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University of York

5-7 septembre 2005

Science and art conference

Rules of engagement

[ http://www.rulesofengagement.org.uk ]

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Galerie Poirel. Nancy.

16 Septembre-16 Décembre 2005

Exposition

La lumière au siècle des Lumières et aujourd'hui

Art et Science : de la biologie de la vision à une nouvelle conception du monde.

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Banff New Media Institute

Canada

28 Septembre - 3 Octobre 2005

International Conference

The histories of media art, science and technology

Organisé par Leonardo et UNESCO Digiarts.

[ http://www.mediaarthistory.org ]

This conference is for the following fields: art history∑ anthropology ∑ architecture∑ computer science∑ collecting ∑ cd-rom & dvd creation ∑ curating ∑ cyberfeminism ∑ documentation ∑ ethnography ∑ film studies ∑ history of science ∑ history of technology ∑ image science ∑ interaction ∑ interculturalism ∑ media archaeology ∑ media art ∑ media studies ∑ museum direction ∑ museum exhibit creation nano arts ∑ performance ∑ pop culture ∑ presence research ∑ preservation ∑ psychology ∑ robotics ∑ science writing ∑ semiotics ∑ sociology ∑ sound studies ∑ supercomputing ∑ teaching∑ theatre ∑ videography ∑ visual culture ∑	FIRST INTERNATIONAL CONFERENCE ON THE HISTORIES OF MEDIA ART, SCIENCE AND TECHNOLOGY September 28 - October 3, 2005 at Banff New Media Institute, Canada "The technology of the modern media has produced new possibilities of interaction. (ä) What is needed is a wider view encompassing the coming rewards in the context of the treasures left us by the past experiences, possessions and insights." RUDOLF ARNHEIM, Summer 2000
	Recognizing the increasing significance of media art for our culture, this Conference on the Histories of Media Art will discuss for the first time the history of media art within the interdisciplinary and intercultural contexts of the histories of art. Leonardo/ISAST, the Database for Virtual Art, Banff New Media Institute, and UNESCO DigiArts are collaborating to produce the first international art history conference covering art and new media, art and technology, art-science interaction, and the history of media as pertinent to contemporary art.
	MEDIA ART HISTORIES After photography, film, video, and the little known media art history of the 1960s-80s, today media artists are active in a wide range of digital areas (including interactive, genetic, and telematic art). Even in robotics and nanotechnology, artists design and conduct experiments. This dynamic process has triggered intense discussion about images in the disciplines of art history, media studies, and neighboring cultural disciplines. The Media Art History Project offers a basis for attempting an evolutionary history of the audiovisual media, from the laterna magica to the panorama, phantasmagoria, film, and the virtual art of recent decades. It is an evolution with breaks and detours; however, all its stages are distinguished by a close relationship between art, science, and technology. Refresh! will discuss questions of historiography, methodology and the role of institutions of media art. The Conference will contain key debates about the function of inventions, artistic practice in collaborative networks, the prominent role of sound during the last decades and will emphasize the importance of intercultural and pop culture themes in the Histories of Media Art. Readings of new media art histories vary richly depending on cultural contexts. This event calls upon scholarship from a strongly international perspective. Therefore Refresh! will represent and address the wide array of disciplines involved in the emerging field of Media Art. Beside Art History these include the Histories of Sciences and Technologies , Film-, Sound-, Media-, Visual and Theatre Studies, Architecture, Visual Psychology, just to name a few.
	DOCUMENTATION - CURATING - COLLECTION Although the popularity of media art exhibited at exhibitions and art festivals is growing among the public and increasingly influences theory debates, with few exceptions museums and galleries have neglected to systematically collect this present-day art, to preserve it and to demand appropriate conservatory measures. Thus, several decades of international media art is in danger of being lost to the history of collecting and to academic disciplines such as art history. This gap will have far-reaching consequences; therefore, the conference will also discuss the documentation, collection, archiving and preservation of media art. What kind of international networks must be created to advance appropriate policies for collection and conservation? What kind of new technologies do we need to optimize research efforts and information exchange?
	HONORARY BOARD Rudolf ARNHEIM; Frank POPPER; Jasia REICHARDT; Itsuo SAKANE, Walter ZANINI ADVISORY BOARD: Andreas BROECKMANN, Berlin; Paul BROWN, London/Cotton Tree; Karin BRUNS, Linz; Annick BUREAUD, Paris; Dieter DANIELS, Leipzig; Diana DOMINGUES, Caxias do Sul; Felice FRANKEL, Boston; Jean GAGNON, Montreal; Thomas GUNNING, Chicago; Linda D. HENDERSON, Austin; Manrai HSU, Taipei; Erkki HUHTAMO, Los Angeles; ¡ngel KALENBERG, Montevideo; Ryszard KLUSZCZYNSKI, Lodz; Machiko KUSAHARA, Tokyo; W.J.T. MITCHELL, Chicago; Gunalan NADARAJAN, Singapore; Edward SHANKEN, Savannah; Barbara STAFFORD, Chicago; Christiane PAUL, New York; Louise POISSANT, Montreal; Jeffrey SHAW, Sydney; Tereza WAGNER, Paris; Peter WEIBEL, Karlsruhe; Steven WILSON, San Francisco
	BANFF Sara DIAMOND, Director of Research and Artistic Director of BNMI (local chair) Susan KENNARD, Executive Producer of BNMI (organisation) http://www.banffcentre.ca/bnmi LEONARDO Annick BUREAUD, Director Leonardo Pioneers and Pathbreakers Art History Project, Leonardo/OLATS www.olats.org PUBLICATIONS COMMITTEE: Chair: Roger F MALINA, Chair Leonardo/ISAST http://mitpress.mit.edu/Leonardo CONFERENCE DIRECTOR & ORGANIZATION Oliver GRAU, Director Immersive Art & Database of Virtual Art, Humboldt University Berlin http://virtualart.hu-berlin.de http://www2.hu-berlin.de/grau/

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Deutsches Haus at NYU

42 Washington Mews, New York, NY 10003

13-15 October 2005

Conference Description

Conference Participants - Biographies and Abstracts

Conference Program

Conference Press

Conference Texts and Papers

Image and Imagination

Conference Description

"What happens when one closes the eyes? One does not stop seeing. What one now sees is not related to the eyes." (Wittgenstein, Philos. Betr. 103)

At present, we are witnessing fundamental changes in the production and dissemination of images. The invention of photography gave rise to a debate about the elimination of subjectivity through its mechanical-chemical process. Has the history of the image now reached a point where the mechanization/imagination relationship is reversed? The large canvas, once the most important arena for representing the world has become marginal whereas imaging technologies have opened up the image to indeterminacy and the image producers' and viewers' imagination. Digitalization and new image creating apparatus and techniques require a fundamental reconsideration of our theories of images. The face is a striking case in point. Surveillance techniques concentrate on the human face not because it is the most obvious expression of a unique individual, but only because facial recognition techniques can read visual data and translate them electronically into numerical patterns that can be stored in an the electronic memory. The electronic image of a face can then be compared to all other images of faces fed into a flow of abstract information. Similarly, images produced through advanced medical technology are no longer based on a concept of mimetic representation. Instead of using light waves or X-Rays they are based on abstract models of cells, molecular structures and atom movements. Computer programs are designed to determine combinations of geometrical structures and colours which then appear on the screen where they look similar to conventional images. These images are constructions of a reality that is invisible not because it is too small or too fast for the anatomy of the human eye but because it is an invention resulting from abstract theories. Yet the words image and picture continue to be used in processes of visualization that no longer apply techniques of analogous representation but are the product of a combination of advanced computer technology and scientific imagination. What are the consequences for our understanding of the image?

  During the last decades, an intensive debate about images has emerged. A collection of essays entitled "What is an Image?" (ed. Gottfried Boehm,1994) reconstructed the debate concerned with pictures and images in Philosophy, Psychology and Art History during the second half of the 20th Century. Ten years later, a new anthology (edited by Christa Maar and Hubert Burda, 2004) collected recent and important contributions to this international debate and was appropriately subtitled "The New Power of Images". Its title "Iconic Turn" is a reflection of the term "linguistic turn" created by Richard Rorty which for forty years has served as a common reference signifying a fundamental change in the conception of the humanities that turned away from questions concerned with consciousness and replaced them with theories of linguistic structures. This turn was significant of the definition and self-image of the humanities for the entire 20th century. It is not unreasonable to assume that he current turn towards images could lead to an equally fundamental reconstitution of the humanities and affect the foundation of all disciplines focused on the understanding of the arts, the sciences and cultural processes.

The ongoing debate is paradigmatic for a transatlantic transfer of ideas and, furthermore, an example of the dense network of German/American theoretical discourse. Its origins can be traced back to the Viennese school of history and theory of art (Alois Rigl and others) that was instrumental for the creation of academic art history in America. During the last twenty years, American empirical research radiated back and became influential in German theoretical discourse. It is certainly no coincidence that W.J.T. Mitchell (Chicago) and Gottfried Boehm (Basel) suggested the term "iconic turn" and "pictorial turn" respectively in the same year (1994).

  Recent research in the neural-sciences both inAmerica andGermany has gathered rich knowledge about seeing as the physiological process of image making in the brain. This research has contributed a great deal to the understanding of mental images as fragments of the human consciousness. It has put to rest many inherited speculations about the nature of images as well as a narrow concept of images as realistic representations of reality. Yet, philosophical questions have not become obsolete. As far as the image/reality relationship is concerned, the functions of the imagination for the production of images remain an unresolved issue. It needs to be reconsidered in the light of empirical research, recent collective experiences with photographs from war and disaster zones, and new high tech imaging processes in medicine and military information gathering.  

There is no doubt that individual and collective images are to a considerable degree the product of the human faculty to imagine and fantasize. It is the conference's contention that an understanding of the complex process of images making cannot be reduced to physiological processes only. All three aspects of image making, physiological, technological, and imaginative, need to be kept in focus.

Following an international conference in 2003 on the relationship of public images and the sciences, this year's conference is devoted to the complementary aspect of Picture Theory, namely the role of the imagination in the process of making and perceiving images. We are shifting attention to the conscious and subconscious contribution by the subject to the creation of images. The conference will focus on aspects of the imagination in the process of creating images, both mental images and pictures before our eyes, and their mutual relationship. A distinction between the eye as optical and neural organ of seeing and the gaze has proven productive in recent debates in the emerging field of Ôimage theory'. The relationship between the eye and the gaze will be addressed and questions concerning the constitutive role of the imagination for the gaze explored. Photography and highly sophisticated image creating technologies are experimenting with innovative techniques such as blurring, extreme large formats or miniaturization, long term exposures and digital manipulation that seem to give the coup de grace to the ideal of a true representation and make the imagination go wild. The image seems to turn into an attack of the imagination on reality.

Speakers from the USA, Germany, Switzerland and France who have made substantial contributions to the international discourse on images will participate. Panels will focus on three aspects of the general theme:

Theories of constructing and decoding images: Philosophical and scientific questions of reciprocal processes of seeing as perceiving and producing. The making of mages will be explored with particular reference to the constitutive role of subjective and collective imagination.

Images  in the (electronic) media: The modern period is characterized by a dramatic increase in the production and consumption of images. A few hours of TV means the exposure to hundreds of thousands of images. If homo sapiens can be defined as the animal symbolicum (Cassirer) this image explosion will have fundamental consequences for the definition and experience of reality.

Rituals as Images: Images are produced and interpreted in and through social practices and therefore need to be studied with particular reference to the constitutive role of imagined institutions. While theories of modernization were based on the assumption that rituals would inevitably be replaced by rational processes of communication and purpose oriented constructions of social cohesion, we are witnessing a return of the ritual and the emergence of a new consciousness of its performative dimension. Public rituals are not only dependent on visual representation but can themselves be perceived as images in motion.

The conference topic makes it mandatory to extend acedemic discourse and include contemporary art. The project of Berlin based artist Gabriele Leidloff makes an attempt to use the means of an installation built with most recent apparatus of medical technology to fuse scientific experiments and artistic ways of image construction. A discussion centered around her work will explore new interrelationships between contemporary art and theories of the imaginative.

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Intersculpt 2005

Biennale Mondiale de Sculpture Numérique

Organisée par Ars Mathematica

FNAC Digitale. Paris

21-29 Octobre 2005

Conservatoire Régional de l'Image. Nancy.

13-20 Novembre 2005

[ http://www.intersculpt.org ]

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Institut du Monde Arabe. Paris

26 octobre 2005 – 19 Mars 2006

Exposition

L'age d'or des sciences arabes

[ http://www.imarabe.org ]

Splendeur des illustrations des manuscrits scientifiques arabes et qualité artistique des instruments. Une section spéciale de l'exposition est dédiée aux rapports entre art et science.

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Science et art

Cette troisième section de l'exposition mettra en évidence les rapports qui ont existé entre les scientifiques et les productions artistiques.

Architecture et décoration
Application d'un savoir mathématique et recours à la géométrie dans la construction architecturale et la détermination de principes décoratifs pour les pavages ou les mosaïques de revêtement. La calligraphie recourt elle aussi à la théorie des proportions.
Oeuvres : panneaux décoratifs en céramique représentant différents assemblages complexes issus de la géométrie, muqarnas en céramique et en marbre, calligraphie sur différents supports.
Une séquence audiovisuelle montrera les éléments clefs de l'architecture musulmane et le principe d'élaboration des muqarnas.

Musique
Les théories et les modes musicaux élaborés dans le monde arabe ont un rapport étroit avec les mathématiques (théorie des proportions), de même il existe une relation entre la musique et l'astronomie ainsi que l'astrologie selon le principe de l'éthos qui établit une relation entre les différentes composantes de l'univers. La musique intervient également dans la thérapeutique.
Oeuvres : instruments de musique anciens et manuscrits avec des représentations d'instruments et de musiciens, ainsi que des graphiques de notations musicales et l'arbre des modes.
Un audiovisuel avec l'intervention d'un joueur de oudh expliquera la théorie des intervalles.

Automates
Construction de machines sophistiquées pour le seul plaisir de la prouesse technologique et esthétique, destinées avant tout au divertissement.
Oeuvres : miniatures essentiellement extraites des ouvrages d'al-Jazari.
Reconstitution de deux automates à partir de miniatures pour montrer leur fonctionnement : horloge à gobelet et automate servant une boisson.

Arts de l'Islam
Seront ici regroupés ce qu'il est convenu d'appeler de " beaux objets " permettant d'illustrer la maîtrise technologique des artistes et artisans de l'époque à travers des innovations propres à la civilisation arabo-musulmane : céramiques (lustrées, de type " minaé " " haft-rang " et " lajavardina "), verres émaillés et dorés.

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Iris

Essence et sens des couleurs

Colloque international

Nancy

9-10 Novembre 2005

[ http://www.ensaia.inpl-nancy.fr/iris ]

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Chicago

10-13 Novembre 2005

The Nineteenth Annual Conference of the

Society for Literature, Science, and the Arts

[ http://slsa.press.jhu.edu/annual_conference.html ]
EMERGENT SYSTEMS, COGNITIVE ENVIRONMENTS

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New York Academy of Sciences

CUNY Graduate Center

5 Novembre 2005

[ http://www.nyas.org/events ]

From mirror neurons to the Mona Lisa

Visual art and the brain

At the interface of art and science

Compte rendus détaillés sur le site.

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University of California

Berkeley

21 Janvier 2006

Scientists & Artists look at how and why the brain responds
to such things as gourmet food, fine wine and aromatic perfumes

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Université de Caen

Maison de la Recherche en Sciences Humaines

10 Mars 2006

Art et complexité

A la mémoire de Bernard Caillaud

Université de Caen

10 Mars 2006

Maison de la Recherche en Sciences Humaines

Organisateurs

Jean Vivier, Simon Diner

Deux choses menacent le monde, l'ordre et le désordre

Paul Valéry

Toute théorie doit être rendue aussi simple que possible,

mais pas plus simple.

Albert Einstein

Comprendre c'est comprimer

Gregory Chaitin

La complexité est à la mode, comme en son temps la cybernétique. L'étude des "systèmes complexes" fait l'objet de programmes nationaux et européens, et entre dans la désignation de nombreuses institutions. L'emploi du terme "complexité" pour qualifier un objet, un système ou un processus, est relativement récent. Il provient de considérations sur le "coût" algorithmique ou temporel des calculs informatiques et de réflexions sur la nature de l'aléatoire et du pseudo-aléatoire en théorie des systèmes dynamiques non linéaires. L'expression précise de la notion intuitive de complexité passe toujours par l'emploi d'un modèle du phénomène étudié. La diversité des modèles, liée aux multiples objectifs d'une modélisation, entraîne une floraison de définitions et de mesures de la complexité dont la luxuriance peut faire penser à un zoo peuplé de sigles et d'appellations.

La complexité des images visuelles est une question essentielle qui mérite l'attention des psychologues cognitifs, des spécialistes de la vision artificielle, des artistes et des critiques d'art. Elle conjugue des connaissances sur les mécanismes de la perception visuelle et sur la structure des systèmes formels.

Comme pour toute considération sur les formes, il faut soigneusement distinguer les aspects objectifs et les aspects perceptifs. La perception de la complexité est une problématique à part entière, soulignant le caractère subjectif de l'évaluation de la complexité, en tant que relation entre un phénomène et un observateur ayant ses motivations propres. La complexité se trouve plus dans la manière dont le phénomène est observé, c.a.d. dans le choix d'un modèle, que dans le phénomène lui même. Si l'observateur se satisfait d'un modèle simple suffisamment représentatif, il n'y a pas de complexité présente.

Les différentes conceptions de la complexité et les mesures associées répondent à trois problématique distinctes :

La difficulté de décrire (Information algorithmique, entropie, longueur de description minimum, information de Fisher, complexité de Lempel-Ziv…)

La difficulté d'engendrer (Complexité calculatoire, profondeur logique, profondeur thermodynamique…)

Le degré d'organisation, comme difficulté de décrire l'organisation ou bien comme information mutuelle des parties.

Toute évaluation de la complexité d'une image ou d'une œuvre d'art en général dépend du point de vue que l'on adopte (ou que le cerveau impose) dans la perception. Vision simple, reconnaissance des formes ou point de vue esthétique conduisent à des considérations différentes sur la complexité. Si l'on adopte comme critère esthétique un compromis entre ordre et complexité ce qui est le cas de G.D. Birkhoff, on peut formuler une mesure esthétique par la considération simultanée de l'information algorithmique (complexité aléatoire) et de la complexité calculatoire (complexité temporelle). Un aspect particulièrement fertile du lien entre art et complexité, qui peut s'avérer essentiel pour évaluer les productions de l'art génératif, lieu de remarquables phénomènes d'émergence de formes. Une démarche qui s'impose dans l'examen des images produites par des automates cellulaires, des algorithmes génétiques, des algorithmes de Lindenmayer ou des procédures fractales.

Jean Paul DELAHAYE

Laboratoire d'Informatique Fondamentale de Lille

UMR CNRS 8022

"COMPLEXITE ALEATOIRE ET COMPLEXITE ORGANISEE"

La théorie de la calculabilité permet de donner une définition précise de la notion d'objet simple basée sur la taille des représentations (des programmes). Cette définition conduit à la notion de complexité de Kolmogorov-Chaitin qui est une mesure de la complexité d'un objet. Cependant à côté de cette complexité (comme "contenu incompressible d'informations") il est naturel de rechercher une définition de la complexité comme contenu en calcul ou comme richesse structurelle. Cette seconde complexité semble correspondre à la définition de Charles Bennett de la "profondeur logique". Nous la présenterons et discuterons de sa pertinence.

delahaye@lifl.fr

1. Agnès DESOLNEUX (Paris V)

Analyse statistique des images et complexité.

Comment analyser une image d'un point de vue géométrique (c'est à dire au sens de la vision bas-niveau, et non pas au niveau de la reconnaissance)? La théorie de la perception visuelle élaborée par l'Ecole de la Gestalt permet de partiellement répondre à cette question en donnant la liste des qualités géométriques qui interviennent dont le processus de "groupement visuel". Mais elle ne donne pas la manière pratique de faire l'analyse automatique d'une image. Pour cela, nous utiliserons un principe de perception visuelle, appelé principe de Helmholtz et qui peut s'énoncer ainsi: ce qui est perceptuellement significatif dans une image, est ce qui a une faible probabilité d'être dû au hasard. Nous verrons comment ce principe conduit à des algorithmes d'analyse automatique d'une image, et nous en discuterons aussi les limites.

desolneux@math-info.univ-paris5.fr

2. Jerzy KARCZMARCZUK (GREYC, Caen)

Il n'y a pas de complexité dans l'art de l'image visuelle

La complexité : le nombre de paramètres qui décrivent une entité et les relations entre ses parties, est ambiguë et RELATIVE, elle dépend du point de vue et de la relation d'équivalence (souvent intuitive) entre les objets similaires. Cette ambiguïté dans le domaine d'images influence fort les travaux sur la compression. Plusieurs fractales sont très complexes structurellement. Pourtant, elles s'expriment par des algorithmes très courts. Mais, ceci peut aussi être illusoire, car un "algorithme court", se réalise par un processus dynamique très long...

La compression des images élimine les redondances, en vue de ses régularités. Les images irrégulières/aléatoires sont très complexes, "le chaos ne se comprime pas". Mais pour un humain, l'impression visuelle dépend seulement de ses propriétés statistiques, ce qui permet de remplacer le "vrai" chaos par un simulé, généré par un simple algorithme, et visuellement équivalent à son original

Nous concluons qu'il n'existe aucune vision UNIVERSELLE du concept de complexité dans le domaine visuel, et ceci suggère que le monde de la l'analyse formelle de complexité algorithmique, et le monde d'observation humaine se trouvent très loin l'un de l'autre...

karczma@info.unicaen.fr

3. Pascal MAMASSIAN (CNRS et Paris V)

Inférence Bayésienne pour la perception des formes"

La capacité de percevoir des formes en deux ou trois dimensions est l'une de nos facultés les plus fondamentales. Cette capacité repose sur un ensemble considérable de connaissances à priori sur la manière dont les éléments de contours dans une image se connectent ensemble en un contour continu, ainsi que sur la manière dont ces contours bi-dimensionnels se rapportent aux formes tri-dimensionnelles. L'interaction entre connaissance à priori et information contenue dans une image est bien modélisée par une approche Bayésienne. Nous passerons ici en revue l'évidence expérimentale en faveur d'une vue de la perception des formes en tant que problème d'inférence Bayésien.

pascal.mamassian@univ-paris5.fr

4. Jean Pierre LE GOFF (Caen)

Représentation et conception de l'espace et/ou de l'infini

S'il est vrai qu'à chaque époque, sa complexité, il peut être intéressant, d'un point de vue épistémologique, de montrer comment l'esprit humain "collectif" accède à une connaissance devenue par la suite une sorte de seconde nature, au point qu'elle ne fait plus l'objet d'enseignement systématique, au point que peu de gens connaissent la somme des efforts conjugués pour parvenir à elle et l'énorme quantité de conventions et d'implicites qu'elle suppose pour tenir lieu de vérité "innée". C'est, me semble-t-il, le sort fait aux questions de représentation(s) de l'espace et des conceptions de l'espace et de l'infini qu'elles induisent. Voyage dans les méandres d'une histoire que l'on est trop tenté d'oublier, sauf à sauver les apparences parce que d'aucuns ont un jour sauvé les phénomènes.

5. Didier BESSOT (Caen)

Complexité de l'anamorphose

Communication centrée sur l'anamorphose.

1) une étude plus approfondie que ce que j'avais présenté en février 2004 sur un type d'anamorphoses, soit à miroir cylindrique, soit à miroir conique,

2) une présentation d'un ancêtre de l'art cinétique/cinématographique : l'anorthoscope inventé par le savant belge Joseph Plateau vers 1820, appareil à roues et poulies permettant par un mouvement de rotation de visualiser une sorte d'anamorphose cinétique.

6. Jean VIVIER :

Echange virtuel avec B. Caillaud à propos de l'art numérique

- la temporalité qui le caractérise

- le rapport entre aléa et naissance des formes

avec le concours de Stéphan Breux,Joseph Giacalone, Henri Roussel

 poster affiché relatif à une expérience commencée avec B Caillaud "De l'aléatoire à la naissance d'une forme" (S. Breux, H. Roussel, J. Giacalone, J.Vivier)

exposition d'œuvres (picturale et numériques) de B. Caillaud

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Museum of Contemporary Art

Sydney. Australia

17-19 Mars 2006

New Constellations: Art, Science and Society

An international conference charting the ways in which art and science are gravitating towards one another within contemporary culture.

The Conference will present the latest thinking about collaboration between artists and scientists and examine how the worldwide trend towards interdisciplinary engagement is changing the definitions, methodologies and practices they use and how they view the social implications of their work.

Key Speakers:
Ruzena Bajcsy, Immediate Past President, CITRIS (Centre for Information Technology Research in the Interest of Society), University of California, Berkeley, California

Elizabeth Grosz, Professor of Women¹s and Gender Studies, Rutgers, The State University of New Jersey, and Visiting Professor of Architecture, Princeton University, Princeton, New Jersey

Steve Kurtz, Founding Member, Critical Art Ensemble; Carnegie Mellon University, Piitsburgh, Pennsylvania

Roger Malina, Chairman, Board, Leonardo, the International Society for the Arts, Sciences and Technology; Co-Chair, International Advisory Board, Inter-Society for the Electronic Arts.

New Constellations is presented by the Museum of Contemporary Art, Sydney, Australia. The Conference has grown out of a collaboration between artist Mari Velonaki and The University of Sydney¹s Australian Centre for Field Robotics, an Australian Research Council -Australia Council for the Arts Linkage Project. The Conference is supported by Artspace, Australian Network for Art and Technology and Patrick Systems and Technologies and The University of Sydney.


See for submissions details, registration, and all further information: http:// www.mca.com.au/newconstellations

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Budapest, Hungary

10-12 April, 2006

EvoWorkshops2006: EvoMUSART

4th European Workshop on Evolutionary Music and Art

[ http://www.evonet.info/eurogp2006/ ]

The application of Evolutionary Computation (EC) techniques for the development of creative systems is a new, exciting and significant area of research. There is a growing interest in the application of these techniques in fields such as: art and music generation, analysis and interpretation; architecture; and design.

EvoMUSART 2006 is the third workshop of the EvoNet working group on Evolutionary Music and Art. Following the success of previous events, the main goal of EvoMUSART 2006 is to bring together researchers who are using Evolutionary Computation in this context, providing the opportunity to promote, present and discuss ongoing work in the area.

Topics include

• Generation of art and music
• Robotic based evolutionary art and music
• Using evolutionary algorithms for the analysis and interpretation of art and music
• Computer aided creativity
• Theoretical developments such as, validation methodologies and comparative analysis

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Westport Art Center

Westport Connecticut USA

13 Avril 2006

Exposition

Neuroculture: Visual Art and the Brain

Neuroculture: Visual Art and the Brain is an exhibition of painting, sculpture, photography, installation and video exploring the philosophical and social significance of neuroscience: the study of nerves and nervous tissue and particularly their relation to behavior and learning. The show opens Thursday, April 13 and runs through May 25 at the Westport Arts Center, 51 Riverside Avenue, Westport.

Co-curated by visual artist and theorist, Suzanne Anker, and neuroscientist and Branco Weiss Fellow, Giovanni Frazzetto, ≥Neuroculture≤ features work by Andrew Carnie, Frank Gillette, Buhm Hong, Steve Miller, Warren Neidich, Michael Rees, Alan Scarritt, Mary Ann Strandell, Fred Tomaselli, Hanneke van Velzen and both curators.

ÒThe art in this exhibition gets us to think about our minds in new and different ways,Ó said Anne Lanford, WAC Gallery and Education Coordinator. ÒThe artists raise interesting questions, such as Ôwhat does consciousness look like?' ÔHow can you draw a picture of imagination or of the idea of memory?'Ó

Many of the artists also address the impact of neuroscience on society—good and bad—and the extraordinary advances in neuroscience. As brain research moves forward by leaps and bounds and new technologies enable scientists to actually picture states of mind there is an apprehension that science may take possession of the imagination that has been, until now, the domain of art.

ÒThe Westport Arts Center is committed to a series of exhibitions that reflect unique and intelligent curatorial perspectives, engage a broad context and speak to issues of contemporary life,Ó explained Tom O'Connor, co-chair of the Arts Center's visual arts committee.

≥Anker sees art, and the exhibition space, as playing a mediating role between science and society. Art provides the opportunity to explore, envision and critique possible futures. These artists present those critiques in an arena that is more accessible to the public.≤

The works of art will be accompanied by historical and scientific material relating to past and current research into the brain and consciousness.

The opening reception for Neuroculture: Visual Art and the Brain is Thursday, April 13 from 6:30–8:30 pm at the Gallery and is free and open to the public.

On Thursday, April 20, 6:00–8:00 pm the Westport Arts Center and Silvermine Guild Arts Center co-present a free ≥Science Meets Art≤ panel discussion at Silvermine Auditorium, 1037 Silvermine Road, New Canaan. Panel members include Suzanne Anker, Myles Axton, Jessica Hough, Steven Henry Madoff and Alexis Rockman.

The Westport Arts Center is a nonprofit organization dedicated to creating arts experiences that contribute to individual growth and enrich the community. Events are made possible in part by sponsorship from Callari Auto Group, Gary Cosgrave, Fairfield County Bank, the Artur and Heida Hermanns Holde Foundation, Susan Malloy, Newman's Own, Richard and Joyce Pauker, Phoenix Audio Video, The Betty R. Sheffer Foundation, Steinway Piano Gallery, and with support from the Connecticut Commission on Culture & Tourism.

	By Laura Buchholz
NEWS	The Art of the Brain The mysteries of the brain inspire art as well as science [Published 13th October 2006 03:06 PM GMT]
	Neuroscience is a predominantly left-brained activity. This is a good thing, as the logical, analytical gaze of the left-brained has revealed much of what we know about the three-pound wet blob that lives in our heads and directs our lives. But as brain imagery becomes commonplace, perhaps it was inevitable that the right-brained among us would take on the brain as an artistic subject. In fact, as moist agar is to a bacterial colony, the dark, ephemeral, and hidden nature of the brain may be the ideal environment for artistic inspiration to thrive. And thrive it has, to the point where brain art could almost be considered a genre. Images of the brain have the power to shape the way we understand the mind and consciousness itself, according to Suzanne Anker, Chair of the Fine Arts Department at the School for Visual Arts in New York City, and co-curator of the recent exhibit "Neuroculture: Visual Art and the Brain" at the Westport Arts Center. "We make images, and images make us," she said. Co-curated with Giovanni Frazzetto, a Branco Weiss Fellow and molecular biologist, "Neuroculture" addressed three related themes: the landscape of the brain as mapped by imaging technology; conceptualized images of mind and consciousness; and pharmacological enhancement of the neurochemical self. Anker contributed to the exhibition a series of Rorschach inkblot tests made three-dimensional and distributed, seashell-like, among chunks of pyrite and other seemingly biological matter. "Consciousness is layered by experience, education, and connoisseurship," said Anker, adding that these levels of awareness inform the way we look at images. "This is true of scientists looking at MRI scans as well as artists looking at a painting or a sculpture." The cerebral cortex, the hypothalamus, the corpus callosum -- each of these parts of the brain comes with its own shape and essence, available to be probed by the artist. But even the elusive brainwave has been making -- well, waves -- in the artistic world for some time. The art installations "Wave UFO" by Mariko Mori (2003) and "Slumber" by Janine Antoni (1994) both used brainwaves as their central interactive element. In "Wave UFO," which was shown in Manhattan as a Public Art Fund project, visitors contributed their own brainwaves inside a giant "UFO pod" to create images that were projected onto an overhead screen. In "Slumber," which took place at the MASS MoCa arts center, Antoni used her own brainwaves, recorded while she was sleeping, to stitch a "dream blanket" onto fabric torn from her nightgown. Installation artist Nina Sobell has been making art from brainwaves since the 1970s, a time when biofeedback, alpha machines, and video were just coming into vogue. Sobell's early installations hooked up two people at a time to an EEG machine, and then connected the output to an oscilloscope. The oscilloscope images of the combined brainwaves were superimposed over live monitor images of the subjects' faces. "I wanted to create a physical and mental portrait of how people are being and communicating together in a nonverbal way that is always there, but is never visualized or realized," said Sobell, who is now expanding her work to take advantage of the connectivity of the Internet. But perhaps the art of the brain doesn't need all this explanation and theorizing. The brain can make for good art simply because some of the images coming out of neuroscience are mysterious and compelling. Adrienne Klein is Co-Director of the Science & the Arts Program at the Graduate Center of the City University of New York. Her video installation "Mind's Eye" (1998) taps into the flow-chart nature of human thought. Describing the graceful arabesques of particle traces and other visual images provided by modern science, Klein said, "These images are simply beautiful, and visually exciting. Why wouldn't artists want to explore that?" Laura Buchholz is a freelance writer who lives in Brooklyn. Laura Buchholz mail@the-scientist.com Links within this article: Suzanne Anker http://www.geneculture.org Neuroculture: Visual Art and the Brain (Westport Arts Center) http://www.westportartscenter.org/press/neuroculture.htm Giovanni Frazzetto http://www.society-in-science.ethz.ch/fellows2004.htm The Branco Weiss Fellowship http://www.society-in-science.ethz.ch/about.htm#fellowships "Wave UFO" Mariko Mori (2003) http://www.publicartfund.org/pafweb/projects/03/mori_s03.html Public Art Fund http://www.publicartfund.org "Slumber" Janine Antoni (1994) http://www.massmoca.org/press_releases/09_2000/9_26_00.html MASS MoCa http://www.massmoca.org Nina Sobell http://www.brainwavedrawings.com/ Adrienne Klein http://www.adrienneklein.net CUNY Graduate Center: Science & the Arts http://web.gc.cuny.edu/sciart/index.htm

© 1986-2006 The Scientist

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Wassenaer

Pays Bas

21-23 Avril 2006

Reading Images: Art History, Medicine, Astronomy and other Discourses

In association with European Science Foundation Network ÔDiscourses of the Visible: national and international perspectives'


Images surround us everywhere, they relate to every topic imaginable, and are inextricably connected to how we perceive the world. In the so-called Ôvisual turn' of the 1990s, images and imaging became central to debates on art, science, technology, and their interconnections.
Their fascination is enhanced by the increasing use of computer-generated images and new maging technologies. This workshop will discuss scientific and artistic imagery in a global context, considering the modes of production and reception of non-art images across disciplines and across cultures, and the cross fertilization that occurs.

Art History has a long tradition of studying artistic imagery, but worldwide images are also important means of communication and objects of research for the physical and biological sciences, as well as a range of other knowledge practices. Information about the body, the brain, the natural environment, the cosmos, etc. that is not visible with the naked eye, is made visual and is applied in scientific research. Often, these images are assumed to represent objective knowledge, but they are also culturally dependent and rely on specific conventions of representation and practices of looking.

See for submissions details, registration, and all further information: http://www.visualdiscourse.uni-hamburg.de/

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Melbourne Beach. Florida

11-13 Mai 2006

News Introduction Topics of Interest Submission Guidelines Track Chairs Program Committee Submission of Papers 21/11/2005 Notification of Acceptance 20/01/2006 Camera-ready Version 13/02/2006 Special Track at FLAIRS 11-13/05/2006

We invite original and unpublished contributions on AI applications in the analysis, composition, generation, interpretation, performance, evaluation, classification, and data mining of artifacts from various creative endeavors and fields, such as visual art, graphics, video, music, sounds, architecture, design of physical artifacts, sculpture, literature, poetry, etc. We welcome research from all AI paradigms including symbolic, statistical, connectionist, genetic, distributed, and hybrid approaches. The track covers a wide range of AI techniques including (but not limited to) cognitive modeling, data mining and classification, expert systems, generative systems (A-life, chaos, fractals, L-systems), grammars, fuzzy logic, genetic algorithms, hidden Markov models, intelligent agents, knowledge representation, knowledge-based systems, machine learning, natural language processing, neural networks, constraint satisfaction, perception, planning, reasoning and inferencing, and swarm intelligence. Accepted papers will be presented at the conference and included in the FLAIRS 2006 conference proceedings, published by AAAI Press.

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Amsterdam School for Cultural Analysis

Amsterdam

13-16 Juin 2006

Society for Literature Science and the Arts

4th European SLSA Meeting

CLOSE ENCOUNTERS

Science, Literature, and the Arts

Hosted by: Amsterdam School for Cultural Analysis (ASCA), UvA http://www.hum.uva.nl/asca/

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The University of Western Australia

16- Juin 2006

A SymbioticA Symposium

	Friday June 16 2006 Social Science Lecture Room 1 The University of Western Australia
	Interdisciplinary research has become an increasingly important focus in academia in recent years. Although collaboration across disparate fields instigates new configurations of knowledge and practice, it can also lead to confusion and misunderstanding. The Metaphors and Misunderstandings Symposium addresses some of the issues that emerge in communication across disciplines – with specific reference to the intersection of the life sciences with the fine arts and the humanities. How do metaphors of language and practice within art, biology, philosophy and ethics affect or infect the cross-over of the arts and sciences?
	List of Speakers

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Courtauld Institute of Art Research

London School of Economics

Institute of Philosophy of the University of London

London

22-23 Juin 2006

[ http://www.lse.ac.uk/collections/artAndScience ]

Beyond Mimesis and Nominalism: Representation in Art and Science

Keynote speakers: Catherine Elgin (Harvard University) and James Elkins (School of the Art Institute of Chicago/University College Cork, Ireland).

Representations play a critical role in both science and art. Perceived as different in kind, artistic and scientific representations have been studied as objects of distinct disciplinary and intellectual traditions. However, recent work in both the philosophy of science and studies of the visual arts suggests that these apparently different representational traditions may be related in challenging and provocative ways. "Beyond Mimesis and Nominalism," a conference which seeks to open conversations between and beyond these compartmentalized traditions of thinking about representation.

According to dominant accounts, scientific representation is explained by appeal to mimetic relationships such as similarity or formal relations like isomorphism. As these views have been subjected to increasing criticisms, recent approaches to scientific representation have begun to draw upon analogies with artistic representation. Significantly, parts of this emergent literature have turned to a "nominalist" position, not unlike that advocated by Nelson Goodman in his writings on representation in art.

But, a similar turn is already apparent within studies of visual art, where scientific representations are increasingly integrated into the analysis of art. Like their colleagues in the philosophy of science, recent scholars in the visual arts have seen Goodman's work as an important point of engagement. His pioneering work on the visual has informed recent efforts to expand semantic taxonomies and to analyze the increasing field of images that fall outside classification as "art." As this work has received important contribution from scholars concerned with scientific imaging, the project of rethinking representation is one of growing general importance to art-historical studies, whose interpretative scope has expanded dramatically outward in recent decades.

In order to press this emergent interdisciplinary conversation, scholars from all disciplines are invited to submit papers to this two-day international conference. We particularly seek submissions that explore the "how" of representation-papers that can enrich our understanding of the techniques employed in scientific representation and/or address their semantic structures or historical convergences with artistic practices - and vice versa. Also especially encouraged are papers that critique, historicize or defend the conference's central terms of mimesis and nominalism, or offer approaches to representations that navigate a middle course between them.

Résumés substantiels des communications sur le site.

Articles déposés aux Archives de Pittsburgh en ligne.

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Alma Mater Studiorum

Université de Bologne

Italie

22-26 Août 2006

9^th International conference on

music perception and cognition

Music in the mind

Mind in music

[ http://www.icmpc2006.org ]

Tous les abstracts en ligne

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Ludwig Boltzmann Institute Media.Art.Research

Linz

Ars Electronica Festival 2006

31 Août 2006

Conference

When cybernetics meets aesthetics

[ http://www.aec.at/en/festival2006/program/project.asp?iProjectID=13447 ]

When Cybernetics meets Aesthetics

31. 8. 2006 / Lentos Kunstmuseum

The conference "When Cybernetics Meet Aesthetics" will bring the revaluation of cybernetics to bear as a potentially decisive contribution to the dialog focused on the necessary redefinition of the status of media art. Can the ever-more-blatant opposition of the "two cultures" ultimately attain convergence in artistic-technical work with media? Which current prospects are opened up by reviewing the theory and practice of the cybernetic art of the 1950s and "60s"

With: Cornelius Borck, Barbara Béscher, Claus Pias, Jasia Reichardt, Stefan Rieger, Margit Rosen, Edward Shanken
Moderator: Dieter Daniels

Concept: Prof. Dr. Dieter Daniels in collaboration with Prof. Dr. Claus Pias (University of Vienna)

more

Reducing Uncertainty.

The "aesthetically potential environments" of Gordon Pask

Margit Rosen more

Feedback as a Form of Art

Cornelius Borck more

From the Common Room to Cybernetic Serendipity

Jasia Reichardt more

Cybernetics and Art: Convergences and Divergences in the 1960s

Edward Shanken more

Live Electronic Arts

Control & Communication in Performance

Barbara Béscher more

The Third Place of Knowledge

Stefan Rieger more

The Cold Dream of Technology

Information Aesthetics as Cultural Criticism

Claus Pias more

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Mitteleuropa Foundation

Bolzano. Italie

1-3 Septembre 2006

[ http://www.mitteleuropafoundation.org/events.html ]

Becoming Information

The classical theory of information is extremely effective in the construction of an engineered system that regulates the transmission of signals from source to target, and can be understood in terms of specific laws known as codices. This concept of information privileges metric quantities, follows the quantitative and unidirectional parameters of stimulus-reaction, and can easily be subjected to statistical analysis. Phenomena belonging to open systems such as biological, psychic, social and artistic ones remain excluded and/or difficult to analyse in terms of this concept of information. They are not easily computed and exhibit a sort of hyper-complexity characterised by adaptivity to surroundings, predictive structures and a sort of Kansei engineering, i.e. sensory and emotional usability.

Despite an awareness of the problem in several fields of research and numerous attempts to tackle the issue, to this day no general theory has been able to replace the essentially Galilean paradigm underlying Shannon theory of information. In other words, there exists no satisfying semantic theory of information.

The conference, which as a starting point draws on the results of the cognitive, experimental and artistic theories of Arnheim and Gestalt psychology, aims to tackle the ontological and epistemological issues of information from a different point of view, permitting the treatment of systems that are open, intrinsically temporal, adaptive, constantly changing, unfolding and interacting with the surrounding environment. Consequently, it also allows the analysis of qualitative, subjective and expressive elements in the treatment of information. In particular, this conference aims to analyse these matters as related to visual perception, pictorial perception, music perception, design and natural language.

Confirmed speakers are Liliana Albertazzi (Trento University, Rovereto Branch) Jules Davidoff (Goldsmiths, University of London), Athanassios Economou (Georgia Institute of Technology), Jan J. Koenderink (Utrecht University), Ilona Kovacs (Hungarian National Academy of Sciences, Budapest), Remo Job (Trento University, Rovereto Branch), Amy Ione (Diatrope Institute, Berkeley), Frederic Leymarie (University of London at Goldsmith), Michael Leyton (Rutgers University), Rainer Mausfeld (Kiel University), Roberto Poli (Trento University), Ron Rensink (John Hopkins University), Shinsuke Shimojo (California Institute of Technology), Gert van Tonder (Kyoto Institute of Technology), Patrizia Violi (Bologna University), Dhanraj Vishwanath (Rochester Institute of Technology), John Willats (Loughborough University), Steve Zucker (Yale University).

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Maison européenne de la photographie. Paris .

20 Septembre-15 Octobre 2006

[ http://www.art-outsiders.com/default.htm ]

Corps électromagnétiques

Dans le cadre du Festival @rt Outsiders qui explore les rapports qu'entretiennent la création contemporaine avec la science et les technologies.

En un mot, Corps électromagnétiques, projet artistique initié et conçu par Nina Czegledy et Louise Provencher, en collaboration avec Jean-Luc Soret pour son édition parisienne, a pour principal objectif la prise en compte du corps humain en tant que source, écho, transmetteur d'ondes électromagnétiques et point de résistance à celles-ci.

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Ars Mathematica

Nancy

9-28 Octobre 2006

Sculpture et mathématiques

[ http://www.pimkey.com/~interscu/ms2006/ ]

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20th Annual Conference
Society for Literature, Science and the Arts

EVOLUTION:

BIOLOGICAL, CULTURAL, AND COSMIC

New York, NY, November 9-12, 2006

Plenary Speaker: Lynn Margulis | Keynote Panel: Dorion Sagan and Eric Schneider

Special Presentation: Neil deGrasse Tyson

Site Chair: Victoria N. Alexander, Dactyl Foundation for the Arts & Humanities

Program Chair: Bruce Clarke, Texas Tech University

Call for Papers

The Society for Literature, Science, and the Arts fosters the multi-disciplinary study of the relations among literature and language, the arts, science, medicine, and technology. This year's conference will be held in conjunction with the first annual New York Science-Art Festival..

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Université Nancy 2

Jeudi 16 et vendredi 17 novembre 2006

http://www.univ-nancy2.fr/poincare/colloques/vca/

Les valeurs cognitives dans les arts

On oppose souvent la sensibilité artistique et la rationalité scientifique. Cette opposition suppose que l'activité scientifique soit exempte de toute préoccupation esthétique, ce que bon nombre d'épistémologues et de philosophes des sciences contestent. Elle encourage aussi à penser que les arts ne comprennent aucune valeur cognitive, ce que certains philosophes de l'art mettent en question.

Toutefois, il ne suffit pas d'affirmer que les frontières entre arts et sciences sont poreuses, encore convient-il de déterminer exactement quelle est la nature des caractéristiques esthétiques des activités scientifiques ou des valeurs cognitives propres aux arts. C'est surtout ce deuxième aspect qui sera traité lors de colloque : Les œuvres d'art nous apprennent-elles quelques chose ? En quel sens le font-elles ? Comment le font-elles ? A supposer qu'elles nous apprennent quelque chose et que nous puissions déterminer exactement quoi, quelles conclusions pourrait-on en tirer dans un projet de rapprochement entre l'enseignement scientifique et l'enseignement artistique ?

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Hannover Medical School

The 2nd International Conference on Synaesthesia

1-3 Décembre 2006

SYNAESTHESIA

http://home.comcast.net/~sean.day/Synesthesia.htm.

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University of California

Berkeley

20 Janvier 2007

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Valencia. Espagne

EvoWorkshops2007: EvoMUSART

5th European Workshop on Evolutionary Music and Art

11-13 Avril 2007

[ http://www.evostar.org ]

Techniques d'inspiration biologique pour des tâches artistiques.

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Bucknell University
Lewisburg, PA, USA

20-21 Avril 2007

From the Brain to Human Culture: Intersections between the Humanities and
Neuroscience

An interdisciplinary conference sponsored by the Comparative Humanities
Program at Bucknell University

Confirmed Plenary Speakers:

Prof. Andy Clark,
Dept. of Philosophy, University of Edinburgh

Prof. Michael Gazzaniga
Dept. of Psychology, University of California at Santa Barbara

Papers (20 minutes) and/or panels (maximum of four speakers) are solicited for an interdisciplinary conference examining the intersections between recent work in the humanities and neurosciences. In the past decade, the various branches of neuroscience (as well as linguistics, sociobiology and other fields) have begun to take up the ethical, artistic and behavioral questions that were previously thought to be the province of scholars in the humanities and to challenge the centrality of learned human behavior in these and other areas. Scholars such as Simon Baron-Cohen, Marc Hauser, and Steven Pinker (among many others) have begun to provide scientific accounts of ethical phenomena and neuroscientific research has coined new subdisciplinary fields such as "neuroethics," and "neuroaesthetics." Scholars in the humanities, in their turn, have begun to produce critical-philosophical accounts of the claims of these scholars and new work on subjects such extended consciousness, artificial intelligence, robotics, and the effects of digital culture on human subjectivity and cultural production. The purpose of this conference will be to explore the status of this important debate at the present time

We especially encourage papers that cross conventional disciplinary lines and/or that directly address the scholarly, institutional, and practical consequences of the ways in which the humanities and sciences are interacting at present. Papers from across the whole range of both the humanities (art, religion, literature, philosophy, film studies, history, languages, etc.) and neuroscience and its related fields (psychology, cognitive science, physiology, animal behavior, organismal and evolutionary biology, etc.) are welcome.

Among the possible themes for papers and panels are:

• can new disciplines like "neuroethics" work alongside traditional humanistic modes of enquiry or is conflict between the two inevitable?

• what have the humanities done to respond to these new developments in the sciences?

what new configurations of the relationship between the sciences and the humanities could be made possible by this new work?

• how are questions of culture (human activity in the world) being relatedto the activities of the mind and brain in new and productive ways? And vice versa?

• how does neuroscientific study affect the way we understand the receptionof books, films, and digital media?

• how are "rationality" and "emotion" seen as part of human decision makingprocess by humanists and neuroscientists?
  
  

• how has recent research in evolutionary biology and psychology affected our perceptions of cultural productions?

Prof. John Hunter
Comparative Humanities Program
Bucknell University
Lewisburg, PA 17837
jchunter@bucknell.edu <mailto:jchunter@bucknell.edu>;

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Perth. Australia.

15-18 Septembre 2007

•   HOME
•   CALL FOR PAPERS
•   METHOD
•   CONTACT
•   ABOUT DAC

Digital Arts and Culture (DAC) is the leading cross-disciplinary scholarly/research conference series for the analysis of developments in the broad field of digital media, expression and communication.

In September 2007, DAC will be hosted as the key international conference in the public program of the Biennale of Electronic Arts Perth (BEAP) in Perth, Australia.

BEAP celebrates and critiques new and novel technologies (digital, bio, nano, other) by showcasing artworks made with, or are about, new technologies. perthDAC's conference program will be closely inter-woven with BEAP's exhibitions.

ThemeThe Future of Digital Media Culture
In the early 1990s, the very term digital was new and novel. However, it has taken only fifteen years for e-mail, the Internet, mobile phones, the power of searchable databases, games, film and TV special effects and workplace software tools to become a common and essential part of modern life. Research has not only described the arrival of these new forms, but is increasing addressing the unexpected social and cultural uses of digital communications and virtual work/play environments.In the same historically brief time, popular attention has turned to the potentials and problems of the newer new technologies, bio and nano. In addition, the global phenomenon of terrorism, super-epidemics and climate change have developed from distant concerns to everyday realities. Thus the context for digitally mediated processes is also very different.

perthDAC 2007 will explore the complex interaction of human behaviour and new technologies that will be The Future of Digital Media Culture.

perthDAC 2007 accepts submissions from fields such as the humanities, social sciences, human-computer interaction and computer science studies, as well as those working both practically and theoretically in specific areas such as: digital/interactive art, digital/electronic literature, game studies, online communities, new media studies, affective computing, experience design, virtual environment design, etc.

Topics of interests may include, but are not limited to, computer games, hypertext theory and literature, new media narrative, streaming media, interactive and networked performance, digital aesthetics, interactive cinema, theory, art, bio-art, nano-art, augmented reality, cyberculture, electronic fiction, electronic music, electronic art, games culture, games system design, games theory, interactive architecture, cinema and video, MOOs, MUDs, RPG, virtual reality, virtual worlds.

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Hotel du Département de Meurthe et Moselle

Nancy

Ars Mathematica

10-17 Octobre 2007

[ www.intersculpt.org/sculptbio/sculptbio-index.html ]

Exposition et conférences

Sculpture numérique et biomorphisme

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Haus der Kulturen der Welt

Berlin

15-18 Novembre 2007

[ http://tamtam.mi2.hr/replace ]

re:place 2007

Second International Conference

on the Histories of Media, Art,

Science and technology

Location: Haus der Kulturen der Welt, Berlin
Date: 15-18 November 2007

CALL FOR PROPOSALS

re:place 2007 - The Second International Conference on the Histories of Media, Art, Science and Technology

re:place 2007, the Second International Conference on the Histories of Media, Art, Science and Technology, will take place in Berlin from 15 - 18 November 2007 as a project of Kulturprojekte Berlin GmbH in cooperation with Haus der Kulturen der Welt. This conference is a sequel to ÔRefresh!', the first in this series, chaired by Oliver Grau and produced by the Database of Virtual Art, Leonardo, and Banff New Media Institute, and held at the Banff Center in Canada in September 2005, which brought together several hundred artists, scientists, researchers, curators and theoreticians of different disciplines.

re:place 2007 will be an international forum for the presentation and the discussion of exemplary approaches to the rapport between art, media, science and technology. With the title, Ôre:place', we propose a thematic focus on locatedness and the migration of knowledge and knowledge production in the interdisciplinary contexts of art, historiography, science and technology.

The re:place 2007 conference will be devoted to examining the manifold connections between art, science and technology, connections which have come into view more sharply through the growing attention to media art and its histories over the past years. It will address historical contexts and artistic explorations of new technologies as well as the historical and contemporary research into the mutual influences between artistic work, scientific research and technological developments. This research concerns such diverse fields as cybernetics, artificial intelligence, robotics, nano-technology, and bio-technology, as well as investigations in the humanities including art history, visual culture, musicology, comparative literature, media archaeology, media theory, science studies, and sociology.

Conference Programme

The conference programme will include competitively selected, peer-reviewed individual papers, panel presentations, poster sessions, as well as a small number of invited speakers. Several Keynote Lectures, by internationally renowned, outstanding theoreticians and artists, will deliberate on the central themes of the conference.

The conference will also include dedicated forum sessions for participants to engage in more open-ended discussion and debate on relevant issues and questions.