Centre for Advanced Studies in Interactive Arts, Universi

Total Page:16

File Type:pdf, Size:1020Kb

Centre for Advanced Studies in Interactive Arts, Universi VICTORIA VESNA, Ph.D. victoriavesna.com EDUCATION 2000 Ph.D. CAiiA - Centre for Advanced Studies in Interactive Arts, University of Wales, UK Thesis: “Networked Public Spaces: An Investigation into Virtual Embodiment” 1984 Fine Arts Diploma -Faculty of Fine Arts, University of Belgrade, Yugoslavia 1976 HS of Art & Design, New York. PRINCIPAL FIELDS OF INTERESTS Practice | Theory of: Art + Science, Nano, Biotech + Art, Sonification, Corporate Culture + Technology, Social Networks + Education, Database Aesthetics, Context, Human Networks + Natural systems, Installations, Site- specific works, Performance and Audience Interaction. ACADEMIC POSITIONS 1999 – present Professor, Dept. of Design | Media Arts, UCLA 2005 – present Founder, Director, Art | Sci Center + Lab, UCLA School of the Arts + California NanoSystems Institute (CNSI) 2017 – present Visiting Professor, Interface Cultures, University of Linz, Austria 2014 – 2019 Visiting Professor, Empowerment Informatics Program, University of Tsukuba, Japan 2009 – 2012 Visiting Professor / Director of Research, Department of Art, Media + Technology, Parsons the New School for Design, NY 2011 – Fall Visiting Professor, School of Creative Media, Hong Kong 1999 – 2007 Chair, Dept. of Design | Media Arts, UCLA 2006 – 08 Founder, Director, D|MA Summer Institute, UCLA 2005 – 08 Director, UC Digital Arts Network (UC DARnet) 1995 – 99 Associate Professor, UC Santa Barbara 1992 – 95 Assistant Professor, UC Santa Barbara INDEPENDENT WORK EXPERIENCE 1988 Video production, Film/Video Arts, NY. (editor) 1982 Video production, Center for Media Arts, NY. (intern) Photo silk-screening, Andy Warhol factory. (intern) SOLO EXHIBITIONS & PERFORMANCES 2020 [Alien] Star Dust – Raw Science film festival, April 17, Los Angeles (postponed COVID 19) Premiere of [Alien] Star Dust at the Natural History Museum, March 10 Vienna, NHM Vienna NanoMandala at the Pure Land farms: Tibetan New Year (Losar), February 23, Topanga CA 2019 Solo sound performance We are all animals Klang Moor Schopfe, August 30, Gais, Switzerland Noise Aquarium at the aMORE festival, August 27 Pula, Croatia “Noise Aquarium: VR”, Klang Moor Schopfe, August 29th – September 12th, Gais, Switzerland “We are All Animals”, performance, September 1st, Klang Moor Schopfe “Noise Aquarium” installation with AR, live plankton. aMORE festival, Museum of Maritime History, August 27th – September 7th, Pula, Croatia. “Noise Aquarium: VR”, SIGGRAPH 19, LA Convention center, August 2nd – 5th, Los Angeles.CA. “Hox Zodiac dinner”. Malina residence, Paris, France “Noise Aquarium: VR”, Vienna Biennale for Change, May 27th – June 5th, Vienna, Austria. “Hox Zodiac luncheon”, Oregon Museum of Science & Industry (OMSI), April 12th, Portland, Oregon. “Hox Zodiac” Private dinner at Josely Carvalho’s home, March 2nd, New York city. “Noise Aquarium”, January 25th -- 27th, Raw Science Festival, Los Angeles 2018 “Noise Aquarium”. Ars Electronica Deep Space 8K, September 6-11, Linz, Austria. 1 International Nanoscience Institute, October 14-17, Braga, Portugal. “Hox Zodiac”. Building Bridges Art Exchange gallery, Bergamot station, May 26th – July 9th, Santa Monica. Octopus Brain Storming. LA Art Show, Modern + Contemporary, January 10-14, LA Convention center 2017 “Bird Song Diamond”. Ars Electronica 8K Deep Space. September 7-11, Linz, Austria 2016 “Hox Zodiac dinner & cookbook launch”. UCLA Fowler Museum of Art, November 30th “Octopus Brain Storming”, Performance with neuroscientist Mark Cohen, UCLA Luskin center, October 7th “Hox Zodiac Dinner”, performance with Siddharth Ramakrishnan. Museum of Natural History, Puget Sound University, Tacoma. March 4th. “Bird Song Diamond”, installation – Large Space, Empowerment Informatics Program (EMP), University of Tsukuba, Japan – January 25th 2015 “Bird Song Diamond”, participatory performance, Times square Alliance, NY, July 9th “Hox Zodiac dinner”, participatory performance, Angawendte Innovation Laboratory (AIL), October 23rd; Heiligenkreuzer hof, Angewandte, Vienna, Austria, October 11th. 2014 “Hox Zodiac Dinner, UCLA Art | Sci Center, Los Angeles, CA, December 4th “Bird Song Diamond”, UCLA Art | Sci Center, Los Angeles, CA, November 7th. “Bird Song Diamond” Installation, UCLA Murphy Sculpture Garden, July 25th – 28th. “Blue Morph”, Musée d’Histoire Naturelle, Palais Longchamp, Marseille, France, June 20th, 2013 -- January 10th 2013 “Octopus Mandala Glow”, Lead Artist Commission, GLOW Art Event, Santa Monica Wheel, Pacific Park, Santa Monica Pier, Santa Monica, CA, September 28th. Luna Park Wheel, Sydney, Australia (with Lea Kannar), September 20th. Seattle Wheel, Seattle, WA (with Siddharth Ramakrishnan), September 15th. Coney Island Wonder Wheel, Brooklyn, New York City, NY (with Ardele Lister), September 8th. La Grande Roue, Marseille, France (with Margaut Gastard), August 21st – September 1st. 2012 “Blue Morph”,, Science Gallery, Dublin, Ireland, September 14th – November 14th. “WELL Beings” with Anna MacLeod and a group of artists. TRADE Residency, Sculpture Centre, Manorhamilton, Ireland, September 17th – 21st. “Blue Morph” and “Zero@wavefunction”, MORPHONANO, a decade of collaboration with James Gimzewski, Beall Center for Art + Technology, UC Irvine, CA, February 2nd – May 27th 2011 “Blue Morph”, New York Electronic Art Festival, St. Cornelius Chapel, Governor’s Island, New York City, NY, May 30th – September 30th. Baltic Sea International Cultural Centre / St. John’s Cathedral, Gdansk, Poland, May 12th – June 15th. Rensselaer Polytechnic Institute, Troy, NY, March 31st - April 12th. “Dog Nose Knows”, UCLA Society and Genetics Symposium: Made for Each Other? Human and Dog Co-evolution, Los Angeles, CA, February 25th – 26th. 2006 - 2011 “NANO” – Five installations: Cell Ghosts / Nanomandala / Zerowave / Quantum tunnel / Kaleidoscopes. Science Centre Singapore, Jurong East, Singapore. (Five Year Commission) Singapore Science Museum 2010 “Blue Morph”, Installation. Theater DoZ, Santa Ynez, CA, March 20th. 2009 “The Katrina Project: NO-LA.” Information Aesthetics, SIGGRAPH 2009, New Orleans, LA, August 3rd – 7th. 2 “Blue Morph”, Installation. Integratron, Joshua Tree, CA, January 1st. 2008 “Quantum Tunnel” Installation. Medienkunstlabor (Media Art Laboratory), Graz, Austria, November 21st - December 20th. Institut für Elektronische Musik und Akustik (IEM). “Blue Morph”, Installation. ENTERmultimediale Festival 3 – International Festival for Arts, Sciences, and Technologies, Prague, Czech Republic, May 11th, 2007 – July 1st. “NANO: A New World Poetics” – “Nano Poética de um Mundo Novo”, Museu de Arte Brasileira, São Paulo, Brazil, April 12th – June 1st. 2007 “Blue Morph”, Installation. CIANT Gallery, Prague, Czech Republic, September 11th – November 25th. Tesla: Extraterrestrial Vibrations. Integratron, Joshua Tree, CA. June 9th. 2006 “Water Bowls”, Organized Symposium “4th State of Water”, CNSI, UCLA, Los Angeles, CA, March 22nd – 23rd. 2005 “Nanomandala” Installation. Location One Gallery, New York City, NY. December 16th, 2004 – January 29th. 2004 Nanomandala” Installation. Studio Stefania Miscetti, Rome, Italy, March 30th – April 30th. “Any/Nano/Body,” In Collaboration with Choreographers Norah Zuniga-Shaw and Marianne Kim, LACMA West, Los Angeles, CA, June 12th and September 5th. “Nano Fashion”, The Annual Otis Scholarship Benefit and fashion Show. In Collaboration with fashion designer Isabel Toledo. Beverly Hilton Hotel, Los Angeles, CA. "Cellular Trans_Actions." Performance. The LAB, San Francisco, CA, November 10th. “NANO." “Quantum Tunnel”, “Cell Ghosts”, Nanomandala In collaboration with James Gimzewski. Los Angeles County Museum of Art (LACMA), Los Angeles, CA, December 14th, 2003 – September 6th. 2001 Avatars & Others: “Cellular Trans_Actions: 091101”. Edith-Ruß-Haus für Medienkunst, Oldenburg, Germany, September 14th. “2001 California Digital Arts Workshop and Summit: The Arts and Streaming Media”, A Presentation of the American Film Institute, Los Angeles, CA, August 16th – 18th. 1997 "Bodies© INCorporated", Interactive Installation. San Francisco Art Institute, CA, November 10th. “Dublin Bodies”, Interactive Installation. Art House, Dublin, Ireland. 1995 "Another Day in Paradise", Interactive Installation. Irvine Fine Arts Center, Irvine, CA. 1989 "Crnica", Installation. SKC Gallery, Belgrade, Serbia (Former Yugoslavia). "Sometimes a Cigar is Only a Cigar (Freud)", Video Installation (Premiere). Special projects, MoMA PS1 Museum, Long Island City, New York City, NY. 1987 "Sictransitgloriamundi”, Installation. Yugoslav Cultural Center, New York City, NY. 1986 "Sictransitgloriamundi", Performance. Moltkerei Workspace, Cologne, Germany. 1985 "Thunderbolt", Performance and Video. Festival Nacional L'Unita, Ferrara, Italy. "Red Angel", Performance and Video. Pyramid, Kamikaze, Danceteria, New York City, NY. "Vicious Circle/ Golden Lies", Performance and Film. SKC Gallery, Belgrade, Serbia (Former Yugoslavia). 1984 "Black Rain", Performance. Pyramid Club, New York City, NY. "Thunderbolt", Installation and Performance. SKC Gallery, Belgrade, Serbia (Former Yugoslavia). "Red Angel", Environmental Installation and Performance. Motovun, Croatia (Former Yugoslavia). 3 GROUP SHOWS / INSTALLATIONS / PERFORMANCES 2019 “Bird Song Diamond”, 5th Art & Science International Exhibition and Symposium, National Museum of China, November 2nd -27th, Beijing VR Noise Aquarium at the Klang Moor Schopfe, August 29 to September 8, Gais, Switzerland “Bodies INC 2.0”, PATTERNS exhibition, April 11 – May 7th, University of
Recommended publications
  • About the Contributors
    254 About the Contributors Dew Harrison is a Professor of Digital Media Art and works as the Associate Dean for Research and Postgraduate Study at the University of Wolverhampton, School of Art and Design, where she is also the Director of CADRE, Centre for Art, Design, Research, and Experimentation. She is a research- er and practitioner with a BA in Fine Art, an MA in Contemporary Art Theory, an MSc in Computer Science, and a PhD from the Planetary Collegium, CAiiA, in Interactive Art. Her practice undertakes a critical exploration of conceptual art, semantic media, and intuitive interfaces where she often works collaboratively and considers virtual curation a form of art practice. She continues to show her work internationally; most recently, two of her Digital Action Painting series were exhibited at the Centre for Contemporary Art in Poland, and has over 50 publications to date spanning digital art, consciousness studies, interactive games, art history, and museology. * * * Rina Arya is the Reader in Visual Communication at the University of Wolverhampton. Her research interests are interdisciplinary and include art theory and cultural studies. Her most recent monograph is Francis Bacon: Painting in a Godless World (Farnham, 2012). Forthcoming publications include Chila Kumari Burman: A Celebration of Shakti (KT Press) and Abjection and Representation (Palgrave Macmillan). Judith Aston was a pioneer in the emergent multimedia industry of the mid-1980s, working on projects with Apple Computing, the BBC Interactive Television Unit, and Virgin Publishing. Holding an MA in Social Science from the University of Cambridge, she went on to study for a PhD in Visual Anthropology and Computer-Related Design at the Royal College of Art, which she completed in 2003.
    [Show full text]
  • Full Academic CV
    EDWARD A. SHANKEN Digital Arts & New Media http://www.artexetra.com Digital Arts Research Center, 302 eshanken ‘at’ ucsc ‘dot’ edu University of California, Santa Cruz 95064 831.459.5485 EDUCATION Duke University Durham, North Carolina. Ph.D., Art History, 2001; M.A., Art History, 1999. Yale School of Organization and Management New Haven, Connecticut. M.B.A., 1990. HaverforD College Haverford, Pennsylvania. B.A., Fine Art, 1986. ACADEMIC APPOINTMENTS University of California, Santa Cruz, Associate Professor, Arts Division, 2016-present. Director, Digital Arts and New Media MFA program, 2016-17. RhoDe IslanD School of Design, Associate Professor, Digital+Media, 2015-16. University of Washington, Visiting Associate Professor, Digital Arts and Experimental Media, 2013-2015. University of Memphis, Dorothy Kayser Hohenberg Chair of Excellence in Art History, 2012-2013. VU University, AmsterDam, Netherlands. Docent, Comparative Arts and Media, 2011-12. University of AmsterDam, Netherlands. Universitair Docent, New Media and Culture, 2008-10. Donau University Krems, Austria. Graduate Faculty of Media Art History, 2007-10. Savannah College of Art & Design, Savannah, Georgia. Professor of Art History and Media Theory, 2004-07. Duke University, Durham NC • Executive Director, Information Science + Information Studies program (ISIS), 2001-04. • Adjunct Assistant Professor, Information Science + Information Studies (ISIS), 2002-4. • Lecturer, Art History, Comparative Area Studies, Markets and Management Studies, 1996-2001. Venice International University, Venice, Italy. Visiting Professor of Art History, 1999. FELLOWSHIPS AND GRANTS New Mexico Humanities Council, grant to lead art writing seminar at Currents New Media festival, 2015. University of Washington, Bergstrom Award for Art and Science (to fund Art & Brain Lab), Co-PI, 2014.
    [Show full text]
  • Xiaoying (Juliette) Yuan
    Xiaoying (Juliette) Yuan Female | lives and works in New York | Permanent resident in the United States of America Email: [email protected] Website: http://julietteyuan.net CURATORIAL | PRODUCTION Curator/Producer for Exhibitions Jul. 12 to Aug. 31, 2013 Lost in the Labyrinth: Sound Art in China group exhibition Cloud.Data interactive iPad installation for 2013 New York Electronic Art Festival, organized by Harvestworks Digital Media Arts Center (NYC) Oct. 1, 2012, to Mar. 31, 2013 Roy Ascott: Syncretic Cybernetics, the first retrospective for the British pioneer artist and theorist, commissioned by the 2012 Shanghai Biennial (Section Resources), Power Station of Art, Shanghai, China Oct. 1-3, 2011 Gravitational Field: 2011 Himalayas Cross-Media Festival, commissioned by Shanghai Himalayas Art Museum, Shanghai, China Jun. 18 to Aug. 28, 2011 Beijing International New Media Arts Festival, organized by Songzhuang Art Center [Beijing, China], Association of Digital Art China [Beijing, China], in collaboration with Ars Electronica [Linz, Austria] Anxiety: Chinese younG video artists Group exhibition, Xiaoping Gallery, Shanghai, China Sep. 28 to Oct. 1, 2006 PLAY(S) – International Digital & Multimedia Arts Exhibition, within The Third China Animation Film Festival, commissioned by the Ministry of Culture in China, Changzhou International Convention and Exhibition Center, Changzhou, China June to September, 2005 Tiles and Drawings, interactive installation by Dutch artist Geert Mul, supported by v2_Institute for the Unstable Media (the
    [Show full text]
  • Contributors
    Contributors Roy Ascott is the founding director of the international research network Planetary Collegium (CAiiA-STAR), Professor of Technoetic Arts at the University of Plymouth (England), and Adjunct Professor in Design/Media Arts at the University of California at Los Angeles. He conducts research in art, technology, and consciousness and edits Technoetic Arts. He pioneered the use of cybernetics and telematics in art at the Venice Biennale and Ars Elec- tronica, among others. His most recent publication is Telematic Embrace: Vi- sionary Theories of Art Technology and Consciousness, edited by Edward A. Shanken (University of California Press, 2003). The address of his Web site is <http://www.planetary-collegium.net/people/detail/ra>. Anna Freud Banana began her art career producing batik fabrics and wall hangings but switched to conceptual/performance work with her Town Fool Project in 1971. Through the Banana Rag newsletter, she discovered the In- ternational Mail Art Network (IMAN) which supplies her with banana ma- terial, a sense of community, and affirmation of her conceptual approach. Whether publishing or performing, her intention is to activate her audience and to question authorities and so-called sacred cows in a humorous way. In- ternational Performance/Events and exhibitions on walls, from 1975 to pres- ent, are detailed at <http://users.uniserve.ca/~sn0958>. Tilman Baumgärtel is a Berlin-based independent writer and critic. His re- cent publications include Games. Computerspiele von KünstlerInnen Ausstellungs- katalog (Games. Computergames by artists. Exhibition Catalogue) (2003); Install.exe: Katalog zur ersten Einzelausstellung des Künstlerpaars Jodi bei Plug-In, Basel, Büro Friedrich, Berlin, und Eyebeam, New York (Catalogue for the first solo show of the art duo Jodi at Plug-In, Basel, Büro Friedrich, Berlin, and Eyebeam, New York) (2002); net.art 2.0 Neue Materialien zur Netzkunst / net.art 2.0 (New Materials toward Art on the Internet) (2001); net.art Materi- alien zur Netzkunst (2nd edition, 2001); lettische Ausgabe: Tikla Maksla (2001).
    [Show full text]
  • Victoria Vesna Is an Artist, Professor and Chair of the Departm
    VICTORIA VESNA University of California, Los Angeles Professor, Department of Design | Media Arts Director, Art | Science center Broad Art Center Los Angeles, CA 90095 http://vv.arts.ucla.edu [email protected] tel: 310.794.2118 DOB: 6.9.59, Washington D.C. EDUCATION 2000 Ph.D. - CAiiA - Centre for Advanced Studies in Interactive Arts, University of Wales, UK. Thesis: Networked Public Spaces: An Investigation into Virtual Embodiment 1984 Fine Arts Diploma - Faculty of Fine Arts, University of Belgrade, Yugoslavia 1976 HS of Art & Design, New York. PRINCIPAL FIELDS OF INTERESTS Practice | Theory of: Art & Science, Fashion & Technology, Corporate Culture & Technology, Social Networks, Data Visualization, Database Aesthetics, Context, Human Networks, Natural systems, Installations, Performance. ACADEMIC POSITIONS 1992-95, Assistant Professor, UC Santa Barbara 1995-99, Associate Professor, UC Santa Barbara 2000-present, Professor, UCLA 2004-07, Director, UC Digital Arts Network 2005-07, Director, D|MA Summer Institute, UCLA 2006-present, Director, Art | Sci center / lab, Art & Architecture / California Nanosystems Institute SOLO / COLLABORATIVE EXHIBITIONS & PERFORMANCES 2007 “Blue Morph.” Installation. In collaboration with James Gimzewski. ENTERmultimediale festival 3. May 11, 2007 – July 1, 2008. “Blue Morph.” Installation, Tesla: Extraterrestrial Vibrations. The Integratron, Joshua Tree, June 9. “Blue Morph.” Happening. The Integratron, Joshua Tree. June 9. 2005 “Nanomandala.” Location One Gallery, New York. Dec 16, 2004- Jan 29, 2005. 2004 "Nanomandala", NOTT MEMORIAL, New York. April 11 - April 24. “Nanomandala.” Stefania Miscetti Studio, Rome, Italy. March 30 - April 30; “Any/Nano/Body”. In collaboration with choreographers Norah Zuniga-Shaw, Marianne Kim. LACMA West, L. A., CA. Sept 5. “Nano Fashion”. The Annual Otis Scholarship Benefit and fashion Show.
    [Show full text]
  • Emergent Form Emergent Mind Arte Na Vanguarda Da Net O Futuro Será Úm Ido!
    E-MATERIALISATION WET physics of bio­ information technology emergent form emergent mind Arte na vanguarda da Net O futuro será úm ido! Roy Asc ott o artigo apresenta os fundamentos para a compreensão de termos como "m idiaúmida" e do atributo que Roy Ascott vem a chamar de "pra gma tismo visionário", bases paro o desenvolvimento de um orga nismo planetário de pesquisa em arte, tecnologia e consciência. Midiaúmida ; pragmatismo vi sionário: Plane wry Collegium. Manifesto úmidol Assim como o desenvolvime nto da mídia interativa no século passado transformou o o Espaço Úmido é para onde pixe/s secos e mundo da impressão e da transmissão de moléculas molhadas convergem. informação e substituiu o culto ao objeto de arte por uma cultura baseada em processo, no início A Arte Úmida é digitalmente seca, deste século vemos mais uma mudança artística, biologicamente molhada e espiritualmente à medida que silício e pixe/s fundem-se com transcendente. moléculas e matéria. Entre o mundo seco da virtualidade e o mundo molhado da biologia A Realidade Úmida combina Realidade Virtual encontra-se um domínio úmido, um novo com Realidade Vegetal. interespaço de potencialidade e promessa. A midiaúmida (incluindo bits, átomos, neurônios e A Mídia Úmida compreende bits, átomos, genes em todos os tipos de combinação) irá neurônios e genes. constituir o substrato da arte de nosso novo século, uma arte transformadora, preocupada A Mídia Úmida é interativa e psicoativa. com a construção de uma realidade fiuida. Isso significará o alastramento da inteligência para A Vida Úmida abarca identidade digital e ser cada parte do ambiente construído e o biológico.
    [Show full text]
  • 4 the Psychedelic Landscape
    University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 2011 Communicating the Unspeakable: Linguistic Phenomena in the Psychedelic Sphere Slattery, Diana R. http://hdl.handle.net/10026.1/549 University of Plymouth All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. 3 Author's Declaration At no time during the registration for the degree of Doctor of Philosophy has the author been registered for any other University award without prior agreement of the Graduate Committee. This study was self-financed. Relevant scientific seminars and conferences were regularly attended at which work was often presented; several papers were prepared for publication. These are listed in Appendix IV. Word count of main body of thesis: 87, 322. Signed l'>^!:f:ffif:?:^...^.! Date ..Zl..d^^$:^..^.±LL COMMUNICATING THE UNSPEAKABLE: LINGUISTIC PHENOMENA IN THE PSYCHEDELIC SPHERE by DIANA REED SLATTERY A thesis submitted to the University of Plymouth in partial fulfillment for the degree of DOCTOR OF PHILOSOPHY Planetary Collegium Faculty of Arts AUGUST 2010 Copyright Statement This copy of the thesis has been supplied on Condition that any one who consults it is understood to recognize that its copyright rests with its author and that no quotation from the thesis and no information derived from it may be published without the author's prior consent.
    [Show full text]
  • THE STORY SO FAR: 1998 to the Present Day
    i-DAT, Room B315, Portland Square building, Plymouth University, Plymouth, Devon, UK, PL4 8AA url: i-DAT.org eml: [email protected] tlf: ++44-(0)1752 586201 i-DAT – THE STORY SO FAR: 1998 to the present day . What is i-DAT? . Who are i-DAT people? . Our projects . An i-DAT timeline i-DAT: sharing the art of technology i-DAT is an open research lab for playful experimentation with creative technology, pushing the boundaries of digital art and creative media worldwide. We create and collaborate with artists through events and residencies, developing and producing digital art and technologies – some of which turn into tools and applications for wider uses. Our works stimulate public participation and engagement and are designed to be shared openly for social, economic and cultural benefit. i-DAT, an Arts Council England National Portfolio Organisation, is hosted by Plymouth University. Connect with i-DAT: social: www.facebook.com/idat.org & @idatorg code: github.com/I-DAT/ i-DAT, Room B315, Portland Square building, Plymouth University, Plymouth, Devon, UK, PL4 8AA url: i-DAT.org eml: [email protected] tlf: ++44-(0)1752 586201 Don’t give up the play job… “Combinatory play seems to be the essential feature in productive thought.” ― Albert Einstein The world needs new ideas. But from where do they come? Inspiration strikes when you least expect it. When you’ve stopped trying too hard. When you play. At i-DAT - the Institute of Digital Art and Technology - we have a long history of playing with technology. That play involves collaborations that lead to artistic practice, which pushes the boundaries of art and creative media.
    [Show full text]
  • 1 Professor YACOV SHARIR, Short Biographical Overview
    Professor YACOV SHARIR, Short Biographical Overview ------------------------------------------------------------------------------------------------------------ Professor Yacov Sharir is a dancer, choreographer, and multimedia artists who pioneered the inclusion of new and interactive technologies in education and performance practice. He is a frequent keynote speaker at arts and technology conferences/symposia in the USA and around the world. Sharir currently researches and speaks of issues related to wearable computers/devices, technologically charged interactive systems, virtual reality, interactive video art/games, and the creation of computer animated cyber human performers. In addition to teaching dance, improvisation, and choreography at the University of Texas, Sharir teaches computer-aided art courses in virtual reality/cyberspace, and multi- disciplinary art and technology graduate courses. Sharir graduated from the Bezalel Academy of Art in sculpture and ceramics and continued his studies in dance at the Rubin Academy of Music and Dance. He was a member of the Bat-Sheva Dance Company of Israel for ten years. Sharir was the founder of the American Deaf Dance Company, which pioneered the inclusion of deaf artists in professional dance. He subsequently founded Sharir Dance Company, He has choreographed and created technologically mediated works for companies around the world, along with over thirty original creations for Sharir Dance Company. Under his direction, Sharir Dance Company has produced, presented, and collaborated with companies such as the Merce Cunningham Dance Foundation, and the Trisha Brown Dance Company among many others. He was awarded the 2006 Teaching Award, Department of Theatre and Dance, University of Texas at Austin. 2005 Career Research Excellence University Co-op Fine Arts Award in the Robert W.
    [Show full text]
  • CAC4 + Hiperorgânicos5
    Computer Art & Design for All – Proceedings of the Computer Art Congress Edited By: Guto Nóbrega, Khaldoun Zreik, Maria Luiza Fragoso e Tania Fraga September 2014 Http://cac4.eba.ufrj.br Published by School of Fine Arts, Federal University of Rio de Janeiro (EBA – Escola de Belas Artes de UFRJ ) RioBooks Av. Pedro Calmom 550, 7 andar – Cidade Universitária Rio de Janeiro, RJ CEP – 21941-901 Tel: +55 21 2252-0084 Email: [email protected] Credits Cover Design: Ian Guy Ipanema Logo: Guto Nóbrega Layout: Maria Luiza Fragoso Printed in Rio de Janeiro ISBN 978-85-61556-64-8 Copyright 2014 Escola de Belas Artes/UFRJ All rights reserved. No part of this publication may be reproduced, stored in a restricted system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior written permission of the Publisher Escola de Belas Artes – EBA/ UFRJ – Riobooks. All text and images reproduced on the papers are their author´s responsability. COMPUTER ART & DESIGN FOR ALL PROCEEDINGS OF THE 4TH COMPUTER ART CONGRESS 1-3 September 2014 – School of Fine Arts/ UFRJ, Rio de Janeiro, Brazil Edited Guto Nóbrega Khaldoun Zreik Maria Luiza Fragoso Tania Fraga Graduate Program of Visual Arts/PPGAV - School of Fine Arts/EBA Federal University of Rio de Janeiro/UFRJ EBA UFRJ EBA / UFRJ Promoted by: Centro de Letras e Artes EBA UFRJ EBA / UFRJ Sponsored by: PR-3 PR-5 Pró-Reitoria de Planejamento, Pró Reitoria de Extensão UFRJ Superintendência de Tecnologia Desenvolvimento e Finanças UFRJ da Informação e Comunicação Our Partners: IMA - INSTITUTE OF MATHEMATICS AND ART OF SÃO PAULO FOREWORD The 4th edition of CAC (2014) is organized with the collaboration of NANO Lab, supported by the Graduate Program in Visual Arts, at the School of Fine Arts of the Federal University of Rio de Janeiro (UFRJ).
    [Show full text]
  • MAKING REALITY REALLY REAL Ascott | Gangvik | Jahrmann TEKS
    MAKING REALITY REALLY REAL Interactions between the arts, technology, and the sciences, specially in respect of the mind and consciousness, are leading to the emergence of new artistic forms, technological systems, and cultural behaviours, as well as to re-evaluation of the hegemony of western M AKING science, and the significance, both spiritually and materially, of the practices and paradigms of other societies. Over the past eleven years, the Consciousness Reframed conferences have been convened in Europe and the Far East, involving leading-edge artists, scientists and scholars in an emergent discourse that is transdisciplinary, transcultural and syncretic. This year, hosted by TEKS, and as part of the Meta.Morf biennial of art and technology, an international REAL ITY group of experts met in this context, under the rubric Making Reality Really Real. Some 60 provocative, visionary, poetic and pragmatic perspectives, proposals and projects are published here, including papers by Roy Ascott, Marco Bischof, James Gimzewski, Luis Eduardo Luna, Ryohei Nakatsu and Victoria Vesna. RE ALLY Ascott | Gangvik Jahrmann R EAL Consciousness reframed www.teks.no TEKS Ascott/Gangvik/Jahrmann (eds.) MAKING REALITY REALLY REAL MAKING REALITY REALLY REAL Reflections on Art, Technology and Consciousness EDITORS: Roy Ascott | Espen Gangvik | Margarete Jahrmann THE 11TH ANNUAL INTERNATIONAL ReSEARCH CONFERENCE, CONSCIOUSNESS ReFRAMED: Art And consciousness in the post-biologicAl erA, MAking reAlity reAlly reAl. Trondheim 2010 Convened by Espen Gangvik Director, Trondheim Electronic Arts Centre teks.no November 4–6, 2010 C ONFEREN E DIRECTOR Roy Ascott President, Planetary Collegium p rogrAMMe coMMittee Marco Bischof Espen Gangvik James Gimzewski Margarete Jahrmann Luis Eduardo Luna Roger Malina Ryohei Nakatsu Victoria Vesna Chair: Roy Ascott C ontents Editors This work is subject to Copyright images: This book is made possible I NTRODUCTION copyright.
    [Show full text]
  • ISEA2015 Panel Paper
    Didactic Disruption: Roy Ascott’s Models for Arts Education and Research Elif Ayiter Ph.D., Diane Gromala Ph.D, Mike Phillips, Paul Thomas Ph.D., Peter Anders Ph.D. Elif Ayiter: Sabanci University, I-Node Planetary Collegium [email protected] Diane Gromala: Simon Fraser University of Arts and Technology [email protected] Mike Phillips: Plymouth University School of Arts and Media, Planetary Collegium [email protected] Paul Thomas: University of New South Wales, Fine Arts Program [email protected] Peter Anders (Moderator): Kayvala PLC, ISEA International [email protected] Keywords the UK through mimetic nodes in Italy, Switzerland and Roy Ascott, Planetary Collegium, arts education, arts research, Greece, with a new node currently forming in China. Plymouth University, CAiiA-STAR, interdisciplinary studies Having successfully graduated over 50 PhDs, the Planetary Collegium is now host to a dynamic community of over 70 doctoral candidates and researchers. Abstract The panel reviewed the singular aspects of Ascott’s This paper summarizes a panel discussion held at ISEA2015 in pedagogical challenge to conventional models of advanced Vancouver B.C. Its subject was artist and educator Roy Ascott’s art research in Europe and North America. Its panelists development of models for interdisciplinary studies in universities and distributed research centers. presented a history of Ascott’s innovative curricula as well as the development and operation of the Planetary Collegium and its nodes. In the course of the panel Panel Summary discussion Elif Ayiter presented Ascott’s Ground Course as a precursor to his later work in distributed This panel discussed alternative models of arts education transdisciplinary education.
    [Show full text]