacy of Hollis Frampton (November 2005) in which she addressed the relationship between film and sculpture in the work of structuralist filmmaker Hollis Frampton and sculptor Carl Andre. Her essay, "From Abstract Expressionism to Popism: Marie Menken's Cinematic Study of an Aesthetics of Surface," is forthcoming in the Duke University Press book, Women Experimental Filmmakers this spring. Two other critical essays, one on the use of sound in the work of filmmaker Paul Sharits, the other on experimental film and sculpture will be appearing in books from University of Minnesota Press and Centre for British Film and Televisions Studies in London, respectively. She is currently working on a book manuscript: Readymade Sound: The Recording Aesthetics of Andy Warhol, which examines Warhol's tape recording projects from the mid-sixties until the late 70s in light of the rich history of audio experiments in modern art in which sound and listening became central objects of study. Ragona is currently Assistant Professor of Art in the School of Art at Carnegie Mellon University.

	*Melissa Ragona, Assistant Professor of Art*
	A Center fellow in 2001-2002, Melissa Ragona was a visiting assistant professor in the Department of English during the 2002-2003 school year, where she coordinated the University Film Festival. Ragona's critical and creative work focuses on sound design, film theory and new media practice and reception. Her essay, "Hidden Noise: Strategies of Sound Montage in the Films of Hollis Frampton," appeared in the journal, October in 2004. She also participated in the Princeton conference: Gloria! The Legacy of Hollis Frampton (November 2005) in which she addressed the relationship between film and sculpture in the work of structuralist filmmaker Hollis Frampton and sculptor Carl Andre. Her essay, "From Abstract Expressionism to Popism: Marie Menken's Cinematic Study of an Aesthetics of Surface," is forthcoming in the Duke University Press book, Women Experimental Filmmakers this spring. Two other critical essays, one on the use of sound in the work of filmmaker Paul Sharits, the other on experimental film and sculpture will be appearing in books from University of Minnesota Press and Centre for British Film and Televisions Studies in London, respectively. She is currently working on a book manuscript: Readymade Sound: The Recording Aesthetics of Andy Warhol, which examines Warhol's tape recording projects from the mid-sixties until the late 70s in light of the rich history of audio experiments in modern art in which sound and listening became central objects of study. Ragona is currently Assistant Professor of Art in the School of Art at Carnegie Mellon University.