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Proceedings Of Stillness Proceedings Editors Professor Suzette Worden Professor Lelia Green Dr Paul Thomas 1 2 Proceedings of Computers in Art and Design Education (CADE) Conference Stillness 12-14 September 2007 Perth, Western Australia Editors Professor Suzette Worden Professor Lelia Green Dr Paul Thomas ISBN 1 74067 530 4 3 Proceedings of Computers in Art and Design Education (CADE) Conference Stillness 12-14 September 2007 Perth, Western Australia Published by Curtin University of Technology, GPO Box 1987, Perth, Western Australia, 6845 ISBN 1 74067 530 4 Editors: Professor Suzette Worden Professor Lelia Green Dr Paul Thomas All papers have been peer reviewed through a double-blind refereeing process, in accordance with the Australian Government Department of Education, Science and Training (DEST) standards. See: http://www.dest.gov.au/sectors/research_sector/online_forms_services/higher_education_research_data_collection.htm Copyright notice: Personal and scholarly use of this material is permitted. However permission to reprint/publish this material for advertising, promotional or commercial purposes, or for creating new collective works for resale or redistribution to lists or servers, or to use any copyrighted component of this work in another work, must be obtained from the individual authors, and the conference organisers. Authors may freely re-use and distribute their own articles but must note that the article was first published in these proceedings. 4 Proceedings of Computers in Art and Design Education (CADE) Conference Stillness The Biennale of Electronic Arts Perth (BEAP) is proud to host the 2007 Computers in Art and Design Education (CADE) Conference as part of its education programme. The CADE Conference is a major international event for those interested in exploring ideas which converge at the intersection of pedagogical methods, arts, design, science, and technology. Over three stimulating days, forty educators, creative arts practitioners and theorists at the forefront of their practice will explore the latest research and technologies. They will discover new professional methodologies for creative arts education as they contemplate the theme "Stillness". CADE 2007 conference proceedings will challenge and stimulate you to consider the paradox of "Stillness" in the face of emergent technologies. Professor Suzette Worden Professor Lelia Green Dr Paul Thomas 5 Foreword The CADE Conference is a major international event for those interested in exploring ideas converging at the intersection of pedagogical methods, arts, design, science, and technology. This is the first CADE conference to be held outside Europe, and we invite you to join delegates from Australia, USA, Denmark, Canada, United Kingdom, Germany, Turkey, New Zealand, Japan and Italy. Over three stimulating days, forty educators, creative arts practitioners and theorists at the forefront of their practice will explore the latest research and technologies. They will discover new professional methodologies for creative arts education as they contemplate the theme ‘stillness’. CADE 2007 will challenge and stimulate you to consider the paradox of ‘stillness’ in the face of emergent technologies. KEYNOTE ADDRESS 1: a discussion reflecting on twenty-one years of change and achievements by the association for Computer aided art and design education (Caade, the precursor of today’s Cade), in which Paul Brown will explore computational aesthetics in art schools. PRESENTER: Paul Brown (Australia), Professor, University of Sussex; artist/writer Paul Brown has been specialising in the convergence of art, science and technology since the late 1960s, and in computational and generative art since the mid 1970s. He has exhibited internationally over the past four decades and participated in exhibitions at the Tate, Victoria & Albert, and ICA in the UK; the Adelaide Festival; ARCO in Spain and the Venice Biennale. He is represented in public, corporate, and private collections in Australia, Asia, Europe, Russia and the USA. Paul Brown became the founding head of the UK’s national Centre for Computer aided art and design in 1984. In 1994 he returned to Australia, after a two-year appointment as Professor of Art and Technology at Mississippi State University, to head Griffith University’s Multimedia Unit. In 1996 was the founding adjunct Professor of Communication Design at the Queensland University of Technology. 6 KEYNOTE ADDRESS 2: an insight into Symbiotica’s Masters in Biological Arts – a course facilitating research at the intersection of art and science. PRESENTERS: Oron Catts (Australia), Artistic Director of Symbiotica, Artist/Researcher/Curator; Ionat Zurr (Australia), Co-ordinator of Master of Biological Arts, Artist/ Researcher/Curator. The Masters in Biological Arts is an innovative course offered through the Faculty of Life and Physical Science at the University of Western Australia. The course is designed for art practitioners, scientists and humanities scholars who wish to engage in interdisciplinary studies as a foundation for creative bioresearch. Oron Catts and Ionat Zurr specialise in tissue technologies as a medium for artistic expression. They co- founded the Tissue Culture and Art Project (TC&A) in 1996. This project investigates human relationships with different gradients of life through the construction and growth of a new class of object and being – the Semi-Living. TC&A has been exhibited in galleries and museums throughout Europe, North America, Asia and Australia in events such as Ars Electronica (2000), the 2002 Adelaide Biennale of Australian Art, and ISEA. KEYNOTE ADDRESS 3: a presentation on Cybernetics and Serendipity. PRESENTER: Ranulph Glanville, CybernEthics Research, UK, and Bartlett School of Architecture, UCL, UK. Ranulph Glanville studied architecture (spending most of the time working in experimental electronic and electro-acoustic music/performance), followed by cybernetics and then human learning. He has published extensively in all three fields. He has taught in Universities around the world. He currently holds a post as Professor of Architecture and Cybernetics at University College, London, and is an Adjunct Professor and Senior Visiting Research Fellow at the Royal Melbourne Institute of Technology University. He is visiting professor at several Australian and other universities. He was recently awarded a DSc for his seminal work in Cybernetics and Design. He has a small, wide ranging art practice founded in musical composition. His hobby is whichever of his interests he is not currently involved in. He is married to the Dutch physiotherapist Aartje Hulstein: they live on the south coast of England. His son, Severi, works in digital post production. 7 Papers (Alphabetically by first named author) Ajaykumar Towards Other Epistemologies of Interface 11 Culture: The Pertinence of Emptiness-Presence, and Void for Contemporary Technology Dr. Shannon Bell 'Dynamic Stillness': Imaging Stillness @ The 17 Dead Sea. A Bringing Together of Performance and Heideggerian Philosophy Margaret A. Boden Stillness as Autonomy 23 Christin Bolewski Video painting: A hybrid between the Still and 30 Moving image Anthony Brooks and Stillness Design attributes in Non-formal 36 Eva Petersson Rehabilitation Dirk de Bruyn The Body Keeps the Score 45 Peter R. Diprose, Robert Posturbanism and Paradise: Real Gardens, 52 D. Hotten and Kelly J. Vicarious Landscapes or Virtual Arenas for O'Meara Stillness and Spectacle Catherine Fargher and Stillness and Presence in the Performance and 60 Terumi Narushima Sound Design of BioHome: The Chromosome Knitting Project Ranulph Glanville The Edge of Stillness 68 Marc Godts, Nel A Practice-based Research Project on Science, 75 Janssens and Carl Technology, Art and Design [SILENT WHITE Bourgeois AS HELL: INTUITIVE AND EMOTIVE TOOLS with SILENT EMPATHIC FEEDBACK] Sue Gollifer - Out of GAMUT 87 Lelia Green Evaluating Quality Practice-led Research: Still a 95 Moving Target? Dr Dew Harrison and Dr Digital Daydreaming as Stillness: a 103 Barbara Rauch 'Disappearance' from the Everyday into the Art 8 Falk Heinrich The Aesthetics of Interactive Artefacts - thoughts 111 on Performative Beauty Cat Hope Silence As Stillness? Sonic Experiences in Art 118 using Infrasonics Jo Law and Aldegonda Artists and Designers as Collectors: the 123 Bruekers Aesthetics of Digital Journaling Mark McGuire World Wide Soundscapes: Listening to the Local 131 Frieder Nake, Matthias The Sound of Silence in Spaces of Many 137 Krauß and Susanne Dimensions Grabowski Luigi Pagliarini The Polymorphic Intelligence 146 Mark Palmer Dispelling the Ghosts of the Past: Stillness as a 153 Gate to the New Eva Petersson and ArtAbilitation®: An Interactive Installation for 159 Anthony Brooks the Study of Action and Stillness Cycles in Responsive Environments Sita Popat & Scott A Full Innocence: The Paradox of Stillness in 171 Palmer Movement Dominic Redfern Still Here - the Moving Image in the Static 179 Gallery Michaela Reiser Concepts of Stillness 185 Margaret Seymour Dis/appear: a Video Installation Exploring 193 Stillness and the Thickness of Time Robert W. Sweeny Stillness between the Nodes of the Networked 198 Classroom Gaye Swinn In The Eye of the Storm: An Unexpected Calm 203 may be Discovered in the Crafting of Virtual Worlds Paul Thomas Materiality and Immateriality 209 Tim Thomas Stillness: Articulating Space within the Still 217 Image: Positioning Photography now that it is "Dead" Martin W. Trevor Perceived Usability: how Computer Interaction 223 Design
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