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Leonardo Reviews Quarterly 2.02 | 2012
L|R|Q Leonardo Reviews Quarterly 2.02 | 2012 Executive Editor: Roger Malina Editor-in-Chief: Michael Punt Associate Editor: Claudy Op den Kamp www.leonardo.info © ISAST L|R|Q Leonardo Reviews Quarterly 2.02 | 2012 Science, Spectacle and Imagination Executive Editor: Roger Malina Editor-in-Chief: Michael Punt Associate Editor: Claudy Op den Kamp www.leonardo.info © ISAST Leonardo Reviews Leonardo Reviews Reviews Panel Leonardo Reviews is the work of an international Allan Graubard, Amy Ione, Anastasia Filip- panel of scholars and professionals invited from poupoliti, Annick Bureaud, Anna B. Creagh, a wide range of disciplines to review books, exhi- Anthony Enns, Aparna Sharma, Boris Jardine, bitions, DVDs, CDs, websites, and conferences. Brian Reffin Smith, Brigitta Zics, Catalin Brylla, Collectively they represent an intellectual commit- Chris Cobb, Chris Speed, Claudia Westermann, ment to engaging with the emergent debates and Claudy Op den Kamp, Craig Harris, Craig Hilton, manifestations that are the consequences of the Dene Grigar, David Bering-Porter, Dene Grigar, convergence of the arts, science and technology. Eduardo Miranda, Elizabeth McCardell, Ellen Pearlman, Enzo Ferrara, Eugene Thacker, Flor- Leonardo Reviews publishes all reviews received ence Martellini, Flutor Troshani, Franc Cham- from the panel monthly at www.leonardo.info. In berlain, Fred Andersson, Frieder Nake, George addition, four times a year a selection of reviews Gessert, George K. Shortess, Giovanna Cos- is printed in Leonardo and now Leonardo Reviews tantini, Hannah Drayson, Hannah Rogers, Har- Quarterly will be publishing an even larger selec- riet Hawkins, Ian Verstegen, Jac Saorsa, Jack tion as a PDF together with introductory material Ox, Jacques Mandelbrojt, Jan Baetens, Jennifer and overview essays. -
Leonardo Reviews
Leonardo reviews Leonardo reviews how the universe was first set into that the ideas that drove the research Editor-in-Chief: Michael Punt motion; medieval scholasticism later were not pulled from the air. When the Managing Editor: Bryony Dalefield translated Aristotle’s “Prime Mover” actor playing Kepler pores over Tycho into the Christian God). Brahe’s years of collected data, he con- Associate Editors: Dene Grigar, The strength of the film is its multi- veys the intensity of Tycho’s observa- Martha Blassnigg, Hannah Drayson dimensional quality. Visual elements tions of the heavens as well as Kepler’s A full selection of reviews is pub- such as historical engravings, paintings, desire to solve the problem of motion. I lished monthly on the LR web site: animations and manuscripts aid the was enthralled even though I was famil- <leonardoreviews.mit.edu>. presentation immensely and bring a iar with many of the details and found realistic element into play that knits myself moved to think about details I the ideas of several periods of history had previously taken for granted. together into a seamless fabric. Much Still, a marriage of these artifacts of this is quite subtle. For example, with new technologies occurs. Many Film showing manuscript pages and still art- of the visuals that accompany the film work might seem mundane, but in this are “moving” because of the nature of case I found that the variety of these the work. One good example of how The Moving earTh backdrops created a vivid sense of the the director used new technologies to directed by Lars Becker-Larsen. -
Mitl58 Pages.V3 Web.Indd
leonardo reviews editor-in-chief Michael Punt associate editors Hannah Drayson, Dene Grigar, Jane Hutchinson A full selection of reviews is published monthly on the Leonardo website: <leonardoreviews.mit.edu>. EXHIBITIONS ambivalent “moral autonomy” with work of artists such as Jasper Johns, respect to historical relations with Robert Rauschenberg and Andy LEON GOLUB POWERPLAY: both capitalism and modern (mass) Warhol—did much to undermine THE POLITICAL PORTRAITS society. A self-critique of the arts as a the dominance of formalist theory. curated by Jon Bird. National Portrait form of essentialism frequently took Others have joined critics such as Gallery, London, U.K., 18 March–25 the form of an opposition between Rosalind Krauss and Carol Duncan, September 2016. Exhibit website: representation and abstraction. Inter- who attacked modernism’s myths of <www.npg.org.uk/whatson/display/2016/ woven into the canonical narrative originality and “centeredness” and its leon-golub-powerplay-the-political was a belief in the expressive and position of “privileged” and gendered -portraits.php>. existential capacity of art to operate as hegemony in dismantling Greenberg’s Reviewed by Giovanna Costantini. a method of individuation along with paradigm. Email: <costantini.giovanna.l@ a set of other features. These include There are reasons to regard the gmail.com>. the pursuit of effects of detachment “historic moment” as relevant in and depersonalization, mechaniza- reconstructing a definition of mod- doi:10.1162/LEON_r_01363 tion and technology; an emphasis on ernism and to confront the role of Suppose someone comes along surface reflexivity; a tendency toward history as the canyon (versus the who does not know “bridge,” and transcendentalism; and attention to canon) of art’s operative field. -
Leonardo Reviews Quarterly 2.01 | 2012
L|R|Q Leonardo Reviews Quarterly 2.01 | 2012 Executive Editor: Roger Malina Editor-in-Chief: Michael Punt Associate Editor: Claudy Op den Kamp www.leonardo.info © ISAST L|R|Q Leonardo Reviews Quarterly 2.01 | 2012 The Sublime in Art and Science Today Executive Editor: Roger Malina Editor-in-Chief: Michael Punt Associate Editor: Claudy Op den Kamp www.leonardo.info © ISAST Leonardo Reviews Leonardo Reviews Reviews Panel Leonardo Reviews is the work of an international Allan Graubard, Amy Ione, Anastasia Filippoupoli- panel of scholars and professionals invited from ti, Annick Bureaud, Anna B. Creagh, Anthony a wide range of disciplines to review books, exhi- Enns, Aparna Sharma, Boris Jardine, Brian Reffin bitions, DVDs, CDs, websites, and conferences. Smith, Brigitta Zics, Catalin Brylla, Chris Cobb, Collectively they represent an intellectual commit- Chris Speed, Claudia Westermann, Claudy Op ment to engaging with the emergent debates and den Kamp, Craig Harris, Craig Hilton, Dene Gri- manifestations that are the consequences of the gar, David Bering-Porter, Dene Grigar, Eduardo convergence of the arts, science and technology. Miranda, Elizabeth McCardell, Ellen Pearlman, Enzo Ferrara, Eugene Thacker, Florence Martel- Leonardo Reviews publishes all reviews received lini, Franc Chamberlain, Fred Andersson, Frieder from the panel monthly at www.leonardo.info. In Nake, George Gessert, George K. Shortess, addition, four times a year a selection of reviews Giovanna Costantini, Hannah Drayson, Han- is printed in Leonardo and now Leonardo Reviews nah Rogers, Harriet Hawkins, Ian Verstegen, Quarterly will be publishing an even larger selec- Jac Saorsa, Jack Ox, Jacques Mandelbrojt, Jan tion as a PDF together with introductory material Baetens, Jennifer Ferng, John F. -
Pionners of Computer Art, II RCM GALERIE
Pionners of Computer Art, II RCM GALERIE Pioneers of Computer Art Colette Bangert, Aldo Giorgini, Jean-Pierre Hebert, Desmond Paul Henry, Hervé Huitric, Ken Knowlton, Charles Mattox, Manfred Mohr, Monique Nahas, Jacques Palumbo, Edward Zajec 20 June - 31 July 2019 RCM Galerie Monique Nahas (b. 1940) and and Hervé Huitric (b. 1945) co-counded the Groupe Art et Informatique de Vincennes and were among the preeminent artists working with computers in France in the late 1960s and 1970s. Their work explores how computer algorithms can be transformed into colored images. They first worked with a CAE 510 and then an IBM 1130 writing programs in Algol and then Fortran that created random variations in constructivist color schemes. Instead of working on a palette with rules of transition, the duo considered color as a continuous variable, while treating color as a set of percentages of its basic components. Although interested in how the computer changed the rules of art, their works in the early seventies are highly influenced by pontilism, especially Georges Seurat. The duo's first work used a coded sequence of letters then printed on a plotter. R for Red, B for Blue etc. Each square was then hand painted. The couple then developed a stencil method, using the punch cards and screenprinting artwork using a plotter. The couple exhibited widely in the 1970s, including the New Tendency 5 exhibition in Zagreb. Monique Nahas and Hervé Huitric Cube, 1971 Layered perforated program cards, paint, wood, lacquer 12 x 12 x 12 inches Unique Monique Nahas and Hervé Huitric Untitled, 1971 Double serigraph 31.5 x 22 in One of two copies Signed on verso Monique Nahas and Hervé Huitric Monique Nahas and Hervé Huitric Untitled, 1971 Untitled, 1971 Computer print, hand-painted 6.2 x 7.8 in Computer print, hand-painted 9.4 x 7.4 in Unique Unique Signed on verso Signed on verso 1 1 - ' ' I I ..._ / / • / / . -
Kathleen Rogers QUALIFICATIONS 1983
Kathleen Rogers QUALIFICATIONS 1983 - 1985 The Slade School of Fine Art, University College, London, UK. Fine Art, Experimental Media (PG Dip) 1980 - 1983 Wimbledon School of Art, London, UK. Fine Art, BA (Hons) ACADEMIC POSITIONS Professor of Media Arts and Science/ Year 3 leader Digital Film Screen Arts (0.6) As Professor of Media Arts and Science I participate in research and scholarly activities and contribute to the School and University culture through my professional practice and enhancement of the PGT curriculum as determined by the Head of School. I represent the University on internal and external bodies, forums and committees. I am engaged with PhD/ Research Degree Supervision and Examination and deliver Advanced Research Methods workshops to PhD students. The DFSA course provides students with the opportunity to gain in-depth specialist knowledge in selected fields of digital media, video production, sonic arts, interactivity, visual effects and post-production. As Year 3 leader for Digital Film Screen Arts, I co-ordinate and manage the final year DFSA student group. I am responsible for assessment and feedback, development of learning materials, curriculum course administration and curriculum development. As the main mentor for the final year student cohort I provide individual and group mentoring towards the delivery of their major graduation projects and their graduation show. I embed academic and ethical research strategies into the teaching and mentoring context to generate an intellectually stimulating interdisciplinary -
The Reappearing Computer: the Past and Future of Computing in Design Research
The Reappearing Computer: the past and future of computing in design research Simone Gristwood, Middlesex University, UK Stephen Boyd Davis, Royal College of Art, UK Abstract This paper investigates the early history of computing in design and in design research, focusing on individuals who were associated with the Department of Design Research at the Royal College of Art between the 1960s and the 1980s. The authors suggest that the theory and practice developed at that time may be valuable in thinking about the future, particularly when considering how computing may be used, in various forms, by designers in their work. A taxonomy of some early ideas and activities is presented which, it is suggested, displays a different emphasis from the way computing in design is conceived now. It is argued that as computing has become absorbed into mainstream culture, it has tended to “disappear” and its special qualities have become lost since it is regarded as “just a tool” like any other. A contrast is presented between this model of computing focused on facilitating or replacing hand-work and earlier models which prioritised computing’s relation to the mind. The authors note that some other fields seem currently to be reengaging with the idea of computing as something that is not quite like other tools. The article concludes with a list of questions addressed to the design and design research communities based on our analysis. Keywords computing, design research, design history, operational research, art Introduction – The Disappearing Computer The relation between computing and design takes two forms. On the one hand, designers have many opportunities to design devices and systems that utilise computing technology. -
Conference Proceedings Re:Live
Re:live MEDIA ART HISTORY 09 Third International Conference on the Histories of Media Art, Science and Technology Conference Proceedings Re:live Media Art Histories 2009 Refereed Conference Proceedings Edited by Sean Cubitt and Paul Thomas 2009 ISBN: [978-0-9807186-3-8] Re:live Media Art Histories 2009 conference proceedings 1 Edited by Sean Cubitt and Paul Thomas for Re:live 2009 Published by The University of Melbourne & Victorian College of the Arts and Music 2009 ISBN: [978-0-9807186-3-8] All papers copyright the authors This collection licensed under a Creative Commons Attribution-Noncommercial 2.5 Australia License. Supported by Reviews Panel Su Ballard Thomas Mical Andres Burbano Lissa Mitchell Dimitris Charitos Lizzie Muller martin constable Anna Munster Sara Diamond Daniel Palmer Gabriel Menotti Gonring Ana Peraica Monika Gorska-Olesinska Mike Phillips Mark Guglielmetti melinda rackham Cat Hope stefano raimondi Slavko Kacunko Margit Rosen Denisa Kera Christopher Salter Ji-hoon Kim Morten Søndergaard Mike Leggett Robert Sweeny Frederik Lesage Natasha Vita-More Maggie Macnab danielle wilde Leon Marvell Suzette Worden Re:live Media Art Histories 2009 conference proceedings 2 CONTENTS Susan Ballard_____________________________________________________________________6 Erewhon: framing media utopia in the antipodes Andres Burbano__________________________________________________________________12 Between punched film and the first computers, the work of Konrad Zuse Anders Carlsson__________________________________________________________________16 -
CAT 2010 Ideas Before Their
2/21/12 Papers | CAT | 2010 | Conferences by year | Conference archive | eWiC - Electronic Works… Text size Contrast Home BCS Website About eWiC Contact eWiC Search this site Conference archive Publish your conference Email alert service Academic publications Your location: Conference archive Con2fe0r1eC0nAcTes Pbay pyeerasr About eWiC Papers Conference archive Browse the conference papers here Conferences by year Keynotes Session 1: Computer Art & Cybernetics 2011 Session 2: Computer Art & Time Session 3: Computer Art & Space 2010 Session 4: Computer Art & Output Session 5: Computer Art & Technocultures HCI Keynotes iUBICOM Post Computer Art - Ontological Undecidability and the Cat with Paint EVA on its Paws Brian Reffin-Smith VECOS Create10 Session 1: Computer Art & Cybernetics Digital Pioneers: Computer-generated Art from the V&A's Collections VoCS Douglas Dodds EASE Print copies of CAT 2010: Ideas The Interactive Art System before their time IHCI Stroud Cornock ISBN 978-1-906124-64-9 RRP £45 CAT Art of Conversation Ernest Edmonds and Francesca Franco Available from the BCS bookshop Papers The Computer-Generated Artworks of Vladimir Bonačić 2009 Darko Fritz 2008 Session 2: Computer Art & Time 2007 On the Relationship of Computing to the Arts and Culture - an Evolutionary Perspective 2006 George Mallen Conferences by subject Paragraphs on Computer Art, Past and Present Publish your conference Frieder Nake Email alert service Program, Be Programmed or Fade Away: Computers and the Death of Constructivist Art Academic publications Richard -
Conference Program & Book of Abstracts
The 8th International Conference on Media Art, Science, and Technology Aalborg University, Aalborg, Denmark August 20-23, 2019 CONFERENCE PROGRAM & BOOK OF ABSTRACTS www.mediaarthistory.org/resound CONFERENCE TRACKS Track 1 RESOUNDING MEDIA ART: ARCHAEOLOGIES, INDETERMINATE TEXTUALITIES, AND POSSIBLE FUTURES Chair: Tanya Toft Ag Track 2 SOUNDING DIFFERENCE: GENDER, SOUND, AND TECHNOLOGY Chairs: Gabriela Aceves Sepúlveda & Freya Zinovieff Track 3 SOUND AND VOICE: ART PRACTICES AND POLITICS Chair: Luz María Sánchez Cardona Co-Chairs: Luis Sotelo Castro, Iris Garrelfs, Jordan Lacey, Polly Stanton, Jennifer Stoever & Dolores Inés Casillas Track 4 ART AND TECHNOLOGY: METHODOLOGIES, PRACTICES, HISTORIES Chairs: Magdalena Zdrodowska & Daniel CerMak Track 5 SOUND ART CURATING: CRITICAL HISTORIES, STRATEGIES AND PRACTICES Chairs: Liora Belford & Jason van Eyk Track 6 SOUND WITHIN BODIES, MOIST MEDIA PRACTICES, ENVIRONMENT AND LIFE-WORLD: ORGANISMS, GEOLOGY AND ECOLOGICAL NICHES Chairs: Laura Beloff, Dolores SteinMan, Michelle Lewis-King & Anna Nacher Track 7 THE RETURN OF THE SONIC REAL Chair: Rahma Khazam Track 8 ARCHIVE, ARCHIVES, ARCHIVING Chairs: Morten Søndergaard & Rodrigo GuzMan Track 9 GENERAL TOPICS Chairs: Morten Søndergaard & Laura Beloff RE:SOUND 2019 Morten Søndergaard, General Conference Chair Laura Beloff, Conference Co-chair Book of Abstracts edited by Rodrigo GUzman, Assistant Conference Chair Day 1 - Tuesday August 20, 2019 updated: Aug. 19, 2019 08:00 Registration 09:00 Conference Introduction. Morten SØNDERGAARD (DK) (General Chair) & Oliver GRAU (AT) (Head of the MAH conference series board) // Auditorium-CREATE 09:30 KEYNOTE Jamie ALLEN (CA): Beyond the Media Reveal: Full of Sound and Fury, Signifying…What? // Auditorium-CREATE 10:30 Break 11:00 Track 5 Sound Art Curating Track 2 Sounding Difference Track 4 Art & Technology Track 8 Archives Track 9 General Topics Track 3 Sound & Voice Auditorium Room B Room C Room D Room E Room F Session 5.2. -
The Contribution of Desmond Paul Henry (1921–2004) to Twentieth-Century Computer Art
Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/LEON_a_01326 by guest on 28 September 2021 Historical Pers P e c t i v e pioneers and pathbreakers The Contribution of Desmond Paul Henry (1921–2004) to Twentieth-Century Computer Art E l A i n E O ’ H A n r aha n This paper describes the series of three electronic drawing machines The Solitary PiOneer Desmond Paul Henry constructed during the 1960s from World War II ACT r Ideographs (1962) ran concurrently with another solo Henry T analogue bombsight computers and which, by virtue of their inspiration, s idiosyncratic modus operandi and analogue-derived effects, earn Henry exhibition at Salford Art Gallery, consisting entirely of AB a place as a British computer art pioneer. The abstract graphic results machine-drawings, which Henry incorrectly referred to as of these now-defunct drawing machines are presented as precursors to “the world’s first one-machine show” [4], reflecting his com- digital images. parative artistic and scientific isolation. He remained unaware of the creative use of analogue computers during the 1950s HEnry’s ArTisTiC CAreer: 1950s–1960s by, for example, John Whitney Sr., Ben Laposky and Herbert Franke, whose graphic results, although not produced with Desmond Paul Henry was a lecturer in philosophy at Man- a drawing point, are not dissimilar to Henry’s abstract cur- chester University 1949–1982 and a self-taught artist who ex- vilinear machine-effects. Henry was equally unaware of the perimented with improvised mark-making techniques born 1960s Art and Technology movement in the United States. -
When the Machine Made Art INTERNATIONAL TEXTS in CRITICAL MEDIA AESTHETICS
When the Machine Made Art INTERNATIONAL TEXTS IN CRITICAL MEDIA AESTHETICS VOLUME 7 Founding Editor Francisco J. Ricardo Series Editor Jörgen Schäfer Editorial Board Rita Raley John Cayley George Fifield Tony Richards Teri Rueb When the Machine Made Art The Troubled History of Computer Art GRANT D. TAYLOR International Texts in Critical Media Aesthetics NEW YORK • LONDON • NEW DELHI • SYDNEY Bloomsbury Academic An imprint of Bloomsbury Publishing Inc 1385 Broadway 50 Bedford Square New York London NY 10018 WC1B 3DP USA UK www.bloomsbury.com Bloomsbury is a registered trade mark of Bloomsbury Publishing Plc First published 2014 © Grant D. Taylor 2014 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers. No responsibility for loss caused to any individual or organization acting on or refraining from action as a result of the material in this publication can be accepted by Bloomsbury or the author. Library of Congress Cataloging-in-Publication Data Taylor, Grant D. When the machine made art : the troubled history of computer art / Grant D. Taylor. pages cm – (International texts in critical media aesthetics) Summary: “Examines the cultural and critical response to computer art, by identifying the destabilizing forces that affect, shape, and eventually fragment the computer art movement”– Provided by publisher. ISBN 978-1-62356-795-8 (hardback) – ISBN 978-1-62356-884-9 (paperback) 1. Computer art. I. Title. N7433.8.T39 2014 776 – dc23 2013046891 ISBN: HB: 978-1-6235-6795-8 PB: 978-1-6235-6884-9 ePub: 978-1-6235-6272-4 ePDF: 978-1-6235-6561-9 Typeset by Integra Software Services Pvt.