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VIEW with STELARC Andrea Ackerman Lanfranco Aceti ISSN 1071-4391 ISBN 978-1-906897-11-6 This issue of LEA is a co-publication of Copyright © 2011 ISAST Leonardo Electronic Almanac Volume 17 Issue 1 August 2011 ISSN: 1071-4391 ISBN: 978-1-906897-11-6 The ISBN is provided by Goldsmiths, University of London lea publishing & subscription information editor in chief editorial address Lanfranco Aceti [email protected] Leonardo Electronic Almanac Sabanci University, Orhanli - Tuzla, 34956 co-editor Istanbul, Turkey Paul Brown [email protected] email managing editor [email protected] John Francescutti [email protected] Web art director » www.leoalmanac.org Deniz Cem Önduygu [email protected] » www.twitter.com/LEA_twitts » www.flickr.com/photos/lea_gallery editorial manager » www.facebook.com/pages/Leonardo-Electronic- Özden Şahin [email protected] Almanac/209156896252 editorial assistant Ebru Sürek [email protected] Copyright 2011 ISAST editors Leonardo Electronic Almanac is published by: Martin John Callanan, Connor Graham, Jeremy Hight, Leonardo/ISAST Özden Şahin 211 Sutter Street, suite 501 San Francisco, CA 94108 editorial board USA Peter J. Bentley, Ezequiel Di Paolo, Ernest Edmonds, Felice Leonardo Electronic Almanac (LEA) is a project of Leonardo/ Frankel, Gabriella Giannachi, Gary Hall, Craig Harris, Sibel Irzık, The International Society for the Arts, Sciences and Marina Jirotka, Beau Lotto, Roger Malina, Terrence Masson, Technology. For more information about Leonardo/ISAST’s Jon McCormack, Mark Nash, Sally Jane Norman, Christiane publications and programs, see www.leonardo.info or contact Paul, Simon Penny, Jane Prophet, Jeffrey Shaw, William [email protected]. Uricchio Reposting of this journal is prohibited without permission of contributing editors Leonardo/ISAST, except for the posting of news and events Nina Czegledy, Susan Collins, Anna Dumitriu, Vince listings which have been independently received. Dziekan, Darko Fritz, Marco Gillies, Davin Heckman, Saoirse Higgins, Jeremy Hight, Denisa Kera, Frieder Nake, Vinoba Leonardo is a trademark of ISAST registered in the U.S. Patent Vinayagamoorthy and Trademark Offices. executive editor All rights to the content of this issue reserved by Leonardo/ Roger Malina ISAST and the copyright holders. 2 LEONARDOELECTRONICALMANAC VOL 17 NO 1 ISSN 1071-4391 ISBN 978-1-906897-11-6 ISSN 1071-4391 ISBN 978-1-906897-11-6 VOL 17 NO 1 LEONARDOELECTRONICALMANAC 3 C ONTENTS CONTENT S Leonardo Electronic Almanac Volume 17 Issue 1 4 EDITORIAL Lanfranco Aceti ACADEMIC VANITAS: MICHAEL AURBACH COGNITIVE LABOR, CROWDSOURCING, 8 AND CRITICAL THEORY 118 AND CULTURAL HISTORY OF THE Dorothy Joiner MECHANIZATION OF THE MIND Ayhan Aytes SOME THOUGHTS CONNECTING DETERMIN- 14 ISTIC CHAOS, NEURONAL DYNAMICS AND INVERSE EMBODIMENT: AESTHETIC EXPERIENCE 128 AN INTERVIEW WITH STELARC Andrea Ackerman Lanfranco Aceti HACKING THE CODES OF SELF-REPRESEN- ORDER IN COMPLEXITY 28 TATION: AN INTERVIEW WITH LYNN HER- 138 Frieder Nake SHMAN LEESON Tatiana Bazzichelli TEACHING VIDEO PRODUCTION 142 IN VIRTUAL REALITY ELECTRONIC LITERATURE Joseph Farbrook 34 AS A SWORD OF LIGHTNING Davin Heckman ATOMISM: 152 RESIDUAL IMAGES WITHIN SILVER PROFILE: DARKO FRITZ Paul Thomas 42 44 Lanfranco Aceti, Interview with Darko Fritz 50 Saša Vojković, Reflections on Archives in COLLABORATING WITH THE ENEMY Progress by Darko Fritz 156 Shane Mecklenburger 52 Vesna Madzoski, Error to Mistake: Notes on the Aesthetics of Failure THE AMMONITE ORDER, OR, OBJECTILES NEXUS OF ART AND SCIENCE: THE CENTRE 172 FOR AN (UN) NATURAL HISTORY 56 FOR COMPUTATIONAL NEUROSCIENCE AND Vince Dziekan ROBOTICS AT UNIVERSITY OF SUSSEX Christine Aicardi THE CONTEMPORARY BECOMES DIGITAL 184 Bruce Wands MISH/MASH 82 Paul Catanese LEONARDO ELECTRONIC ALMANAC - 188 HISTORICAL PERSPECTIVE SIPPING ESPRESSO WITH SALMON Craig Harris 92 Carey K. Bagdassarian ARS ELECTRONICA 2010: THE MAKING OF EMPTY STAGES BY TIM 196 SIDETRACK OR CROSSROADS ? 102 ETCHELLS AND HUGO GLENDINNING: AN Erkki Huhtamo INTERVIEW WITH HUGO GLENDINNING Gabriella Giannachi 6 LEONARDOELECTRONICALMANAC VOL 17 NO 1 ISSN 1071-4391 ISBN 978-1-906897-11-6 ISSN 1071-4391 ISBN 978-1-906897-11-6 VOL 17 NO 1 LEONARDOELECTRONICALMANAC 7 A RTICLE ARTICL E lack of archival quality is disappearing. One tragedy is of the first digital art pioneers, along with 40 works that much of the early work that was not archival has of 21 pioneering artists, including Jean-Pierre Hébert, disappeared or deteriorated. One major landmark in Manfred Mohr, Vera Molnar, Mark Wilson, Stan Van- this evolution is the Computer Art & Technocultures DerBeek, Roman Verostko, and Edward Zajec. Project, which was a partnership between Birbeck College and the Victoria & Albert Museum in London. The three examples above demonstrate that digital It was funded by a three-year grant from the Arts art is finally getting noticed and celebrated by the and Humanities Research Council (AHRc). The team contemporary art community. However, it still receives THE CONTEMPORARY consisted of Nick Lambert, Jeremy Gardiner and major support from the digital art community, as op- Francesca Franco at Birbeck College and Douglas posed to the contemporary art world. The gratifying Dodds and Honor Beddard at the V&A. The project aspect of this is that the digital art pioneers are finally had many components, and was inspired by the having their day in the sun and being recognized, BECOMES DIGITAL acquisition of the Patric Prince archive by the Victoria collected and exhibited. The vast majority of younger & Albert Museum. Patric Prince is an art historian digital artists are not being “ghettoized”, for lack of a and collector of digital art. She documented and better word, as the pioneers were. Rather than explor- followed the evolution of the art form, and curated a ing uncharted territory, emerging artists are drawing Bruce Wands retrospective exhibition for the sIGGRAPH Art Gallery upon the work created by the pioneers and making in 1986. Her archive consists of over 200 original contemporary art. One of my concerns as a writer, cu- Artist, Musician, Writer, Curator artworks and a large collection of books, catalogs and rator and art historian, is that we fill in the huge gap in Chair, MFA Computer Art, School of Visual Arts memorabilia that document the history of digital art. the lineage of digital art, as well as celebrate younger Director, New York Digital Salon The goal of the project was to trace the development artists exploring creativity across all media. Roger Ma- of computer-based art from the late 1970s to the lina uses the term “new Leonardos” and I fully agree. 1990s and took place from 2007 through 2010. Some We are beginning a new renaissance, but this time it is of the outcomes of the project included academic a global one that uses technology to connect individu- In 2003, I wrote an essay that was published in the is the Digital Stone Exhibition, which toured China in presentations at several conferences, panel discus- als on various levels. siggraph Art Gallery catalog titled “The Digital 2008 and 2009. The exhibition featured four artists, sions and a conference and exhibition. One panel was Becomes Contemporary.” A lot has happened in the Bruce Beasley, Jon Isherwood, Robert Michael Smith done in conjunction with the New York Digital Salon To conclude, I would like to refer to one other quote digital art field in the past eight years, and this essay and Kenneth Snelson. The concept of the project was titled “Technocultures: The History of Digital Art – A from the below article. “While the line between digital will examine some of those changes as they relate to to merge digital sculpture technologies with tradi- Conversation” and included digital art pioneers Ken- art and contemporary art is blurring, digital technol- the relationship between digital and contemporary art. tional Chinese stone carving. As such, it became a neth Knowlton, Margot Lovejoy, Kenneth Snelson and ogy has fundamentally changed not only the way art A complete version of the original article can be found cross-cultural event and expanded the global reach of Lillian Schwartz. In July of 2009, Digital Pioneers, by will be created in the future, but also the way it will be below. digital art. Another interesting facet to this project is Honor Beddard and Douglas Dodds was published perceived, exhibited and distributed. Technology has that it combined rapid prototyping, which is decades and accompanied the Digital Pioneers exhibition at caused a blending of art and culture worldwide. In the So, where do we stand in 2011? The first few sen- old, with Chinese stone carving, which is thousands the V&A, which was held from December 2009 – April past, schools of art were established by small groups tences from 2003 state that, “We are at a special and of years old. The exhibition traveled to four venues 2010, and included works by Frieder Nake, Georg of artists in specific geographic locations. The Internet paradoxical moment in the development of digital art. in China including the Today Art Museum in Beijing, Nees, Roman Verostko, and British artists Paul Brown and widespread availability of digital tools have al- Now that it is finally gaining widespread public and Duolun Museum of Fine Art in Shanghai, Artmap Gal- and Harold Cohen, among others. The project con- lowed international artists to create and share their critical attention, digital art is also being quickly ab- lery in Wenzhou and the Jinese Gallery in Chongqing. cluded with two symposia, “Decoding the Digital” held work and ideas about digital art.” There is no question sorbed into the world of contemporary art. The next In addition to the large hand-carved stone sculptures, at the V&A and “Ideas Before Their Time – Connecting that digital art and contemporary art are merging. One generation of artists and critics will not look at making there was an additional component called “e-Form.” the Past and Present in Computer Art” at the British important aspect is the evolution of the art experi- art with a computer as something extraordinary or Curated by the four primary artists, the work of thirty Computer Society.
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