Evènements (suite)

A partir de juin 2002




Mitteleuropa Foundation



10-12 Juin 2002

The legacy of Kanisza

in cognitive sciences

Kanisza est l’auteur de

La Grammaire du voir. Essais sur la perception.

Diderot. 1998

Un ouvrage de base pour les spécialistes de l’image



The legacyof the Austrian tradition of Gestalt Psychology can be best gauged by lookingat the investigations on vision carried out by Gaetano Kanizsa, the mostoutstanding of Musatti’s pupils. Of Central European origin (his mother wasSlovenian, his father Ungarian), Kanizsa taught mainly in Trieste, the city ofhis birth, where he inherited the chair vacated by Metelli after only twoyears. Thus established was the link between the centres of psychologicalresearch in Padua and Trieste that has persisted until the present day.

After hisearly studies on chromatic perception and apparent movement Kanizsa gavefurther and original development to the distinction between perceptiveperception and mental presentation drawn experimentally by Benussi during hisresearch into the phenomena of amodal perception. In other words, Kanizsaspecified further aspects of the nature of the passage from perception toabstract knowledge (i.e. the phenomenal domain at the basis of mentalpresentations), a field of research which has interested all the members ofMeinong’s school of Graz. Kanizsa’s results make a number of theoretical pointsthat warrant the closest consideration: for example, his distinction between‘seeing’ and ‘thinking’ relative to the difference between ‘primary’ and‘secondary’ process, and his concept of ‘amodal completion’ relative to thedistinction between ‘encountered’ perceptive presence and ‘imagined’ or mentalpresence. From this point of view, Kanizsa’s work represents a sophisticatedversion of the Graz two-storey model, mediated by the influence of the Berlinschool and also by opposition to contemporaray cognitivist views on theory ofknowledge.

Confirmed Speakers and Titles of Their Talks:

Albertazzi, L., Schools of Gestalt perception

Biederman, I., Michael C. Mangini, Aneurocomputational account of face representation

Carsetti, A., Rational perception andself-organization of forms

Hoffman, D., The role of attention in faceperception

Kubovy, M., Phenomenology,phenomenological psychophysics, and perceptual organization

Luccio, R., The Emergence of Praegnanz

Malik, J., Ecological Statistics andPerceptual Organization

Massironi,M., (TBA)

Nugochi, K., The relationship betweenvisual illusions and aesthetic preference

Palmer, S., Early vs late grouping

Petitot, J., Geometry of V1 and Kanizsa'scontours

Stadler, M.A., Bottom up and top-downcomponents in perception of multistable visual patterns

Vicario, G.B., On masking in visual field

Zanforlin, M., Stereokinetic anomalouscontours

Zimmer, A., The role of invariants forstability and singularity in perception

(Thisconference follows the meeting held in Rome during June 2001, jointly organizedwith CREA-Paris and University of Tor Vergata in Rome) 
(If you are interested in receiving further information, send a mail to
Liliana Albertazzi)

 Getting to Bolzano




International Conference and Research Center

for Computer Science

Schloss Dagstuhl


14-17 Juillet 2002




Aesthetic computing






Organisateurs: P. Fishwick, R. Malina,Ch. Sommerer.

Etude de représentations alternativesmotivées par la culture et l’esthétique de modèles provenant de la science ducalcul.

Emploi de méthodes et de procédés  artistiques dans les représentationscourantes de l’informatique.

Computer art.







7thInternational Conference on

Music Perception& Cognition


University of NewSouth Wales

Sydney Australia


17-21 Juillet 2002


[ ]





4th Annual Symposium on


SystemsResearch in the Arts


Music,environmental designs

and thechoreography of space




31Juillet-3 Août 2002






Mitteleuropa Foundation


Bolzano. Italie


2-6 Septembre 2002


[ ]



Design and Cognition

Sept 2 - 6 , 2002

(Exile. Painting by Michael Leyton)



Most of the world that we know is designed.Furthermore, almost everyone in the Western world has become a designer attheir personal computer (e.g., publishing their own web-pages). Design hasbecome everyone's domain, and the 21st century communicates via design. Thishas made it extremely important to understand the relation between design andcognition. This school brings together four speakers who are internationallyknown for their work in the areas of design and cognition.



John Gero



John Gero is Professor of Design Science andCo-Director of the Key Centre of Design Computing and Cognition, Department ofArchitectural and Design Science, at the University of Sydney. He is the authoror editor of 30 books and over 400 papers in the fields of design science,artificial intelligence, optimization and computer-aided design. He has been aVisiting Professor of Architecture, Civil Engineering, Mechanical Engineering,or Computer Science at UC-Berkeley, UCLA, Columbia and CMU in the USA, atStrathclyde and Loughborough in the UK, at INSA-Lyon in France and atEPFL-Lausanne in Switzerland. His former doctoral students are professors inthe USA, UK, Australia, Singapore and Korea. He has been the recipient of manyexcellence awards including the Harkness, two Fulbrights, two SRC Fellowshipsand various named chairs. He is on the editorial boards of numerous journalsrelated to computer-aided design, artificial intelligence and knowledgeengineering and is the chair of the international conference series ArtificialIntelligence in Design.


Michael Leyton



Michael Leyton is on the faculty in the Centerfor Discrete Mathematics and Theoretical Computer Science at Rutgers. Hismathematical work on shape has been used in over 20 disciplines from chemicalengineering to radiology. His scientific contributions have received severalprizes, such as a presidential award, and a medal for scientific achievement.His paintings, sculptures, and architectural projects, have been featured ininternational design journals and invited exhibitions. The scores of his stringquartets are currently being published. Leyton's books "Symmetry,Causality, Mind" (MIT Press) and "A Generative Theory of Shape"(Springer-Verlag) elaborate a new theory of geometry which argues that geometryis the means of recording history; i.e., that geometry is equivalent to memorystorage. Related to this, he argues that art works are maximal memory stores.This is supported with lengthy studies of art-works as well as the designprocess itself. Leyton is president of the International Society forMathematical and Computational Aesthetics.


Michael J. Pratt



Michael Pratt has been Professor of ComputerAided Engineering and Head of the Department of Applied Computing andMathematics at Cranfield University in the UK. He has held a senior researchpositions at the US National Institute of Standards and Technology (NIST) andat Rensselaer Polytechnic Institute. His research interests include all aspectsof product modelling in mechanical engineering, and especially the use ofgeometry in the integration of computer aided design (CAD). He is activelyinvolved in the development of the international standard ISO 10303 (STEP) forthe exchange of product data; in this context he leads the ISO TC184/SC4Parametrics Group. Pratt has an MA in physics from Oxford University, an MSc inaeronautical science and a PhD in mechanical engineering from Cranfield. He haspublished numerous papers and book contributions on CAD and related topics, andis on the editorial boards of the journals Computer Aided Geometric Design,Engineering Applications of Artificial Intelligence and International Journalof Shape Modelling.


Gerhard Schmitt



Gerhard Schmitt is Professor of Architecture andComputer Aided Architectural Design (CAAD) at the Department of Architecture ofthe Swiss Federal Institute of Technology (ETH), Zürich. His research focuseson the development of intelligent design support systems and the architecturaldesign of the information territory. Since April, 1998, he is Vice Presidentfor Planning and Logistics of ETH Zürich. His most recent books are Architekturmit dem Computer (Vieweg, 1996), a publication on physical, virtual andinformation architecture, Architectura et Machina (Vieweg, 1993) andInformation Architecture (Testo & Immagine) describing the rapidly growingrelations between architecture and the machine. In 1996, he completed atwo-year term as Dean of the Faculty of Architecture at ETH Zurich. From1984-88 he was on the Faculty of Architecture at Carnegie Mellon University. Heholds a Dr.-Ing. degree from the Technical University of Munich and a Master ofArchitecture degree from the University of California at Berkeley.

Listof Panels





Musique et intelligence artificielle




12-14 Septembre 2002



icmai 2002
II International Conference
on Music and Artificial Intelligence

University of Edinburgh, Scotland
Faculty of Music & Division of Informatics

12-14 september


  call for papers

  invited talks
accepted papers

travel information


The 2002 International Conference on Music and Artificial Intelligence (ICMAI'02) is being held on 12-14 September 2002, at the historic St. Cecilias's Hall, in the Old Town of Edinburgh, Scotland.






Centre International d’Etudes et de Recherches

Su la Science, la Philosophie et l’Art


Urbino Rimini


14 – 20 Septembre 2002


Colloque international


La genèse des formes

dans les sciences et les arts




Le propos de ce colloque est dedévelopper une réflexion sur l'importance que le renouvellement et laréactualisation d'une pensée des formes pourraient avoir pour l'élaborationd'idées et méthodes nouvelles indispensables à la compréhension de quelquesenjeux fondamentaux face auxquels se trouvent aujourd'hui plus que jamaisconfrontés tant les sciences de la nature et de la vie que les arts visuels etsonores. Son but est de suggérer de nouvelles conceptualisations théoriques etdes approches concrètes différentes de la question de la genèse et dudéveloppement des formes, ainsi que de leurs rapports avec notre conception del'être humain, de la nature, de la vie et de la création artistique. 

Le niveau morphologique (lieuprivilégié de l'émergence des formes) représente un niveau d'organisationstructural permettant la constitution de la réalité physique, de la matièrevivante et du monde phénoménal. Il est en même temps source de systèmessignifiants comme les représentations perceptives, la pensée artistique etsymbolique et le langage.

Des recherches récentes dansdifférents domaines ont montré que certains processus d'auto-organisationjouent un rôle important dans la constitution de divers types de phénomènes auxniveaux tant macroscopique que nanoscopique et microscopique, et qu'ils sont audemeurant en quelque sorte responsables de l'émergence de formes nouvelles dansle monde naturel et dans le règne du vivant.

Ces mêmes recherches ont égalementpermis de mettre en évidence l'existence de certains principes fondamentaux (denature géométrique, topologique ou physique) qui permettraient de mieuxcomprendre les processus sous-jacents au changement et à l'évolution desphénomènes. Des symétries plus riches que les symétrie « classiques » connues jusqu'àmaintenant et les symétries « brisées » sont au compte de ces principes. Dansplusieurs domaines de la nature et du vivant, il est apparu de plus en plusclairement que ces principes gouvernent les transformations endogènes et lesinteractions entre les « agents internes » et les « milieux externes », etqu'ils contribuent de façon importante à l'organisation structurale et à laconformation fonctionnelle des composantes, qui ne peuvent se manifesterelles-mêmes que dans la mesure où se maintient l'intégrité de la structureglobale tout entière. On atteint ici une notion nouvelle dont la portée et lasignification sont grandes : la structure dépend pour une large part desphénomènes dynamiques qu'elle organise et qui en deviennent une part intégrante.

Un fait important est queles processus d'organisation et d'auto-organisation des formes s'inscriventdans une dimension temporelle et donc historique essentielle. Ceci a lieu grâceà des trajectoires temporelles qui évoluent dans un espace caractérisé par certainesvariables d'état et des paramètres d'ordre. Il s'agit de l'espace des phases oudes configurations que peut prendre un système. Cette action du temps sur lesphénomènes engendre une situation dynamique et, en orientant avec lespropriétés de l'espace, leur évolution, crée en quelque sorte leur proprehistoire. Cette histoire, bien que s'inscrivant dans des contextes singulierset spécifiques, n'en révélera pas moins une portée et une validitéuniverselles.

L'une des conséquences les plusmarquantes de cette évolution est une conception de la Nature qui ne sépare pascomplètement le monde humain du milieu vivant et celui-ci de la naturesoi-disant inerte. Cette évolution comporte la prise en compte à la fois destransformations spatiales, de la dimension temporelle et des non-linéarités,sources d'une infinité de formes et de comportements. On voit par là que ladiversité peut être le reflet d'un ordre sous-jacent, insoupçonnable à premièrevue, et que la grande variété de phénomènes et de formes apparentes que l'onrencontre dans la nature et dans le monde sensible peut être la manifestationdes modalités suivant lesquelles les phénomènes sont sujets à une transmutationet différenciation incessantes sous l'action de quelques grands principes spatio-temporelset/ou dynamiques.

Cette situation ouvre desperspectives radicalement nouvelles sur nombre de problèmes, dont le plusfondamental est peut-être la nature et l'origine des formes qui, depuis biendes siècles, jettent une sorte de défi à l'explication scientifique,philosophique et esthétique. Un ensemble d'idées inédites s'en dégagent,concernant notamment notre façon de comprendre les rapports entre la biosphèreet la monde vivant, le rôle des symétries et des brisures des symétries dans lamorphogenèse, l'action dynamique du temps sur la transformation des systèmesnaturels et biologiques, sur la formation des événements historiques et sur leschangements anthropologiques. Elles contribuent d'ores et déjà à remettre en question certainescloisons qui traditionnellement séparent les sciences mathématiques dessciences naturelles et des sciences humaines. Ainsi, des connexionsinsoupçonnées jusqu'à présent se font jour entre en particulier les objetsmathématiques, les processus naturels et les modes de la création artistique.

Avec ce colloque, on se proposed'approfondir certains thèmes qui nous paraissent être au cœur même de laproblématique des formes, autant de leur genèse et constitution que de leurévolution et développement, mais aussi des risques qui incombent sur lapossibilité même de leur existence. Résumons certains de ses objectifs dont ils’agit de dégager leur signification et portée à la fois scientifique,philosophique et esthétique.

(i) Développer une visionintrinsèque des choses et des événements, qui donne une place beaucoup plusimportante à leurs aspects à la fois qualitatifs, contextuels et singuliers. Ilnous apparaît à ce propos d'une extrême importance d'arriver à mieux comprendrela genèse géométrique des formes naturelles et les processus topologiquessous-jacents à la perception des formes et des qualités sensibles. Des conceptsgéométriques et topologiques fondamentaux semblent être à l'œuvre dans denombreuses situations où il y a genèse et apparition de formes nouvelles,notamment, dans le développement embryogénétique, l'évolution moléculaire etcellulaire, les transitions de phases dans la matière organique et inorganique,la croissance des plantes et d'autres organismes du règne végétal, dans lareconnaissance et l'interprétation des formes perceptives et sensibles, et dansbien d'autres situations. Dans tous ces phénomènes, nous sommes en présenced'une situation dans laquelle se produit quelque chose d'absolumentextraordinaire et le plus souvent inattendu : engendrement de nouvelles formesspatiales (surfaces, variétés, nœuds, et d'autres formes pouvant être encoreplus complexes) aux structures différentes et plus riches à partir d'un supportspatial sur lequel on fait agir un certain nombre de symétries spatio-temporelleset de d’autres paramètres dynamiques. Par ailleurs, des objets géométriques ettopologiques apparemment simples peuvent engendrer des propriétés et descomportements très complexes. 

(ii) Etudier ces phénomènes qui sesituent à l'interface entre certains processus endogènes et d'autres exogènes,entre facteurs internes inhérents par exemple aux organismes, et facteursexternes inhérents à l'environnement, car on commence à comprendre quel'interface elle-même constitue un milieu hautement dynamique permettantl'émergence et le développement de formes nouvelles. Les membranes biologiques,par exemple, sont le siège de processus morphologiques et dynamiques essentielsà la croissance de tous les organismes vivants.

(iii) Mettre enévidence qu'il existe une signification esthétique fondamentale dans lesprocessus d'évolution et de transformation des objets et des organismes,signification qui est inséparable de la question du sens. Il est clair, parexemple, qu'il existe des rapports très étroits entre la perception des formes(visuelles, sonores et autres) et les qualités sensibles des objets et desorganismes, ou entre la reconnaissance et la connaissance des formes dans notreespace ambiant et l'évolution et la survie de notre espèce et d'autres espècesanimales et végétales.

(iv) Approfondirl'étude des dimensions dynamique et interprétative de l'histoire dans lesprocessus d'évolution et de transformation des phénomènes et des systèmesphysiques et biologiques, mais aussi des formations culturelles et symboliques.Il apparaît de plus en plus clairement qu'une autre histoire, sous le mode detrajectoires et de figures temporelles non linéaires et multidimensionnelles,de l'entropie et d'une certaine irréversibilité, de la mémoire et de lasédimentation du paysage géophysique, mais aussi des systèmes de référencecognitifs et sémiotiques, joue un rôle important dans le façonnement de laréalité, dans sa diversification morphologique et phénoménologique et dans sonpolymorphisme sémantique.

La compréhension desformes, de leur évolution et transformation, ne peut en aucun cas se réduire àune description mécanique de leurs bases physiques, chimiques, ou bien encore,analytique et algorithmique. Cela est vrai aussi bien des formes naturelles etbiologiques, que des formes esthétiques et symboliques. Par cette méthode, ondétruit la forme, ou plutôt, on détruit la structure interne de la forme,c'est-à-dire son âme, son être et ses possibilités en puissance de sedévelopper et s'épanouir dans son intégralité. La nature et la vie sontformation de formes, et dès qu'on prétend connaître ces formes en analysant eten déterminant ses composantes séparément de sa morphogenèse et de soninteraction avec leur milieu vital, on finit par traiter des matières informes,car les formes vivantes sont des « totalités » dont le sens réside dans leurtendance à se réaliser comme telles au cours de leur évolution. Et c'est laraison pour laquelle elles peuvent être saisies dans une vision, jamais dansune division.

Le problème de laforme et ses enjeux actuels incitent tous, chercheurs, philosophes et artistes,à esquisser les jalons d'une nouvelle conception de la réalité, dans laquellela croyance dans le réductionnisme et l'applicabilité doit être remplacée parles concepts d'auto-organisation et de morphogenèse. De même qu'il estimpossible de réduire l'explication du monde physique dans sa totalité etcomplexité macroscopique, nanoscopique et microscopique à quelques simples loisatomiques et subatomiques fondamentales, ou supposées telles, de même, ilsemblerait illusoire de vouloir ramener tout ce qui concerne l'organisme vivantà de la chimie, depuis le rhume et les maladies mentales jusqu'au langage et leplaisir esthétique pour la peinture et la musique. Il y a sûrement davantage deniveaux d'organisation entre la perception esthétique ou la représentationsymbolique et l'ADN qu'entre l'ADN et l'électrodynamique quantique, et chaqueniveau de la réalité peut exiger, pour sa compréhension, que l'on invente desconcepts entièrement nouveaux. Par exemple, il est clair que toute explicationvéritable en biologie, à partir de ses bases moléculaires les plus fines, doitremonter vers la morphologie complexe tridimensionnelle, vers l'organismecomplet, achevé ou en cours de construction. C'est à la condition que lamorphogenèse et la morphologie retrouvent leur juste place dans la recherchescientifique, philosophique et artistique, mais également dans nos démarchesétiques et culturelles, que l'on peut espérer réaliser un nouveau rapprochemententre la nature, le vivant et la création esthétique.

L'essence, la fin et la dignité de toute chose résidentdans la forme. La forme est ainsi l'être en devenir de tout phénomène. En cesens, elle unit le présent au passé, mais en même temps, le présent représenteautre chose qui ouvre vers un futur aux résultats inattendus. Toute forme estla trace ou le témoignage vivant des directions multiples qu'a suiviesl'évolution sur notre planète, et des transformations de la matière, des organismeset des cultures transmises de génération en génération par les systèmesphysiques, biologiques et symboliques. C'est pourquoi aujourd'hui laréhabilitation d'une pensée rationnelle et sensible des formes correspond à lanécessité encore plus qu'au besoin d'une nouvelle intelligibilité scientifique,philosophique et esthétique de la nature et des êtres vivants. Mais il s'agitaussi d'un « combat d’idées » pour sauver notre Terre, protéger la biosphère,préserver la diversité et la richesse des espèces naturelles, animales etvégétales, des cultures, des langues et de la mémoire historique à travers lemonde entier. En bref, c'est un combat, non pas pour n'importe queldéveloppement et n'importe quel progrès, responsables en grande partie de ladisparition et la destruction de très nombreuses forme naturelles, de vie etd'expression, mais bien plutôt, pour la valorisation et le respect de toutesles ressources naturelles, vitales et humaines qu'offre la surface de la Terreet la biosphère, pour le développement d'un nouvel humanisme qui parvienne àréconcilier la science (en tant que création de concepts et non pasexploitation de technologies) à la réflexion philosophique et à l’imaginationesthétique. C'est ce combat intellectuel pour les formes et pour une nouvelleperception de leur rôle dans la pensée rationnelle et sensible qui,aujourd’hui, peut permettre d'arrêter les catastrophes, les inondations ou lesincendies, et autres désastres qui menacent la nature et la communauté deshommes et des femmes, et qui est la condition d'une existence digne, du bonheurde l'esprit et de la « nourriture » même du corps.



Tra i temi che sarannoaffrontati durante il convegno/Les principaux thèmes qui seront abordés durantle colloque/The most important topics which will be addressed during thesymposium :

. Le forme tra ars inveniendi e ars vivendi

. La matematica: il regno delleforme, dagli spazi alle superfici e ai nodi

. Forme platoniche e forme naturali

. Forme e strutture matematiche delleteorie fisiche

. Singolarità, catastrofi emorfogenesi

. Simmetrie, simmetrie infrante egenesi delle forme

. Forma dell'universo, formazionedelle terra e storia naturale della vita

. Embriogenesi, morfogenesi eontogenesi: dall'embrione all'individuo

. Forme e processi vitali: dallemollecole alle cellule e all'organismo

. Scienze delle forme e dinamichedelle forme

. Automata cellulaires et genèsedes formes dans la nature et l’art

. Semantica delle forme e pregnanze

. Forme antropologiche, culturali,simboliche e interazioni tra uomo, natura e cultura

. Forme di civilizzazione e formeculturali: unità e varietà delle forme d'espressione e di vita

. Forme letterarie, mondi possibilie stili di vita

. La forme come anima degli esseriviventi

. Concettualizzazioni filosofichedelle forme: da Aristotele, Leibniz et Kant a Husserl, D'Arcy Thompson e Thom

. Forme estetiche e creazioneartistica, forme e materia, luci, ombre e colori

. Mutimodalità della percezione:dall'ideologia dell'immagine all'elogio della multisensorialità

. Forme, tecnica ed etica

. Percezione delle forme e aspetticontestuali e globali della percezione: elementi psico-fisici, fisiologici epsicologici

. Il problema della Gestalt e l’idea di una nuova filosofiadella natura

. Forme del tempo, evoluzione eemergenza delle forme

. Strutture spazialitridimensionali e comportamento funzionale negli organismi biologici

. Geofisica e morfologia terrestre: stratificazioni e cambiamenti dinamici

. Stabilità e instabilità delleforme geometriche nella meccanica dei fluidi, in idrodinamica, in geofisica enei sistemi chimici e biologici

. Rapporti tra forme naturali eforme artistiche ; genesi, formazione e costruzione

. Diversitàe unità dei modi di organizzazione delle forme locali e globali, microscopichee macroscopiche

. Modelli, strutture, origini edinamiche delle forme

. Le origini della vita, il misterodell’ontogenesi e le leggi della complessità ; auto-organizzazione enon-linearità

. Le forme dell’invenzione e dellacreazione umana nell’arte e nella scienza








Découvertes dansle jardin harmonieux : création, dynamique et « âme » des formes –Systèmes dynamiques, auto-organisation et émergence des formes naturelles


Giuseppe Caglioti (Politecnico diMilano)

“Senso del bello, creatività e autoorganizzazione”


Jean-Marc Lévy-Léblond (Universitéde Nice)

“Groupes et formes des théoriesphysiques”


Riccardo Pulselli & MarcoRosini (Università di Siena)

“Termodinamica del non equilibrioe forme urbane”


Fabiana Mapelli (Università diSiena)

“Tra forma e complessità :per una epistemologia del divenire”


Bruno Giorgini (Università diBologna)

“Formedel tempo e fisica macroscopica”


Enzo Tiezzi e Nadia Marchettini(Università di Siena)

“Forme del tempo, evoluzione emeraviglie delle forme:

dalla biologia all'ecologia”


Yves Couder (ENS, Paris)

“Morphogenèse etauto-organisation”







Promenade dans l’«Académie de Platon » : une quête des rapports intimes entre formesmathématiques et formes naturelles. Genèse géométrique des formes et émergencedes structures



Moncef Ladjimi (CNRS e UniversitéParis VI, Parigi)

“Structurestridimensionnelles des protéines et leurs fonctions”


Pier Luigi Luisi (PolitecnicoFederale di Zurigo)

“Forme del tempo e ritmi nel mondobiologico”



Valentin Poenaru (Université deParis-Sud Orsay)

“Les mystères de la dimension 4 del'espace et l’hypothèse

de Poincaré en dimension 3”


Pierre Cartier (CNRS-ENS, Paris, eIHES, Bures-sur-Yvette)

“Mathématiques magiques...”


Daniel Bennequin (Université deParis-7)

“Invariants et genèse de formesmathématiques”


LucianoBoi (EHESS, CAMS)

“Trasformazioni topologiche eforme nodali nella genesi dei processi     naturalie vitali: ciò che unisce le striscie di Möbius alle molecole”


StefanHildebrandt (Universität Bonn)

“Mathematicsand optimal forms”


Giuseppe Longo (CNRS-ENS, Parigi)

“Morphologicalcomplexity in some natural phenomena”






De la perception des formes à la constitution du sens


Paola Bressan (Università diPadova)

“Effetti contestuali e olisticinella percezione dei colori”


Alain Berthoz (Collège de France,Paris)

“Le rôle du mouvement et del’action dans la perception des formes”


Jacques Ninio (CNRS – ÉcoleNormale Supérieure, Paris)

“Géométrie et perception desformes”


Ruggero Pierantoni (Istituto diCibernetica del CNR, Camogli)

“L’enigma della forma nellapercezione : dalla matematica all’arte”






TAVOLA ROTONDA/Table ronde/Round table

(diretta da/animée par/leaded byGiuseppe O. Longo)

seguita da dibattito

sul tema/sur le thème/on the theme

«Embryogenèse, formes etcaractères spécifiques du vivant, son milieu vital et les manipulationsgénétiques : critique historico-philosophique et réflexionético-spirituelle»


Interventi di/Avec/With :

Enzo Tiezzi (Università di Siena)

Rosine Chendebois (Universitéd'Aix-en-Provence)

Edoardo Boncinelli (SISSA,Trieste)

Giuliano Pancaldi (Università diBologna)







I.Morphogenèse du vivant : des molécules aux cellules et àl’organisme

Edoardo Boncinelli (DirettoreSISSA, Trieste)

“ La genesi della forma vivente”


StuartKauffman (Pensylvannia University e Institute Santa Fe)

“TheGenesis of Order and Self-Organization in Complex Dynamical Systems”


HansMeinhardt (Max-Planck-Institut für Entwicklungsbiologie, Tübingen)

“BiologicalPettern Formation and Complex Dynamics”


Rosine Chandebois (Universitéd'Aix-en-Provence)

“La morphogenèse chez l’animalpluricellulaire : un progres

socialsur des principes cybernetiques”


II.Topos,cosmos et formes de la matière : de la cosmologie à la physique quantique


Jean-Pierre Luminet (CNRS eObservatoire de Paris-Meudon)

“La forme de l'univers”


PietHut (Instute for Advanced Study, Princeton)

“Evolutionof galaxies and cosmos ”


SergioAlbeverio (Bonn Universität)

“MathematicalForms of Quantum Field Theories”


Ignatios Antoniadis (ÉcolePolytechnique, Palaiseau)

“La forme géométrique des cordeset la nature de la physique

à l’échelle de Planck”





Formes,signes et mythes, en littérature, en sémiotique et dans l’anthropologie


Giuseppe Paioni (CentroInternazionale di Semiotica e Linguistica, UdU)

“ Forma/informe”


Jackie Pigeaud (Université deNantes e Institut Universitaire de France)

“Forme de l’art et du vivant”


Carlo Ossola (Collège de France,Parigi)

“Forme interpretative inletteratura, da Dante a Borges”


Paolo Fabbri (DAMS, Università diBologna)

“Passioni, emozioni e formesemiotiche’


TAVOLA ROTONDA/Tableronde/Round table

(direttada Enrico Castelli Gattinara e Roberto Barbanti)

sul tema/sur/on

«Formes historiques etsociales, formes symboliques et formes de spatialité vécues»


Interventi di/Avec/With :

Pino Ricci (Università di Urbino)

Pascal Gabellone (Université deMontpellier III)

Odile Hamburger (Ecoled'Architecture de la Villette, Paris)

Silvia Mancini (Université deBordeaux)

JamesMichels (Wayne State University, Detroit)

RichardRaspa (Wayne State University, Detroit)






I. Formes esthétiques etcréation artistique : les formes dans l’art et les mystères des formes –Le langage magique des nœuds


Événement sur l’œuvre del’artiste, écrivain et poète


JorgeEduardo EIELSON


Intervento dell'artista :

“Dai Quipus Nazca alla ‘scalainfinita’ di Leonardo: le radici e le ali della creazione artistica e poetica”


WilliamRowe (Birkbeck College, University of London)

“Surfacesof Delight : Forms of Space in the Poetry of Jorge Eduardo Eielson”


Lorraine Verner (Paris)

“Le langage magique des nœuds dansl'art de Eielson ”


Martha Canfield (Università diVenezia)

“L’œuvre ouverte de Jorge Eielson”


Jean-Claude Bonne (EHESS, Parigi)

“Entrelacs et contorsions”



II. Formes naturelles,visuelles et sonores ; transdisciplinarité de la création et perceptionesthétique et artistiques


Paolo D'Angelo (Università di Roma III “Tor Vergata”)

“Forme dell’arte ambientale”


Claire Fagnart (Université ParisVIII)

“Les formes du sujet historique etesthétique”


Roberto Barbanti (Università diMontpellier III)

“Per un nuovo paradigma estetico”


Makis Salomos (InstitutUniversitaire de France)

“Notes sur la relation entre laforme en musique et l’idée de nature”


Daniel Charles (Università diNizza)

“Une critique esthétique desformes actuelles des arts”






Conceptualisationsphilosophiques et épistémologiques des formes


Gino Tarozzi (Università di Urbino)

“Forme e strutture matematichedelle teorie fisiche”


Giulio Giorello (UniversitàStatale di Milano)

“Forme e modelli della conoscenza:da Mach a Feyrabend”


Aldo Gargani (Università di Pisa)

“Forme del sapere e stili di vita”


GiuseppeO. Longo (Università di Trieste e SISSA)

“Informazione,evoluzione e creazione: una riflessione epistemologica”






Art and complexsystems



Samuel DorskyMuseum of Art

SUNY New Paltz


14 Septembre – 24Novembre 2002




Complexity: Art and Complex Systems *
September 14- November 24, 2002

A group exhibition organized by Ellen K Levy and Philip Galanter.

COMPLEXITY is the secondmajor museum exhibition about complex systems. It creates bridges across manybranches of science and also offers a revolutionary intellectual vector thathas ramifications for other disciplines such as art and philosophy.

Included are prescientearly works by Hans Haacke and Steina Vasulka that anticipated current science,plus contemporary works by Mauro Annunziato, Manuel Baez, Jonathan Callan, RemoCampopiano, Guy Marsden & Jonathan Schull, Nancy Chunn, Janet Cohen, PhilipGalanter, Frank Gillette, David Goldes, Paul Hertz, Ellen K. Levy, Brian Lytel,Daro Montag, Jack Ox, Daniel Reynolds, Marianne Selsjord, John Simon Jr., KarlSims, Nell Tenhaaf, and Leo Villareal.





Creativity and Cognition 4

Processes andartefacts :

Art, technology and science


An ACM SIGCHI InternationalConference


14-16 Octobre 2002


Loughborough University



[  ] 





Color Perception: Philosophical and Scientific Perspectives


University of California, San Diego, 11-12 October 2002


University of British Columbia, October 2003


Color Vision


Jonathan Cohen, Department of Philosophy, University ofCalifornia, San Diego

Mohan Matthen,Department of Philosophy, University of British Columbia


Questionsabout color have played a central role in philosophy for virtually the wholehistory of the subject: such thinkers as Democritus, Aristotle, Epicurus,Lucretius, Galileo, Newton, Descartes, Locke, Berkeley, Hume, Reid, Goethe,Carnap, and Wittgenstein (to name a few) have appealed to color in theirattempts to advance views about the nature of minds, the world, knowledge,language, meaning, perception, and morality. Color has been such a focus ofinterest because it is extremely unclear what colors are. The naive perceiversees color as a property of surfaces, but, as the atomist Democritus saw veryearly, it is unclear how surfaces can have such a property when atoms do not.The point was well put by Lucretius, a first century B.C. atomist: ``All colorswithout exception change, but under no circumstances should the primaryelements do this.'' The variability of color presents another puzzle of verylong standing: why is it that things look different colors to different peoplein different circumstances? To quote Lucretius again, ``Consider theiridescence imparted by sunlight to the plumage that rings and garlands theneck of the dove: sometime it is glossed with red garnet, sometimes it appearsto blend green emeralds with blue lazuli. Since these colors are produced by acertain incidence of light, obviously we must not suppose that they can beproduced without it.'' These problems, articulated in the ancient world, formedthe basis for the treatment of color by scientists and philosophers around theScientific Revolution of the seventeenth century such as Galileo, Newton,Descartes, and Locke.

Of course,color is of interest to fields outside of philosophy as well, includingpsychology, biology, physics, computer science, and anthropology. But, whilethe best philosophical treatments of color of the 17th and 18th centuries(Locke's, for example) took current empirical science of color very seriously,philosophical work on color in much of the 19th and 20th centuries proceededlargely in ignorance of the vast body of subsequent developments in colorscience. For example, the work of 19th century color psychophysicists Heringand Helmholtz was read by some philosophers (e.g., Carnap and Wittgenstein),but this seemed to make little difference to the content of their theories.

All this changed in the late1980s and early 1990s, when a number of philosophers breathed new philosophicallife into the subject by bringing recent results in physics, colorimetry,computational vision, physiology, psychophysics, evolutionary biology, andother fields of color science to bear on ontological and epistemologicalquestions about color. By doing so, these authors made genuine inroads onproblems on which there had been no significant advances for generations. Sincethis time, there has been a flowering of empirically informed philosophicalwork on color: color has become a prominent topic in the field, is nowdiscussed in articles in the best philosophical journals, conferences, andgraduate seminars, and has been the subject of a number of new anthologies andmonographs. Much of this work delivers on the often-made (but tooseldom-realized) promises of interdisciplinary collaboration: new results fromcolor science really have reframed old debates, suggested new arguments againstold positions, inspired new views, and generally restructured the philosophicallandscape. At the same time, philosophical attention to empirical color sciencehas fostered inquiry into the conceptual and methodological foundations of therelevant sciences.

Despite theincreased interest in topics at the intersection of philosophy and colorscience, there are a number of empirical phenomena surrounding color perceptionwhose philosophical repercussions have been insufficiently acknowledged. Ourconferences will be devoted to these issues. In each case, our aim will be toset out the empirical phenomena as clearly and as broadly as possible, and thento consider what these phenomena imply about the ontology and epistemology of color.The empirical problems we have in mind are:

  1. variability of color perception across species and individuals, and in different kinds of perceptual circumstances;
  2. the co-evolution hypothesis (the view that the colors of plants and animals evolved together with systems for color perception in animals);
  3. color categorization (why do visual systems naturally break the continuous range of colors into a small number of categories --- red, blue, orange, etc., and what determines the categories used by a given visual system?); and
  4. uses of color vision (i.e., what is color used for within the human or other cognitive systems?).

We believe that the time is ripe forsubstantive interchange on these matters between philosophers and colorscientists, and that the UCSD and UBC conferences will provide opportunitiesfor sustained and focussed discussion of these topics.



The conference will occur in twoinstallments: one in October of 2002 in San Diego, at which we will set up theempirical issues and the challenges they pose, and then another in October of2003 in Vancouver, at which we will attempt to delineate viable philosophicalaccommodations to the problems posed at the first meeting. The conferenceswill be run as round-tables (rather than having concurrent sessions) at which arelatively small number of the best philosophers and scientists working oncolor can weigh in on all of our themes. It is our hope that this format, whichincludes a year's worth of time for reflection in the light of the first meeting,will result in a more unified set of discussions than would otherwise bepossible.


Reading List

The conference participants have assembled apre-meeting reading list of papers thatwill provide useful background and (with any luck) will lubricateinterdisciplinary conversation at the time of the conferences.



Kathleen Akins, Department of Philosophy, SimonFraser University

Justin Broackes, Department of Philosophy,Brown University

Alex Byrne, Department of Linguistics &Philosophy, MIT

Austen Clark, Department of Philosophy,University of Connecticut

Paul Churchland, Department of Philosophy,University of California, San Diego

Jonathan Cohen, Department of Philosophy, Universityof California, San Diego

Michael D'Zmura, Department of CognitiveSciences, University of California, Irvine

C. L. Hardin, Department of Philosophy,Syracuse University (emeritus)

David Hilbert, Department of Philosophy,University of Illinois at Chicago

Kimberly Jameson, Department of Psychology,University of California, San Diego

Peter Lennie, Center for Neural Science, NewYork University

Don MacLeod, Department of Psychology,University of California, San Diego

Mohan Matthen, Department of Philosophy,University of British Columbia

Rainer Mausfeld, Institute of Psychology,Christian-Albrecht-University of Kiel

Brian McLaughlin, Department of Philosophy,Rutgers University

J. D. Mollon, Department of ExperimentalPsychology, University of Cambridge

Kathy Mullen, Department of Ophthalmology,McGill University

John Werner, Department of Ophthalmology andSection of Neurobiology, Physiology and Behavior, University of California,Davis






destechnologies pour la musique



13-20Octobre 2002







urant la dernière décennie du XXème siècle, les conditions technologiques et industrielles ont été réunies pour que se mette en place un système technique entièrement numérique qui constitue pour les musiques dans leur ensemble une rupture sans doute aussi immense que le fut en son temps l'apparition du phonographe.

C'est sans doute cette évolution majeure qu'évoquait Glenn Gould en écrivant dès 1966 que, « aussi limité soit-il, la manipulation des cadrans et des boutons est un acte d'interprétation. Il y a quarante ans, tout ce que l'auditeur pouvait faire consistait à mettre en marche ou à éteindre son tourne-disque - et éventuellement, s'il était très perfectionné, à en ajuster un tout petit peu le volume. Aujourd'hui, la diversité des contrôles qui sont à sa disposition nécessite de sa part une capacité de jugement analytique. Encore ces contrôles ne sont-ils que des dispositifs de réglage très primitifs en comparaison des possibilités de participation qui seront offertes à l'auditeur lorsque les techniques actuelles très sophistiquées de laboratoire seront intégrées aux appareils domestiques. »

Cette évolution technique est aussi ce qui a conduit à ce que la musique sous toutes ses formes devienne l'un des marchés les plus convoités pour le développement des nouvelles industries culturelles issues de la numérisation des textes, des images et des sons.

L'Ircam a mission d'explorer aux plus hauts niveaux d'exigences scientifiques, artistiques et philosophiques les questions ouvertes par le devenir des technologies électroniques. Il a décidé de s'y employer en créant ces Résonances, journées internationales des technologies pour la musique. Les Résonances permettront de brosser à l'automne de chaque année, au niveau mondial, un tableau précis des évolutions en cours et de leurs concrétisations aussi bien artistiques qu'industrielles, et seront aussi l'occasion de manifestations artistiques variées : concerts, installations et expositions.

Sur le thème « Nouvelles formes d'écoute et nouveaux instruments », les Résonances 2002 mettent en scène la convergence numérique entre dispositifs d'écoute de plus en plus « active » et la lutherie électronique, permise par les nouvelles technologies d'analyse du son et de la musique.




Comité d'organisation



3rd International Seminar on

Mathematical Music Theory and MusicInformatics

Institut für Informatik/MultiMedia Lab

Universität Zürich

24-26 Octobre 2002




FondazionePierfranco e Luisa Mariani

Venice. Isola San Servolo

25-27Octobre 2002

The neurosciences and music

Mutual interactions and implications ondevelopmental fonctions



Mucsarnok/Kunsthalle Budapest

19-20Octobre 2002



Image and the brain

R. Gregory. Putting illusions in their place.

S. Zielinski. An interface without a medium. Empedokles’ conceptof seeing and some consequences for the     philosophy of nature.

G. Kovacs. The vision of the ancestors-object andshape representation in Palaeolithic cave art.

P. Weibel- H. Diebner. A time continuous cognitive system.

B. Gulyas. Vision, visual imagery, art and thebrain.

N. Wade. Images of vision.

J.P. Changeux. A neurocognitiveand evolutionary approach to art- the example of visual arts.

D. Melcher-F. Bacci. The „monument of an instant“: the portrayal of central and peripheralvision in the work of the italian „impressionist“ sculptor Medardo Rosso.

Z. Vidnyanszky.Attention! Active vision .

M.A. Goodale. Seeing anddoing : Why vision is more than perception.

J. Andel. Jan Evangelista Purkinje and theemergence of neuroscience, modern art and new media.

I. Kovacs. Capturing time: from E.J. Marey tomodern neuroscience.






Artmedia VIII - Paris
De "l'esthétique de la communication" au Net art

Colloque- 29, 30 novembre & 1er décembre 2002

CentreFrançais du Commerce Extérieur
10 avenue d'Iéna, 75116 Paris

Lecolloque Artmedia VIII Paris est organisé par Mario Costa, Fred Forest etAnnick Bureaud, en partenariat avec l'Université de Salerne, le Centre Françaisdu Commerce Extérieur et le concours de Leonardo/Olats.


[   ]


1 - Organisateurs

Organisateurs : Mario Costa, professeur d'Esthétique à l'Université de Salerne et de Méthodologiede la critique àl'Université de Naples (I.U.O.) en collaboration avec Annick Bureaud et FredForest, professeur émérite à l'Université de Nice Sophia-Antipolis.

Institutionsorganisatrices: Université de Salerne, Département de Philosophie ; Centre Francais duCommerce Extérieur.


2 - Comitéscientifique

Anne Cauquelin, professeur émérited'Université, théoricienne en art contemporain, agrégée de philosophie, docteurd'Etat, co-directeur de la Revue d'esthétique

Edmond Couchot, professeur Université ParisVIII, ancien directeur du département ATI (Arts et Technologies de l'Image) del'UFR Arts, esthétique et philosophie

Derrick de Kerckhove, directeur du Programme MarshallMc Luhan, Université de Toronto

Jean-Paul Longavesne, professeur Université Paris XI& ENSAD, directeur du GRIP (Groupe de Recherche en Informatique Picturale)

Roger Malina, directeur de Leonardo, directeur du Laboratoired'Astronomie Spatiale de Marseille, CNRS

Pierre Moeglin, directeur du Laboratoire desSciences de l'information et de la communication, Paris XIII et chargé demission "Maison des sciences de l'homme 'Paris Nord'" pour le comptedu ministère de la recherche

Karen O'Rourke, maître de conférence à Paris I,Sorbonne, Saint-Charles

Louise Poissant, directrice du programme dedoctorat en Etudes et Pratiques des Arts, directrice du GRAM (Groupe deRecherche en Arts Médiatiques), Université du Québec à Montréal (UQAM)

Annick Bureaud

Mario Costa

Fred Forest



[français] - [english]





sessions auCFCE / sessions at the CFCE, 10 avenue d'Iéna, 75116 Paris

Session 1 : Histoired'une esthétique de la communication technologique / History of anAesthetics of Technological Communication

Modérateur / Moderator : Frank Popper

:Louise Poissant, LeDictionnaire des Arts Médiatiques / Media Arts Dictionnary

 Natan Karczmar, Le Vidéocollectif / The Videocollectif

 Fred Forest, Petit voyage à rebrousse temps : en remontantdu Net art aux… fondements historiques de l'esthétique de la communication / Small Journey inthePast: by going back from Net art to the historic foundations oftheaesthetics of communication

Louis-José Lestocart, Emergences-l'arten espace partagé / Emergences - Art in Shared Space

: Conclusion, Frank Popper  

Session 2 : Forme et événements dans lesréseaux / Formand Events in the Networks

Modératrice / Moderator : Louise Poissant

Mario Costa, "Bloccommuniquant" et esthétique du flux / "Communicating Block" andAesthetics of the Flux

Mariapaola Fimiani, Esthétiqueet éthique : la force des choses / Aesthetics and Ethics : The Strength of Things

Edmond Couchot, De lacommunication à la commutation / From Communication to Commutation

 Conclusion, Louise Poissant  

Session 3 (1èrepartie) : Thématisation de l'espace-temps comme pratique artistique / "Thematizing" Space-Time as ArtisticPractice

Modérateur / Moderator : Roger Malina

 Samuel Bianchini, Imageinteractive : stratégies de manipulation / Interactive Image:Stategies of manipulation

: Nicolas Reeves, Lesterrifiants pépins de la lucidité : Essai sur les mondes pseudo-infinis / The Terrifying Pips ofLucidity: Essay on Pseudo Infinite Worlds

 Jean-Paul Longavesne, Esthétique et rhétorique des artstechnologiques : l'art des machines / Aesthetics and Rethorics of Technological Arts : The Art of TheMachines

Andreas Broeckmann,Réseau/Résonance - Les processus de connectivité et la pratique artistique / Reseau/Resonance -Connective Processes and Artistic Practice

Monika Fleischmann &Wolfgang Strauss, Métaphores de la navigation en ligne : -un espace collaboratif de savoir pour l'art et la technologie, une plate-formeInternet communautaire / Metaphors of Online Navigation: – aCollaborative Knowledge Space for Art and Technology, a Community-basedInternet Platform

:Conclusion, RogerMalina 

Session 3 (2ème partie) :Thématisation de l'espace-temps comme pratique artistique / "Thematizing" Space-Time as ArtisticPractice

Modérateur / Moderator : Mario Costa

Karen O'Rourke & SharonDaniel, Cartographier la base de données : la représentation en lignede l'expérience spatio-temporelle / Mapping Databases: Online Representation ofSpatiotemporal Experience

Christophe Charles, Pratiquesde la (dé)(com)position / Practice of (de)(com)position

Roberto Barbanti, "Ultramédialité"et question éthique / "Ultramediality" and Ethical Question

Daniel Charles, À proposdes "Paysages Imaginaires" de John Cage / About John Cage's"Imaginary Landscapes"

 Conclusion, Mario Costa


sessions auCFCE / sessions at the CFCE, 10 avenue d'Iéna, 75116 Paris

Session 4 : Jeux vidéoset arts hybrides dans les réseaux / Video Games and Hybrid Arts in the Networks

Modérateur / Moderator : Derrick de Kerckhove

Timothée Rolin, Histoiresparallèles / Parallel Stories

: Bruno Samper, Créateursde mondes persistants : les artistes acteurs de la convergence / Creators of PersistingWorlds: The Artists, Players of the Convergence

 Bruno Beusch & Tina Cassani, Jeux Illimités / Games Unlimited

Gilbertto Prado, Expériencesrécentes d'environnements virtuels multi- utilisateurs au Brésil / Recent Experiments inMultiuser Virtual Environments in Brazil

 Conclusion, Derrick de Kerckhove

Session 5 : Le Net artdans le cadre muséal, les circuits marchands et institutionnels à l'heure de lamondialisation / Net Art in the Museum Context, Commercial and InstitutionalCircuits in Times of Globalization

Modérateur / Moderator : Pierre Restany

 Steve Dietz, Translocations et comment les latitudes deviennentformes / Translocations and HowLatitudes Become Forms

 Jemima Rellie, L'expérience de la Tate Gallery / The experience at the Tate Gallery

 Table-ronde et discussion avec / Panel and discussion with : Steve Dietz (Walker Art Center),Jemima Rellie (Tate Gallery), Angeline Scherf (Musée d'art moderne de la Villede Paris), Benjamin Weil (SFMoMA), Pierre Restany (modérateur/moderator)


Session 6 : Présence àdistance, Téléprésence / Presence at a Distance, Telepresence

Modérateur / Moderator : Pierre Moeglin

: Isabelle Rieusset-Lemarié,Les chemins de l'œuvre d'art au-delà de l'utilisabilité (à portée de net :quelle proximité ?) / Artwork's Pathes beyond Utilisability (Whitin Net Range: WhichKind of Proximity?)

Eduardo Kac, Téléprésence,biotélématique et art transgénique / Telepresence, Biotelematics, Transgenic Art

Vincenzo Cuomo, Tele-cum-être-ici.Topologie de l’impersonnalité / Tele- cum-being-here: Topology ofImpersonnality

Reynald Drouhin &Jean-Paul Fourmentraux, Les coulisses de l'œuvre : Des_FragsProcess /Behind the Curtain of a Work of Des_Frags Process

Gregory Chatonsky, Lafiction programmatique / Programmatic Fiction

Stephan Barron, "Ozone,o-o-o, Contact"... des œuvres technoromantiques entre présence et absence/"Ozone, o-o-o, Contact"...Technoromantic Artworks between Presenceand Absence

: Conclusion, Pierre Moeglin 

Session 7 : Réseaux etfutur de l'écriture / Networks and the Future of Writing

Modératrice / Moderator : Marie-Claude Vettraino-Soulard

Jean-Pierre Balpe, Versune littérature diffractée / Toward a Diffracted Literature

Matteo d'Ambrosio, Unesémiotique à venir pour la cyberpoésie / A Semiotic Approach to Cyberpoetry

: Eric Sadin, Surfaces urbaines / territoires textuels > signs, bits& the city / Urban Surfaces / TextualTerritories > signs, bits & the cit

: Conclusion, Marie-ClaudeVettraino-Soulard



sessions auCFCE / sessions at the CFCE, 10 avenue d'Iéna, 75116 Paris

Session 8 : Architecture,urbanisme et technologies de la communication / Architecture, UrbanDesign and Communication Technologies

Modératrice / Moderator : Anne Cauquelin

: Pierre Lévy, Le"design culturel", une nouvelle forme d'art conceptuel : le projet del'intelligence collective / "Cultural Design", a New Conceptual Art Form:The Collective Intelligence Project

Luc Courchesne, Ladécouverte de l'horizon / The Discovery of the Horizon

: Anolga Rodionoff, Architecturesde réseau, architectures de l'interactivité… ? / Network Architecture,Architecture of Interactivity ?

: Maurizio Bolognini, "SMSMS(Short Message Service Mediated Sublime)": l'art et le sublimetechnologique dans l'environnement urbain / "SMSMS (Short Message ServiceMediated Sublime)": Art and Technological Sublime in the Urban Environment

: Olivier Auber, Esthétiquede la perspective numérique / Aesthetics of Digital Perspective

Mit Mitropoulos, Articulationdes espaces électroniques et du comportement en leur sein —comparés à desespaces semi privés/public et à une conception minimaliste pour des sitesdistants / Articulation of Electronic Spaces, and Behaviour in them --ascompared to Semi-private/public Spaces and Minimal Design for Remote Sites

Conclusion, Anne Cauquelin 

Session 9 (1èrepartie) : Corps, cortex et réseaux / Body, Cortex and Networks

Modérateur / Moderator : François Soulages

: Angelo Trimarco, La critique à l’ère du virtuel / The Critic at the Era of the Virtual

Victoria Vesna,Changement de l'esprit et futur du corps : des réseaux aux systèmesnanologiques / Mind Shifting and Future Bodies: from Networks to Nanosystems

Roy Ascott, Voyager dansla conscience : art et technologies transformatives / NavigatingConsciousness: Art and Transformative Technologies.

: Dominique Lestel, Elémentsd’une phylogenèse de l’esthétique en réseau : rationalité expressive etrégression créatrice / Elements for a Phylogenesis of a Networked Aesthetics:Expressive Rationality and Creative Regression

: Conclusion, François Soulages 

Session 9 (2èmepartie) : Corps, cortex et réseaux / Body, Cortex and Networks

Modérateur / Moderator : Edmond Couchot

Roger Malina, L'universest-il numérique ? / Is the Universe Digital ?

Maurice Benayoun, Représentation/Situation,fluidité et rugosité du virtuel / Representation/Situation, Fluidity andRugosity of the Virtual

Sophie Lavaud, L’implicationdu corps dans les scénographies interactives / The Implication of theBody in Interactive Scenographies

: Derrick de Kerckhove,Les arts numériques comme des objets mentaux externes / Digital Arts asExternal Mental Objects

: Conclusion, Edmond Couchot


Ecole NormaleSupérieure (ENS), 45, rue d'Ulm, 75015 Paris, salle Dussane

: Séance de clôture : Cognition& art en réseaux / Cognition and Art in the Networks

Organisateur et modérateur /Coordinatorand moderator :Dominique Lestel

avec/with : Mario Costa, Fred Forest, AnnickBureaud, Dominique Lestel, Jean-Paul Longavesne, Edmond Couchot, Derrick deKerkhove, Pierre Lévy, Roy Ascott, Isabelle Rieusset-Lemarié.








2-3 Décembre2002


EcoleSpéciale d’Architecture

254 BoulevardRaspail

75014 Paris


[ ]



Esthétiquedu computer art

Art algorithmique

Art et computer art

Computer artet culture nonlinéaire

Computer artet couleur

Cultureglobale. Art de collaboration

Histoire duComputer art

Computer artinteractif

Linguistiqueet computer art

Musique etcomputer art

Computer arten ligne




Khaldoun Zreik



1st Computer Art Congress

2-3 décembre 2002

Amphithéâtre Ciné

Ecole Spéciale d’Architecture (ESA)

254, Boulevard Raspail - 75014 Paris, FRANCE

Métro Raspail



Monday December 2, 2002

9h00 Registration

9h15 Opening session

Jacques BOULET (ESA), Bernard CAILLAUD (Digital Artist),

Khaldoun ZREIK (C.A.E.N, University of Caen)

Session 1 (Chairman: B. Caillaud)

9h45 – 10h30                 Simon DINER

Ancien Directeur de Recherche au CNRS.

e-mail :

Site web:

Du nombre d'or à l'information algorithmique / Vers une esthétique mathématique.

From  The Golden Number  to  Algorithmic  Information / Towards  a Mathematical  Aesthetics.

10h30 – 11h00 Coffee break

11h00 – 11h45   Aleksandra DULIC et Kenneth NEWBY

Computing Arts & Design Sciences

Simon Fraser University

Burnaby, B.C. Canada

Towards a Cinema of Braided Processes : HeteroForm in New Media Composition.

11H45 – 12h30   Giovanni DE PAOLI

Groupe de recherche en CAO, École d'architecture,

Université de Montréal, Canada

e-mail :

Méthodes de modélisation numérique et artistique :  cas de la plate-forme virtuelle de création pour les artistes des nouveaux Complexes Cirque du Cirque du Soleil.

Methods  of digital and  artistic modelling : the exemple  of the virtual plate-forme  for creation for artists of the new " Complexes Cirque du Cirque du Soleil".

12h30 – 14h30 Lunch Break (No lunches have been organised, participants can find many restaurants around the ESA)


Session 2 ( Chair: S. DINER)

14h30 – 15h15   Julie TOLMIE

Simon Fraser University
e-mail :

From mathematical visualization to immersive  abstraction.

15h15 – 16h00   Stephen JONES

PhD student in the Faculty of Humanities and Social Sciences

University of Technology, Sydney

The Evolution of Computer Art in Australia.

16h00 – 16h30 Coffee break

16h30 – 17h15   Jean VIVIER

Professeur de Psychologie

Directeur Laboratoire de Psychologie Cognitive et Pathologique

Pôle "Modélisation en Sciences Cognitives"

Maison de la recherche en Sciences Humaines

Université de Caen - Basse-Normandie

Reflexions psychologiques sur la temporalité dans le Computer Art.

Temporality  in Computer Art : a psychological point of view.

17h15 – 18h00   Christine FERNANDEZ MALOIGNE

Laboratoire IRCOM-SIC (Signal, Image et Communications)



Couleur numérique et psychométrie.

Digital Color and Psychometry.


18h00 – 19h15  Artists/ Statements ( Animator Victor GRILLO )

             avec                Martine ARGUILLÈRE

                                    Christian BURGAUD

                                    Nadège JEANNE

                                   Amr KHADR



Tuesday December 3, 2002

Session 3 ( Chair : M. LEGLISE)

9h30 – 10h00                 Bernard CAILLAUD

Digital Artist

Co-responsable du C.A.E.N. (Cercle d'Art et d'Espaces Numériques)

Chercheur associé - G.R.E.Y.C - Université de Caen

e-mail :

Automates cellulaires : développement temporel, choix et création.

Cellular Automata : developement over time, choice and creation.

10h00 – 11h00   Jean Pierre BALPE

Directeur du département Hypermédia

Co-Directeur des laboratoires PARAGRAPHE, CIREN et CITU

Directeur de l'école doctorale SIIC

Université Paris 8

Art et technologies.

Art and Technlogy.

11h00 – 11h30 Coffee break

11h30 – 12H15   Jean-Paul LONGAVESNE

Professor, University Paris XI and

École Nationale Supérieure des Arts Décoratifs de Paris (ENSAD),

Director of the "Groupe de Recherche en Informatique Picturale" (GRIP),

Invited Professor at University of Québec, Montréal (UQAM)

Esthétique et Rhétorique des arts technologiques - L'Art des machines.

Thématisation de l'espace-temps comme pratique artistique...

Aesthetics and Rhetoric  of Technological Art - The Art of Machines.

Space-time Thematics as an artistic practice...

12H15 – 13h00   Michael PORADA

Architect, PhD

Ancien enseignant des Ecoles d’Architecture à Paris

Computer  Art ?


13h00 – 14h30 Lunch Break (No lunches have been organised, participants can find many restaurants around the ESA)


14h30-15h15  Christian LAVIGNE

                Ecrivain et artiste multimedia

                Robotsculpture et télésculpture

                Président de Toile Metisse  [ ]

                Cofondateur d’Intersculpt  [ ]

Matérialisation et dématérialisation de l’art : la sculpture numérique abolit les contraires.

Materialization and dematerialization of art : computer sculpture abolishes these contraries.        


15h15– 16h00 Artshow (Animator : Bernard CAILLAUD

16h00 – 16h30 Coffee break



Closing Session

16h30 – 18h00 Round Table with all the participants animated by K. ZREIK, B. CAILLAUD, J. BOULET.





GA 2002

5 th International Conference on GENERATIVE ART


11-13 Décembre2002

EcolePolytechnique Université de Milan


[ ]






Art etCognition



A partir du 18Novembre 2002

Jusqu’enFévrier 2003




Articles et discussions mis en ligne

Une formule originale et vivante qui aura sans doute tendance àse développer





London Institute

(College of art, design and communication)



Signatures of the invisible


An art exhibition inspired by particle physics





Voir aussi laprésentation sur








Berkeley, California

Saturday, January 11, 2003




The First Conference

Institute of Neuroesthetics

Minerva Foundation

Email Us









MuséeThyssen Bornemisza


11 Février-25Mai 2003



Kandinsky etses contemporains


Organisée par Javier Arnaldo. Illustration des relations entrela peinture abstraite et les termes musicaux. Kupka, Klee,Baranov-Rossiné, Picabia, Balla, Severino, Boccioni, Matyushin. Hétérophonie, modulation, polyphonie,variations, nocturne, simultanéisme: vision circulaire, orchestration, rythme:vortex et résonance.,






Dutch Electronic Art Festival


Data knitting



25Février-9 Mars 2003


[ ]


Un festivald’art digital qui questionne la société de l’information.

Les médiasdeviennent de plus en plus des moyens de construire la réalité plutôt que de lareprésenter.




BibliothèqueNationale de France


Site Richelieu

25 Mars-22Juin 2003




Peintreet enlumineur

du XV èmesiècle




L’oeuvreadmirable de Fouquet donne lieu sur le site et dans la catalogue

a desspéculations pour le moins hasardeuses sur l’emploi du nombre d’or.

S’il estindéniable que Fouquet a recours à des tracés régulateurs, rien ne permet d’yfaire jouer au nombre d’or un rôle particulier.

Ce rôleesthétique n’a jamais été invoqué par quiconque jusqu’au XIX ème siècle.Historiquement et mathématiquement le nombre d’or ne joue aucun rôle dans uneesthétique des proportions.

Unemanifestation navrante de la légèreté scientifique

 des conservateurs de musée,

intoxiquéspar M. Ghyka, E. Maillard et C. Bouleau.




Universityof Toronto


SubtleTechnologies 03


22-25 Mai 2003




Un festival Art et scienceannuel.













Thursday May 22 2003
Deconism Gallery 330 Dundas West, Toronto





Opening Panel: Cyborg DECONtact
An opening panel with
Arthur Kroker, Derrick de Kerckhove, Steve Mann and Simon Penny.




9 pm


Opening of Bedlam Telekinesis by Simon Penny and Bill Vorn




Friday May 23 2003
Innis Townhall 2 Sussex Avenue, UofT campus, Toronto






Swipe Project
by Beatriz da Costa and Brooke Singer

Beatriz da Costa and Brooke Singer will present their on-going project, Swipe, a collaboration with Jamie Schulte. Swipe, a multi-disciplinary performance, addresses the gathering of data from drivers' licenses, a form of data-collection that businesses are starting to practice nation-wide.

Swipe Booth: check what sort of information is stored on your driver’s license.









Plant Anima Project: A Biotechnological Architecture
by Aniko Meszaros
Plant Anima is an ongoing project to study the transformation of tools of biotechnology into devices of culture. It proposes a new inhabitable architecture generated through the invention of unique plant organisms that is wired yet vegetable, responsive yet independent, artificial and alive.






Growing Houses
by Tony Paginton
Growing Houses examines the possibilities for a future environment in which buildings are grown rather than built.






by Sophia Lycouris and Yacov Sharir
uses choreographic practices in dialogue with interactive technologies to transform and accentuate the perception of everyday built environments, such as shopping centers, by live audiences who are also the regular users of such environments.






Risky Surveillance: Distributed and Multiple Identity(ies) as Resistance
by Nancy Nisbet
Radio Frequency Identification (RFID) microchip implantation is one of several commercially attractive human tracking and authentication systems. This presentation will explore creative opportunities for resisting such surveillance and challenging officials to ensure protection for individual privacy and freedom.




Evening Performance



Palindrome performance and discussion
German inter-media dance troupe Palindrome use dance movement in conjunction with interactive electronic systems to control a layered environment of video projections, music and lighting.
Discussion by Palindrome’s artistic director Robert Weschler follows the presentation.




Saturday May 24 2003
Innis Townhall 2 Sussex Avenue, U of T campus, Toronto






Locative Media: Mapping and Positioning Ad-hoc Wireless Networking
by Marc Tuters

Marc Tuters contrasts corporate driven wireless experiments, such as HP’s Cooltown, with grass-roots collaborative wireless mapping projects which he argues facilitates its users to become 'architects of their own social spaces'





Squaring the Circle: An Artist’s Exploration of Time, Space, Frequency and Sound
by Steve Heimbecker
Steve Heimbecker describes his philosophic and creative path as an audio artist leading to the creation of the network sensor system Wind Array Cascade Machine and the installation "Pod" (on exhibit at InterAccess during the festival)






Synesthesia and Digital Perception
by Sergio Basbaum
Perceptual habits of western culture since Greece operated through a synesthetical approach to reality that lasts until 18th century. Modernism separated the senses, and modern art has operated through this logic. But contemporary digital culture seems to be again turning into those older models of perception, largely synesthetical.









Brain Basis of Musical Performance, Cognition, Perception and Improvisation
by Lawrence Parsons
This presentation will review new scientific findings indicating that indeed distributed throughout the brain are discrete neural systems and computations for particular music experiences and skills.






Interacting Galaxies: Gravity as Art
by John Dubinski
We observe interacting galaxies in the universe as images frozen in time but the beautiful structures they exhibit are the result of gravitational dynamical processes. John Dubinski will present work that attempts to breathe life into these images using the power of computer simulation and animation.






Something out of Nothing: the Effects of the Vacuum
by Ivette Fuentes-Guridi

What does the vacuum mean? Can anything happen there? This presentation will discuss how Ivette Fuentes-Guridi has looked for answers concerning this topic via artistic and scientific explorations






Are the Laws of Quantum Theory a Consequence of the Human Condition?
By Lucien Hardy

Quantum theory is deeply strange. Why, we might ask, does nature turn out to be described by such a weird theory? Lucien Hardy’s attempts to answer this question have led him to rethink the relationship between ourselves and the world we are immersed in




Opening Reception
InterAccess Electronic Media Arts Centre #444-401 Richmond St Toronto



Wind Array Cascade Machine:Pod
by Steve Heimbecker

Interactive installation as part of Signal, an exhibition of telematic art.

Festival Party
Centre for the Arts # 303 - 533 College Street, Toronto



SHED and Mixmotion provide music and visuals for our party celebration.

Sunday May 25 2003
Innis Townhall 2 Sussex Avenue, U of T campus, Toronto






A Discussion of Bedlam & other Robotic Art projects
by Simon Penny and Bill Vorn

Bedlam is a telematic and teleoperative art installation comprising telerobotics, machine vision, interactive sound and video, with user interaction at each physical site and via the web.






The Art of Time of Strange Attractors
by Robert Krawczyk

Strange attractors generate repeating point patterns in two-dimensional space while their coloring algorithms which represent time produce images of coherent three-dimensional forms. Robert Krawczyk investigates the subsurface structures of these patterns.









Art, Science and Democracy
by Lee Smolin

This talk will explore historical and contemporary points of contact between the development of our understanding of space and time and our conception of human society. It will be argued that the practices of science, art and politics, different as they are, share certain ethical precepts without which none would progress.






Industrial Culture:
Conversion Performances by Johannes Birringer

This is a preview of a laboratory to be conducted in an abandoned coal-mine in Germany this summer. Various perspectives on interactive media as "conversion performances" are sketched, and conversions described as alternative economies of communication and connection, which use interactivity for practices that link technologies with everyday culture and education.






Rewilding North America from the Urban Out
by Adam Zaretsky

Architectural Ecology for the Sustainable Urban Psyche: Can we use our green imaginations to create realities of urban design which are not incompatible with sustainable futures?






Wrap-up Panel Discussion
Moderated by Jack Butler
Interdisciplinary artist Jack Butler's works bridge between the visual pleasure of art and the rational demands of science. He has exhibited installations, video projections, computer animations and performance works internationally. His work is in private and public collections including the National Gallery of Canada. Butler has degrees in Visual Art and Philosophy and 30 years experience as a medical model builder and published researcher in human development. He has taught at many institutions including Carnegie Mellon University and, most recently, at the Banff Centre for the Arts and in the Department of Philosophy at the University of Western Ontario.









Fifth CaiiA International

Research Conference

UWCN Caerleon Campus, Wales UK


3-5 Juillet 2003


Consciousness reframed 2003:

Art and cosciousness in the post biological era


Leonardo Digital Reviews


Consciousness Reframed 2003: Art and Consciousness in the Post-biological Era

The Fifth CAiiA International Research Conference
UWCN, Caerleon Campus, Wales UK
July 3-5, 2003
Convenor: Roy Ascott

Reviewed by Pia Tikka
Elomedia research school
University of Art and Design
Hämeentie 135 C, 00560 Helsinki, Finland

Consciousness Reframed 2003 returned to Caerleon where the conference was first convened in 1997, as the multidiciplinary arena for issues of art, technology and consciousness. Combining both theory and practice, it offered an extremely broad range of presentations. The issues varied from purely philosophical approaches to consciousness allowing a glance on the hotspot dialogue between virtual reality and our everyday reality, to practice-based analysis and the exploration of embodied mind and its possible applications in negotiating the boundaries between arts and sciences. Many perspectives seemed to involve the post-biological condition of art, put to practical use in the symbiosis of technology and consciousness, or, the technoetic as defined by Roy Ascott. [1 ] Many apparent differences between various approaches on the conceptual level may only be matter of perspective. As Eril Baily put it at the Newport train sation: "We all know, what we are talking about, but we do not know, what it is".

When attending the presentations, it seemed to me that philosophers, on one hand, artists on the other, understand and discuss consciousness very differently. This is, why, as a preface to my review for Consciousness Reframed, I would like to briefly sketch my vision of convergence between conventionally distinct disciplines like, let‘s say, cognitive materialism, represented by Daniel Dennett [2], and conceptual idealism [3] adopted for example in the theories of telematic art by Roy Ascott. Transgressing the preset conceptual borders of these distinct domains enables us to scrutinize their structure from outside. This method of stepping outside is traditionally used by artists, trying to view phenomena from unconventional perspectives, e.g. upside-down, or, as a collage of conflicting perspectives. The inside and outside are interdependent entities, evolving in a continuous interaction and transformation. This interaction is emergent and productive as such, but viewed in the scientific context, it needs to be, if not explained, but somehow conceptualized, or described.

Neuroscientists and consciousness researchers may or may not accept a view of the global neuronal workspace model as a conceptual metaphor for consciousness, but in this review I reflect it as a plausible one. The workspace model, according to Dennett [4] , suggests a non-hierarcial, collateral, co-operative, even competitive, modular system, which allows a multidimensional global accessibility. I claim that the metaphor of consciousness as a global workspace attributed above, characterizes perfectly well the assertion of phenomena both on the neuro-biological and techno-social levels of observation. This is why I am tempted to suggest a broadscale conceptual isomorphism ranging in-between the microscale structure of consciousness to the macroscale structure of the planetary consciousness. I dare to put forward this idea, because I am convinced that the fundamental structure of human conceptual system is relatively independent of the differences in languages and cultural inheritance, but intrinsically dependent on the embodied orientation to the environment. I also assume that the way we speak about very different issues is based on the repetition and recycling of same, assumably limited and slowly changing embodied inference structures, such as the body-based orientational metaphors of George Lakoff and Mark Johnson. [5] And this allows us to conclude that at least artists and other visionaries can freely use the method of intrusion, transgression and analogizing when exploring the conceptual resources of other disciplines. For an artist the tools of broadscale conceptual isomorphism, and, the metaphor of multidimensional global workspace enable an access to the infinite domain of conceptual evolution – from private/neuro-biological to public/cultural dimensions of consciousness. Through my understanding, this no-one’s land is where the micro and macro-environments of consciousness research intertwine, and where a holistic dynamic organism-like ontology about consciousness as a subject-environment interaction emerges.

Consciousness seems to be easier to explain in conceptual form than to grasp in material form (e.g. neurobiological, electrochemical). It reveals itself, not in products, but in processes, like the behavior or interaction of a Subject within his or her environment. For a journey to an unfamiliar and exotic environment as consciousness is, between the mystical and rational, Michael Punt suggested adapting the phenomenal aspects of nineteenth century science. Observing and experimenting with the actual processes, as they appear, might expose something to our scrutiny that is conventionally, scientifically, or even intuitively, not presupposed to appear.

Consciousness Reframed, literally, puts out the question whether we can study consciousness only from outside, inside, or outskirts. The sovereignty that inhabits peripheral fields of consciousness is Art, or, more widely, imagination plus conceptual structures mediated by metaphors. These are the tools that enable an access to consciousness, which becomes both Subject and Object of research. For observing the phenomena of world-embedded self-consciousness, for example, Robert Pepperell introduced the metaphoric tool of video feedback, a loop of infinite regression. I am tempted to suggest that innovation of this kind of experiment supports the idea of the broad-scale conceptual isomorphism outlined above. According to Pepperell, the video feedback’s actual self-reference in interaction with the dynamics of its environment visualizes the system's awareness of its audience, and its own awareness of this awareness – it becomes the conscious artwork.

Many participants of the conference worked on sketching the "Big Picture". But how big can the picture be? And, what there is to frame? Artists, while exploring how to couple the separate environments of virtual and real (e.g. "Matrix"), seemed to concentrate in the human mind/body experience, either conscious, and/ or subconscious, or preconscious, depending from the perspective. Roger Malina pointed out to the other direction: most of our environment, the universe, is inaccessible to human senses. It is virtual in the deep sense, Malina affirms. The universe as a virtual environment is described only by augmented and amplified senses of simulations and visualizations, and with the help of machines and non-human scale techniques. Of course, we also can claim that these tools are extensions of human imaginative consciousness. Seen from either the material or phenomenological point of view, even if we did not know anything about the existence of universe, we would still inhabit it.

The functions (thoughts, behaviours, material products) of conscious mind can be seen as reflecting the evolutive (biological) state of that proper individual mind, and, simultaneously, the evolutive (cultural) state of the global techno-social consciousness. In some aspect, conciousness with its imaginative power, is virtual in as deep sense as Malina’s universe. When added that augmented digital technologies enable human mind to escape its bio-physical stone-age prison, the matrix of a ‘reality’. Eril Baily suggested that every-day-reality can be considered a sub-set of the virtual. According to her "the authentic locus of consciousness [is located] within the virtual out of which realities are fabricated and substantiated".

While cosmologists continue working with the macro-scale mysteries of the universe, such as dark matter and dark energy, which are assumed to compose 70% of the universe, the same mysterious 70% must also somehow penetrate and define the micro-scale environment of human bio-physical body. This is relevant question in the perspective of the broad-scale conceptual isomorphism. Could human body and its sensitivity for embodied emergent phenomena work as another kind of experiment field for observing these phenomena normally related to cosmology? What is the material cause for private experiences like emotions or the feelings of what happens? In his presentation Jim Laukes proposed that interactive art could provide the toolkit for verifying identical, shared subjective experience, such as empathy.

A remarkably large number of presenters’ curriculum vitae included active participation in creating interactive immersive art. Many cases were practice-based, functioning as a starting point for combining artwork and theory. Char Davies presented her view on immersive virtual reality experienced in a real cave environment – a perception of a shared "expanded" consciousness. The sensual dimension of aesthetic experience, built around bio-spherical metaphors, also guided Stahl Stenslie’s multi-sensory experiments. According to Stenslie, the dynamic indirect, tacit and body-based processes are a fundamental modus operandi to the consciousness. Yacov Sharir had created a control tool for an interactive dance performance, where his disembodied dancer/self is re-embodied in cyber-performers. The domain that rarely is approached or defined from the preconceptual, which is its most natural and sovereign field, is the body. Kjell Petersen claimed that advanced formal body language is the primary knowledge base in investigating "how the technological augmenting of our access to the world can be understood from the perspective of the body".

How to tell difference between fictive, or virtual reality and the normality? In Karin Søndergaard’s work the fictive reality of actors gets intertwined with the every-day-environment of the normal-others, who will never know that they participated in a scripted trans-normal situation. On the one hand, fiction is fiction. On the other hand, once emerged in human mind, imaginative ideas tend to turn out factual. Only literature can deal with the blurred line between cognitive science and science fiction, says Armando Montilla. I would like to ask how soon will the future entertainment transform external body media (e.g. audio-visual books, film) into internal, being directly "printed" into the individual’s brains, as anticipated in the science fiction by Montilla.

According to Adriana de Souza e Silva, the cell phone environment is creating a hybridization of physical space, with a novel generation of cyberspace nomads always connected, navigating in the digital/virtual environments. In order to interact more deeply with complex virtual (mind and environment) spaces, Lucia Leão suggests that the orientation of the ancient maps and labyrinths could help us to better understand phenomenon of expanded consciousness. Also the sense of atmosphere could be described as virtual environment, or consciousness. As Ioanna Spanou and Dimitris Charitos associate atmosphere "not only with the interface between perception and cognition, but also with the interface between perception and feeling". Shaun Murray’s three architectural experiments with the life-like organic-dynamic metaphors Breeding, Feeding, and Leeching, are produced in order to observe an object interacting with the environment, resulting a set of most interactive and astonishing 2D still images I have experienced in a while.

Consciousness Reframed 2003 juxtaposed many apparently different discourses of art and science, characterized by dicothomy between theory and practice, private and social, biology and technology, virtual and real. It seemed to allow interrelated, competitive, and cooperative human activities emerge in a mutually accessible global workspace. The reason may be found in Ascott‘s words: "To artists (…) it is less a matter of seeking to explain consciousness and more a matter of exploring how [consciousness] might be navigated, altered, or extended; in short, reframed." [6]

The facts of reality forced me to leave out more profound scrutiny of many interesting presentations. We look forward to the forthcoming publications of the collected texts which will do justice to those, whom I was not able to include, and open the debates to a wider constiuency. Consciouness Reframed 2003 fullfilled my expectations as a planetary platform, or workspace, and, as returning to Finland to my own solitary research chamber, I knew that many enthustiatic artists and researchers were out there to reconnect.

Abstracts are found in

[1 ] R. Ascott (ed.), Reframing Consciousness (Exeter: Intellect Books, 1999) p.1.

[2] D. Dennett, Tietoisuuden selitys (Consciousness Explained), Finnish edition, translator Tiina Kartano (Helsinki: Art House, 1999)

[3] See the introduction by E. A. Shanken (ed.) Telematic Embrace: A Love Story? Roy Ascott's Theories of Telematic Art. "Peter Russell, writing in 1982, built on Teilhard’s notion of noosphere in his thesis on the ‘global brain.’ Such an idea appealed to Ascott, who in 1966-67 had theorized that ‘A highly interactive CAM network on an international level might form the embryonic structure of a world brain.’ [See R. Ascott, "Behaviourist Art and the Cybernetic Vision", Cybernetica: Review of the International Association for Cybernetics, Vol. X, No. 1, 1967, 25-56 pp.37.]" Reference in

[4] D. Dennett, "Are we Explaining Consciousness Yet?" , Final draft [cognition.fin] for Cognition, (August 27, 2000)

[5] G. Lakoff and M. Johnson, Philosophy in the Flesh: The Embodied Mind and it’s Challenge to Western Thought (New York: Basic Books, 1999).

[6] R. Ascott (ed.), Reframing Consciousness (Exeter: Intellect Books, 1999) p.2.




Tate Britain.London


26 Juin –28 Septembre 2003




L’universdes expériences visuelles



Muséed’Orsay. Paris




Ledaguerréotype français

Un objetphotographique


Le procédéde Daguerre marque l’invention de la photographie.

Ce procédéest présenté en août 1839 par le physicien Arago à l’Académie des Sciences. Ledaguerréotype est une plaque de cuivre recouverte d’argent sur laquelle l’imagese matérialise.


Cetteexposition sensible donne l’occasion de regretter une fois de plus l’absence devéritable collaboration entre historiens d’art et scientifiques.


Scientifiques et historiens s'opposent sur lapaternité de la photographie

LE MONDE | 04.06.03 |13h28     MIS A JOUR LE 04.06.03 | 16h35

Le daguerréotype est au cœur de l'invention de laphotographie, qui divise encore les partisans de Niépce, Daguerre ou Bayard.Des textes du catalogue qui accompagne l'exposition évoquent le débat. Mais lesdouze auteurs sont historiens d'art, "aucun n'est scientifique", s'étonne Jacques Roquencourt,ingénieur, ancien chef de laboratoire chez Thomson, qui fait autorité surDaguerre. "On ne peut analyser un daguerréotype sans maîtriser lestechniques. L'historien Helmut Gernsheim a écrit que le procédé de Daguerrenécessitait une prise de vue de 20 minutes, ce qui interdit le portrait. J'aiensuite prouvé que Daguerre pouvait réaliser un portrait en une à deuxminutes ; Gernsheim a eu l'honnêteté de reconnaître son erreur."

Deux signataires du catalogue, Françoise Raynaud et SylvieAubenas, rendent un hommage appuyé à Jacques Roquencourt, qui a patiemmentreconstitué les protocoles de Daguerre et vérifié la littérature surl'invention de la photographie. Certains se sont fait expliquer par cescientifique la chimie et l'optique de Daguerre ; d'autres lui ont soumisleur texte. Le scientifique n'a pourtant pas été invité à participer au livre. "Manquede place",dit Quentin Bajac, du Musée d'Orsay et coresponsable du projet. Voyons plutôtune coutume française : les conservateurs de musée et historiens d'artrépugnent à faire appel à des spécialistes qui, même plus érudits, échappent àleur caste. Ainsi le texte d'ouverture du catalogue est-il confié à StephenPinson, universitaire américain, qui a rédigé une thèse consacrée surtout àDaguerre peintre et non au Daguerréotype.


Jacques Roquencourt demande comment Quentin Bajac peutassurer la "responsabilité scientifique" du catalogue, alors même qu'il acommis "une grossière erreur" dans la définition du daguerréotype dans deux ouvragesprécédents. "Tout le monde fait des erreurs, reconnaît cedernier. Mais Roquencourt pourrait aussi saluer des informations nouvellesdans le catalogue." Après lecture, Roquencourt, tout en saluant l'analyse de Paul-LouisRoubert sur l'écho du daguerréotype dans le mouvement moderne, pointe "unbon paquet d'erreurs" chez des auteurs "qui reprennent sans les vérifier lesinformations souvent erronées que l'on trouve dans les livres sur l'invention.Ils n'ont pas les connaissances techniques qui leur permettraient de faire desvérifications. Et ils ne connaissent pas certains documents."

Jacques Roquencourt est sévère avec le texte de DominiquePlanchon-de Font-Réaulx, qui reprend la thèse d'un Bayard photographe etinventeur, "rival malheureux" de Daguerre, inventeur d'un procédé antérieur audaguerréotype. "Bayard est un menteur, un récupérateur des inventionsdes autres. Je le prouve à qui le souhaite." La conservatrice, elle, "nevoit pas Bayard en escroc ; mais sans doute faudra-t-il revoir ce que chacuna apporté à l'invention de la photographie."

Pour Jacques Roquencourt, ce livre a un objectifinavoué : "Nier le rôle d'inventeur de Daguerre." Il cite Stephen Pinson, qui,au-delà de "nombreuses erreurs factuelles" et "des contresens sur lepeintre",étale des documents "anti-Daguerre" mais "passe sous silenceses positions. C'est un texte non contradictoire". Quentin Bajac, il est vrai, estconvaincu que "l'invention de Daguerre se situe dans la suite destravaux de Niépce". Pour Roquencourt, au contraire, "le principephysico-chimique de Daguerre est différent de celui de Niépce, il est même à labase du contrat qu'ils ont passé. Je peux le prouver à M. Bajac. Mais,pour un historien d'art, c'est difficile à comprendre. Ou à accepter. Pour eux,il faut un bon inventeur, Niépce, et un méchant, Daguerre."

Michel Guerrin





Universitéde Grenade. Espagne


23-25Juillet 2003


Joint meeting of

ISAMA 2003 and

6th annual BRIDGES Conference


              ISAMA                            BRIDGES        

TheInternational Society MathematicalConnections

Of the Arts,Mathematics   in Art, Music andScience





Mathematics andmusic,

Computer generatedart



Mathematics andarchitecture

Tesselations andtilings

Aestheticalconnections between mathematics and humanities

Geometric art intwo and three dimensions

Geometries inquilting







San Diego. California


27 – 31 Juillet 2003






30 èmeconférence annuelle de graphisme numérique et de techniques interactives.

Parmi lesdouze raisons d’y assister :

Desmathématiciens qui pensent comme des artistes, des artistes qui pensent commedes ingénieurs, la convergence annuelle mondialement la plus fascinante del’art et de la technologie.

Des cours,des sessions spéciales, des conférences, une exposition de produits et deservices.

Unimpressionnant panorama de problématiques et de technologies.


Sujetsremarqués :

La véritéavant la beauté : principes directeurs pour la visiualisation scientifiqueet médicale (session spéciale).

Lessystèmes-L et au delà (cours de Prezmyslaw Prusinkiewicz )





Budapest. Hongrie.


Chateau Royal de Buda


16-22 Août 2003



Symmetry Festival 2003

Where Science meets Art



A synthesis of constancy and change




All kinds of interpretation, application andrepresentation of symmetry (asymmetry, dissymmetry, broken symmetry,antisymmetry) and its related terms ( like invariance, harmony, proportion,rythm, conservation, self-organisation...) are welcome. Special interest willbe devoted to its relation to beauty and truth, to search for any perfect andgood.








77-81Boulevard Saint Germain. Paris



6émebiennale mondiale de sculpture numérique

expositionet conférences


10-18Octobre 2003


[ ]






destechnologies pour la musique



15-24Octobre 2003






Résonances 2002



es thèmes de 2003 :
Outils pour l'analyse musicale
Technologies dans le spectacle vivant.


L'évolution de l'industrie musicale, de plus en plus concentrée et mondialisée, l'intégration de ses diverses fonctions par la technologie numérique autour de l'ordinateur, l'avènement d'un accès généralisé par le Web, l'évidence d'une profonde convergence entre les outils de création et les outils d'écoute esquissent peu à peu les contours d'un nouveau système technique de la musique. Cet horizon en pleine transformation appelle à la fois :

- un renouveau des concepts de l'organologie et de la musicologie, par une réactivation des problématiques ancestrales de la musique relatives aux techniques d'écriture et de composition, d'analyse, de représentation, d'écoute, de conception instrumentale, d'apprentissage, d'interprétation, et même de répétition ;

- et la prise en compte du fait que la « lutherie » électronique converge de plus en plus avec les instruments numériques désormais couramment en usage dans le domaine artistique - comme si la question organologique devait finalement être étendue à l'ensemble de l'espace transartistique.

La thématique de l'instrument était déjà au cœur des premières Résonances qui se sont tenues à l'Ircam en octobre 2002 et ont rassemblé plus de 6 000 visiteurs - scientifiques, ingénieurs, musiciens, professionnels et grand public - sur la double thématique des nouvelles formes d'écoute et des nouveaux instruments.

Il s'agit pour l'édition 2003 d'étendre la réflexion initiée en 2002 sur les nouveaux instruments de contrôle et de synthèse, aux nouveaux dispositifs musicaux qui renouvellent notre appréhension personnelle, quotidienne ou savante, du phénomène musical, notamment dans le cadre d'une rencontre internationale sur l'écoute et l'analyse musicale selon deux perspectives (les musiques électroacoustiques et la Set Theory). D'autre part, le public pourra découvrir l'extraordinaire diversité des « instruments » d'expression artistique utilisés aujourd'hui dans le spectacle vivant. La place accordée au positionnement des instruments dans l'espace et particulièrement à la spatialisation des sons, les techniques de suivi de l'interprète en temps réel, les dispositifs de captation du mouvement pour les installations ou pour la danse, le traitement de la vidéo en temps réel, les perspectives ouvertes par le traitement de la voix des acteurs ou des chanteurs font parti des enjeux musicaux qui seront abordés cette année, « en résonance » avec les spectacles présentés en juin durant le festival Agora.




Comité d'organisation
Copyright Ircam-Centre Pompidou 2003




Society for Literature and Science


17 ème réunion annuelle


Austin. Texas


23 – 26Octobre 2003


Repenserl’espace et le temps

A travers lascience, la litérature et les arts.




La plus grande Foire Art et Science au monde. Une vitrine sanspareil.





SLS Logo

Austin TX, October 23-26, 2003


Literature and Media

Art History

Art and Media

Theory Across Disciplines

Science, Technology, Medicine, Mathematics


A. Literature


1A. Space and Time I: 19th Century

·                     The Electric Whitman
Lewis Klatt, Department of English, University of Georgia

·                     Cultural Landscape and Network Topology in Jules Verne's Voyage au centre de la terre
Paul Fyfe, Department of English, University of Virginia

·                     Limning the Impossible: Time Travel, the Uncanny, and Destructive Futurity in H. G. Wells' The Time Machine
Katrina Harack, Department of English, University of California, Irvine

·                     Voiding History: The Anecdotal Break and the LIterature of Modernity
Kate Marshall, University of California, Los Angeles

2A. Space and Time II: 20th Century

Chair: Jill Clark

·                     Signs of the Times: Bergsonian Tropes of Duration in The Secret Agent
Jill Clark, Department of English, Fisk University

·                     Seductive Reasoning: Evolution, Physics, and Historical Time in The Education of Henry Adams
John Bruni, Department of English, University of Kansas

·                     Reverse Chronologies in Harold Pinter's Betrayal and Paula Vogel's How I Learned to Drive
Amy Cummins, Department of English, University of Kansas

·                     Intercapillary Space, Interdiscursive Space: Mei-Mei Berssenbrugge's Endocrinology
Greg Kinser, Department of English, State University of New York at Buffalo

3A. Time and Flow: Woolf, Lem, Calvino, Serres

Chair: Eric White

·                     'A Steamsbecoming': Images of Turbulent Flow in Virginia Woolf, Stanislaw Lem, and Michel Serres
Eric White,

·                     Geopoetry and Spatial Literacy
David Goodney, Chemistry, Willamette University and Carol Long, Willamette Unviersity

4A. Philip K. Dick and the Informatic Interdimensions of Valis

Organizer/Chair: Richard Doyle

·                     I Understand Philip K. Dick: DMT Experience and the Interdimensions of Valis
Richard Doyle, Department of English, Penn State University

·                     'Doing Time,' or The Consolation of Technosophy: The Prison Writings of Philip K. Dick
Jeffrey Fisher, Bethany College

·                     Horselover Fat Beside Himself: Valis and the Parallel/Serial Distinction
Brian Rotman, Comparative Studies, Ohio State University

5A. Astronomy and Cosmology I: Victorian and Modern Literature

Michaela Giesenkirchen

·                     Cinders of Starts, Solar Catastrophes: The Terror of Victorian Astronomy
Anna Henchman, English Department, Harvard University

·                     Modernity at the Speed of Light
Holly Henry, Department of English, California State University, San Bernardino

·                     The Fabric of Ultimate Reality and Teilhard's Evolutionary Tapestry
Kathleen Duffy, SSJ, Department of Chemistry and Physics, Chestnut Hill College

6A-1. Technoscience in European Literary Modernism

Chair: Katherine Arens

·                     Writing the Continuum in Saint-John Perse
May Chehab, Departement des Langues et Littératures Étrangères, University of Cyprus

·                     Proust and the Automobile
Shawn Gorman, Modern Foreign Languages and Literatures, Boston University

·                     A High Pressure Dome over Austria: Mach, Musil, Mauthe, and the Cultural Time of Science
Katherine Arens, Department of Germanic Studies, University of Texas at Austin

6A-2. Postmodern Narratives

Chair: Sharon Stockton

·                     Waste Trading and the Re-emergence of the Father in Postmodern Literature
Sharon Stockton, Department of English, Dickinson College

·                     Heterotopias in David Foster Wallace's Infinite Jest
Joyce Lee, University of California, Los Angeles

·                     The E-Mail Novel: A Contemporary Epistolary Movement
Albert Guerrero, Geo-Political Affairs, United States Air Force

7A. Darwinian Ecologies I: 19th Century

Chair: Mary Rosner

·                     An Unhealthy Mind in an Unhealthy Body: The Uneasy Positionings of Mr. Dexter
Mary Rosner, Department of English, University of Louisville

·                     Born Killers? Marcus Clarke and the Evolutionary Theory of Criminality
Beth Boehm, Department of English, University of Louisville

·                     Ecologies of Time and Space: Late Nineteenth-Century Rhetorics of Habit and Identity
Jodie Nicotra, Department of English, Penn State University

8A. Darwinian Ecologies II: 20th Century

Chair: Victoria Alexander

·                     Shaping the Alien: Darwinism and Early Science Fiction
Elmar Schenkel, Institut für Anglistik, University of Leipzig

·                     Building the 'Blue' Race: Micegenation, Mysticism, and the Language of Cognitive Evolution in Jean Toomer's The Blue Meridian
Stephanie Hawkins, Depratment of English, Wake Forest University

·                     Nabokov and Evolutionary Theory
Victoria Alexander, Dactyl Foundation for the Arts & Humanities

9A. History and Time in the Novel: Race, Caves, and Eels

Organizer/Chair: Benjamin Robertson

·                     Haptic History in Octavia Butler's Kindred
Benjamin Robertson, English Department, SUNY/Buffalo

·                     The White Death for Brown Bodies: Time Measurement and Racial Transformation in H. Rider Haggard's King Solomon's Mines
Leslie Graff, English Department, SUNY/Buffalo

·                     Human History and Marine Biology: Graham Swift's Waterland
Benjamin Joplin, English Department, SUNY/Buffalo

10A. Romanticism, Science, and Lyric Space

Chair: Sharon Lattig

·                     Mind Forg'd Manacles: The Fleshy Materialism of the Mind at the Interface of the Word
Dane Barca, Department of English, University of California, Riverside

·                     Bare Life in Early British Romanticism
Robert Mitchell, Department of English

·                     Daffodil VR
RIchard Menke, Department of English, University of Georgia

·                     The Sense of Lyric Space
Sharon Lattig, University of New York Graduate Center

11A. Urbanization and Extinction

Chair: Dirk Vanderbeke

·                     The Living Cities: Visionary Technologies and Literary Nightmares
Dirk Vanderbeke, Institut für Anglistik/Amerikanistik, Greifswald

·                     Urban Spaces, Highway Spaces: Narrating the Superhighway
Helen Burgess, Digital Technology and Culture, Washington State University at Vancouver

·                     Beyond Depletion? Complexity Theory and the Question of Growth
Melinda Cooper, Department of Sociology, Macquarie University

·                     Revising the Extinction Narrative through Non-Human Reproductive and DNA Science
Stephanie S. Turner, Knight Institute for Writing in the Disciplines, Cornell University

B. Literature and Media


1B. Hypertext and Cybertext

Chair: Sandy Baldwin

·                     The Concept of Hypertext in Medieval Byzantium
Tatiana Nikolova-Houston, School of Information, University of Texas at Austin

·                     From Montage Theory and Hypertextuality: Conceptions of Narrativity, Materiality and Gender
Barbara Hui, Center for Digital Humanities, University of California at Los Angeles

·                     Links as Adposition Particles in Cybertext Strings
Patrick Conner, Department of English, West Virginia University

·                     The Linking Prohibition: Hypertext, DMCA, and Intermediality
Charles Baldwin, Department of English, West Virginia University

2B. Virtual Agents

Chair: Sean Zdenek

·                     Gnosis, Virtual Beings, and Embodied Flesh
Greg Garvey, Computer Science and Interactive Digital Design, Quinnipiac University

·                     The Evolution of Artifactual Artisans from within the Cultural Space of the Face
Sheryl Brahnam, Computer Information Systems, Sourthern Missouri State University

·                     The Future is Inevitable: The Rhetorical Engines of Prophecy in Artificial Intelligence
Sean Zdenek, Department of English, Texas Tech University

3B. New Media: New Time, New Space

Organizer/Chair: Marjorie Coverly Luesebrink

·                     Time After Time: Electronic Literature and Timeline Authoring
Marjorie Coverley Luesebrink, Electronic Literature Organization, University of California, Los Angeles

·                     Re-Tuning Time and Space in Digital Media
Stephanie Strickland and Cynthia Lawson Center for New Media Teaching and Learning, Columbia University

4B. Narrative Time and Machine Writing

Organizer/Chair: Judd Morrissey

·                           Judd Morrissey, The School of the Art Institute of Chicago

·                           Lori Talley, The School of the Art Institute of Chicago

·                           Lutz Hamel, Department of Computer Science and Statistics, University of Rhode Island

5B. Vitalism and Aesthetics: A Roundtable

Organizer: W. J. T. Mitchell

·                           James J. Bono, Department of History, State University of New York at Buffalo

·                           Bruce Clarke, Department of English, Texas Tech University

·                           Ellen Esrock, Department of Language, Literature, and Communication, Rensselaer Polytechnic Institute

·                           John Johnston, Department of English, Emory University

·                           W. J. T. Mitchell, Departments of English and Art History, University of Chicago

·                           Richard Shiff, Department of Art and Art History, University of Texas at Austin

6B. Flat Space, Hyperspace, and Visual Space:
    Dimensionality in Literature, Science, and New Media

Organizer/Chair: Dene Grigar

·                     Flat Space and the Notion of Dimensionality in Literature
John F. Barber, School of Arts and Humanities, University of Texas at Dallas

·                     Hyperspace and the Notion of Dimensionality in Science
Dene Grigar, Department of English, Speech, and Foreign Languages, Texas Woman's Unviersity

·                     Visual Space and the Notion of Dimensionality in New Media
Diana Slattery, Academcy of Electronic Media, Rensselaer Polytechnic Institute

7B. (Virtually) There: Radical Space and Time in Film and the Visual Arts

Organizer/Chair: Dawn Dietrich

·                     The End of Time in the Virtual Now: Trinh T. Minh-ha's The Fourth Dimensio
Dawn Dietrich, Department of English, Western Washington University

·                     Caught at the Peephole: The Horror of Virtual Space in Alfred Hitchcock's Psycho
Barbara Miller, Department of Art, Western Washington University

·                     What Lies Behind (The Screen)?
Douglas Park, Department of English, Western Washington University

·                     Takashi Murakami's Special Mission Project Ko²: Posthuman Bodies and the Super Flat
Tony Prichard, Western Washington University

8B-1. Literature, New Media, Nanotechnology

Chair: Charles Baldwin

·                     Framing New Media
Angela Forster, electronic Media Arts Design, University of Denver

·                     Spawning the Biological Narrative
Timothy Weaver, electronic Media Arts Design, University of Denver

·                     Electronic Literature: The Intersection of Nanotechnology and Digital Literature
Jessica Pressman, Department of English, UCLA

8B-2. Temporal Typographies in 20th Century Poetry

Organizer/Chair: Gordon Hadfield

·                     Chronophotographic Typography: From Etienne-Jules Marey to Tristan Tzara and F. T. Marinetti
Gordon Hadfield, Department of English, State University of New York at Buffalo

·                     Things Re-done, Things Pre-done: Charles Olson, Alfred North Whitehead and the Eternal Event
Sasha Steensen, Department of English, State University of New York at Buffalo

·                     Actual Telepathy: Sound and Time in the Poetry of Susan Howe
Kristen Gallagher, Department of English, State University of New York at Buffalo

9B. Anime Adventures: Interdisciplinary Meets Cross-Cultural

Organizer/Chair: Pamela Gossin

·                     Seducing Geeks into the Humanities with Anime
Marc Hairston, Hanson Center for Space Sciences, University of Texas at Dalas, and Pamela Gossin, History of Science and Literary Studies, University of Texas at Dallas

·                     Teaching Writing to Different Discourse Communities
Angela Matthews, Department of English, University of North Texas

·                     The Pleasures and Problems of Teaching Japanese Animation
Susan Napier, Department of Japanese Culture, University of Texas at Austin

10B. Mediated Subjects in Film, Gaming, and Design

Chair: Phoebe Sengers

·                     The Happiness Game in West Egg and Simburbia: An Inquiry into the Fitness Landscapes of The Great Gatsby and The Sims
Shawn Thomson, Department of English, University of Kansas

·                     The Pusher, the Pope, and the Party Girl: The Problematics of Identity in Technology Design
Phoebe Sengers, Information Science, Cornell University

·                     Tears in the Rain: Star Wars, Cybernetics, and the Evolution of Post-Human Film
Martin Rogers, Department of English, University of Georgia

11B. Reading Digital Culture | Poetics of the In-Between

Organizer/Chair: Lori Emerson

·                     Identity to Adentity: Network Phenomenology and the Poetics of'Being' Online
Talan Memmott, Writing, Brown University

·                     The Digital is the Real: Manipulating State Changes and Transaction Pattern
Fabian Forrest Jesse, Jesse Company and Ming Xian-Ma, Department of English, State University of New York at Buffalo

·                     Exposing the Seams of Sense-Making: Digital Poetry as Both
Lori Emerson, Department of English, State University of New York at Buffalo

C. Art History


1C. Modernism Takes Flight: The Airplane's Impact on Art and Design

Organizer/Chair: Anne Goodyear

·                     'Spirit of St. Louis': Alexander Calder's Portrait of Flight
Barbara Zabel, Art History, Connecticut College

·                     The Aviator's Revision of the World: An Aesthetics of Ascension in Norman Bel Geddes's Futurama
Adnan Morshed, Center for Advanced Study in the Visual Arts, National Gallery of Art

·                     The Construction of an Aerial Vision in Modern Art of the 1930s and 1940s
Anne Goodyear, Prints and Drawings, Smithsonian National Portrait Gallery

2C. Marcel Duchamp

Chair: Michael Taylor

·                     Marcel Duchamp's Pseudospherical Space
Craig Adcock, School of Art and Art History, University of Iowa

·                     Spatial Uncertainty and Military Avoidance: Duchamp and the Jura-Paris Road
Kieran Lyons, School of Art, Media and Design, University of Wales College, Newport

·                     'Remembered eunuchs lip to lip': Duchamp's Space, Time, and Eros Stribed Bare by Susan Howe
Douglas Basford, The Writing Seminars, Johns Hopkins University

3C. Times and Tempos of Early Modern Art: Cubism, Futurism, and Kandinsky

Chair: Jan Schall

·                     Keeping Time: Taylor's Schmidt, Picasso's Portuguese, and Amr's Art of Work
Fae Brauer, The University of New South Wales

·                     The Absolute Omnipresence of Speed
Irina Costache, Department of Art History, California State University, Channel Islands

·                     At the Piano: Kandinsky and the Keyboard Metaphor in Text and Image
Lynn Boland , University of Texas at Austin

4C. Vision and Visions of the Present and Future

Chair: James McManus

·                     Crooked Vision and Strabismic Seeing: Metaphors of Visual Dysfunction in Late Nineteenth-Century American Art Criticism
Rachael DeLue, Art History, University of Illinois, Urbana-Champaign

·                     The Future of the Present: Albert Robida, Henri Desmarest, and the Women's Rights Movement
Elizabeth Menon, Purdue University

·                     Changing Images of Women and Machines
Julie Wosk, Art History, and Studio Painting, State University of New York, Maritime College

5C. Psychology, Occult Science, Evolutionary Theory, and the Scientization of Religion during the fin de siècle

Organizer/Chair: Serena Keshavjee, Department of Art History, University of Winnipeg

·                     Joséphin Péladan's 'L'Occulte Catholique': The Union of Science and Religion in the Service of Anti-Republican Politics
Maria Di Pasquale, Department of Fine Arts and Art History, George Washington University

·                     An Unholy Alliance: Experimental Psychology, Spiritualism and Mediumistic Creativity
Allison Morehead, Department of Art History, University of Chicago

·                     Into the Primeval Slime: Body and Self in Redon's Evolutionary Universe
Martha Lucy, Institute of Fine Arts, New York University

·                     Gauguin, Anthropology, and the Developmentalist Approach in Religion
Barbara Larson, Department of Fine Arts, Syracuse University

6C. Astronomy and Cosmology II: Maya and Renaissance Art

Chair: Jim Swan, Department of English, State University of New York at Buffalo

·                     The Encounter of Maya Mythical and Terrestrial Space and Time: The 819-Cardinal Count 'Errors' in the Group of the Cross at Palenque
María Elena Bernal-Garcia, Universidad Autónoma del Estado de Morelos

·                     In Time and Beyond: Ottheinrich, Science, and Art
Lisa Kirch, Department of Art and Art History, University of Texas at Austin

·                     The Role of Early Biographies and Portraits in the Reception of Copernicus
Andreas Kühne, Lehrstuhl f¸r Geschichte der Naturwissenschaften der Ludwig-Maximilians-Universit”t M¸nchen

7C-1. Space and Time in Art since 1950

Chair: James Housefield

·                     Pollock and the Labyrinth
Elizabeth Langhorne, Art Department, Central Connecticut State University

·                     Robert Smithson's Entropic Materiality
Kim Paice, Department of Art HIstory, University of Cincinnati

·                     Machines for the Manufacture of Geologic Time: Roxy Paine's Playful Science
James Housefield, Department of Art and Design, Texas State University, San Marcos

·                     The Neutral Ground as Common Ground
Rachel Teagle, Museum of Contemporary Art, San Diego

7C-2. Perceiving Space in Antiquity, the Renaissance, and the Baroque

Chair: Troy Thomas

·                     Mimesis and Optics: on the Nature of the Representation of Space in 5th & 4th C BCE Greece
Beth Stewart, Department of Art, Mercer University

·                     Caravaggio: Space, Light, and Natural Philosophy
Troy Thomas, Humanities and Art History, Penn State University, Harrisburg

8C. Art and the Fourth Dimension I: Early Twentieth Century

Chair: Jonathan Massey

·                     When Time Stands Still: Ancient Eastern Spiritual Influences on Early 20th Century Imaginings of Space, Time and Scientific Relativity
Eugenia Ellis, Design Arts, Drexel University

·                     'Dimensions of the Pure Imagination': Pavel Florenskii's The Analysis of Space and Time in the Fine Arts
Elizabeth English, Schoolf of Architecture, Tulane University

9C. Art and the Fourth Dimension II: Later Twentieth Century

Organizer/Chair: Linda Henderson

·                     The Nature of Space: A Reappraisal of I. Rice Pereira's Concept of Space-Time
Karen Bearor, Department of Art History, Florida State University

·                     The Spatial Fourth Dimension Comes Back
Linda Henderson, Department of Art and Art History, University of Texas at Austin

·                     Architecture and Geodesy: 'The Fourth Dimension' from Bragdon to Fuller
Jonathan Massey, School of Architecture, Syracuse University

10C. Art + Science = Surrealism

Organizer/Chair: Gavin Parkinson

·                     Sodomized by Her Own Chastity: Science, Catholicism and Eroticism in Dali's RhinocEROS Horn
Elliott King, Art History and Theory, University of Essex

·                     Max Ernst's 'Argument' with Nature
Simone Perks, Art History and Archaeology, University of Manchester

·                     A Randomness: André Masson, Analogy, and Natural Science
Gavin Parkinson, Birkbeck College, University of London

11C. Session Cancelled

D. Art and Media


1D. Sound, Music, and Spacetime

Chair: Trace Reddell

·                     Time-Space of Music
Marina Korsakova-Kreyn, Program in Applied Cognition and Neuroscience, University of Texas at Dallas

·                     Choreographing Reiterative Soundspace
Jeff Talman, Artist in Residence, Emerson College

·                     Laptopia: The Spatial Poetics of Networked Laptop Performance
Trace Reddell, Digital Media Studies, University of Denver

2D. Questioning Media: Photography and Holography

Chair: Ann Reynolds, Department of Art and Art History, University of Texas at Austin

·                     The Relationship Between Performance Art and Photography
Nan Curtis, Curator of Art, Neville Public Museum

·                     Eye Object: Bodies on Display in Early Medical Photography and the Postmodern Photography of Joel-Peter Witkin
Ann Millett, Department of Art, University of North Carolina at Chapel Hill

·                     Holography: A Perfect Miror with a Memory
Mark Holzbach, Zebra Imaging

3D. Networks and Responsive Media: Theory and Practice

·                     The Network Paradigm
Don Foresta, Interactive Multimedia Art, École Nationale Superieure d'Arts

·                     Resistance is Fertile: Gesture and Agency in the Field of Responsive Media
Sha Xin Wei, Topological Media Laboratory, Georgia Institute of Technology

4D. Guest Artist Session

·                     Four Dimensional Projection: Art and Reality

with Tony Robbin,
moderated by
Linda Henderson

5D. Enlarging Conceptions of Space and Time

Chair: Craig Adcock

·                     The Conflated Image
Richard Difford, School of Architecture and the Built Environment, University of Westminster

·                     Transvergent Space: Nano~, Neuro~, Bio~, Quanto~: The Enormity of the Very Small
Marcos Novak, University of California at Santa Barbara

·                     'Balsamic Vinegar of Modena' and the Edge of Time
Bogdan Perzynski, Department of Art and Art History, University of Texas at Austin

6D. Data Atmospheres

Organizer/Chair: Frances Dyson

·                     Atmospheric Signals as Cosmos
Douglas Kahn, Techno-Cultural Studies, University of California at Davis

·                     Weather and Heterogeneity in the Eventspace
Patrick Clancy, Photography and New Media, Kansas City Art Institute

·                     Knowing and the Data-sphere
Frances Dyson, Techno-Cultural Studies, University of California at Davis

7D. Guest Artist Session

Chair: Sidney Perkowitz

·                     From Space-time to Quantum Cosmology: A Sculptor's Search for Intangible Reality

Athena Tacha in dialog with Sidney Perkowitz, Physics Department, Emory University, and
Craig Wheeler, Department of Astronomy, University of Texas at Austin

8D. Alchemy in Art and Technology

Chair: M. E. Warlick

·                     The Body and the Vessel: Sexual Images in Alchemy
M. E. Warlick, European Modern Art, University of Denver

·                     Alchemy's Androids and the Posthuman Cyborg: Exploring Points of Contact
Kevin LaGrandeur, New York Institute of Technology

·                     The Alchemy Series
Samantha Krukowski, Department of Radio-Television-Film, University of Texas at Austin

9D. Body, Noise, Digital Media

Chair: Bernadette Wegenstein

·                     Making Room for the Body: Fragments of a History of Body Criticiism
Bernadette Wegenstein, Media Studies, State University of New York at Buffalo

·                     Noise and the Uncanny
Charles Kriel, Media artist/theorist, London

·                     Strategies of Resistance: Language, Power and Ethics in New Media
Timothy A. Jones, artist/professor, Northwest Vista College, San Antonio

10D. Session Cancelled

11D. Science and Expanded Dimensions of Consciousness

Chair: Kieran Lyons

·                     New Media, New Science, New Art: The Works of Mariko Mori
Jonathan Wallis, Moore College of Art and Design

·                     Another View form the Blender: Reversing Time in the Laboratory
Michael Punt, Art, Media and Design, University of Wales College, Newport

·                     Metatechnology Research
Michael Punt and Kieran Lyons, Art, Media and Design, University of Wales Colege, Newport

E. Theory Across Disciplines


1E. Body and Mind from the Premodern to the Posthuman

Chair: Eve Keller

·                     The Fleshing Out of Vico's Probabilities
Michelle Gibbons, University of Notre Dame

·                     Patient, Interrupted: The Creation of the Anti-Psychiatric Psychiatric Consumer
Elizabeth Donaldson, Department of English, New York Institute of Technology

·                     Posting a History for the Posthuman: Embedded, Embodied, and Distributed Subjectivity in Ancient Physiology
Eve Keller, Department of English, Fordham University

2E. Landscape and Gardens

Organizer/Chair: Yves Abrioux

·                     Patriot 1810. Cattle as Technological Instruments in British Nationalism
Ron Broglio, Literature, Communication, and Culture, Georgia Institute of Technology

·                     Geology and Two Victorian Gardens
Michael Charlesworth, Department of Art and Art History, University of Texas at Austin

·                     Statistics in the Landscape
      Yves Abrioux, Département de Médiation culturelle, Université Paris 3

3E. Space and Time Transcending Disciplinary Boundaries: Philosophy, Science, Art, and Literature

Organizer/Chair: Craig McConnell

·                     Cross the Spatial Borders; Close the Temporal Gaps
John Marvin, State University of New York at Buffalo

·                     From Space and Time to Space-Time: Continuity, Revolution, and the Popularization of General Relativity
Craig McConnell, School of Liberal Arts, California State University, Fullerton

·                     The Heritage of the Russian Avant-Garde: Vladimir Sterligov's Spatial System of the Cup-Cupola
Isabel Wünsche, School of Humanities and Social Sciences, International University Bremen, Germany

·                     Gertrude Stein's Radical Empiricist Philosophy of Space and Time
Michaela Giesenkirchen, Writing Program, Boston University

4E. Recoding Cognition

Chair: Katherine Hayles

·                     Performative Code and Figurative Langauge: Neal Stephenson's Cryptonomicon
Katherine Hayles, Department of English, University of California, Los Angeles

·                     Application of Knowledge on Consciousness to Industrial and Cultural Realms
Michio Okuma, Independent Scholar and Isao Todo Yokohama National University

5E. Outer Space: Primate, Human, Alien

Chair: Arther Fricke

·                     Retiring the Space Chimps
Marie Lathers, Modern Languages and Literatures, Case Western Reserve University

·                     Homo Sapiens Extra-Terrestrialis: Imagining 'Man in Space'
Stephen Petersen, Department of Art History, University of Delaware

·                     Talking About Alien Intercourse
Arthur Fricke, Science and Technology Studies, Rensselaer Polytechnic Institute

6E. Whitehead Now I: Historical Perspectives

Organizer/Chair: Steven Meyer

·                     Reexamining Seventeenth-Century 'Vital Materialism': Whitehead's Philosophy of Organism and a Possible Future for Science Studies
James J. Bono, Department of History, State University of New York at Buffalo

·                     Recombinant ANW: Appetites of Words
Joan Richardson, City University of New York Graduate Center

·                     Whitehead and the Notion of Cosmology
Don Byrd, Department of English, State University of New York at Albany

7E. Whitehead Now II: Contemporary Perspectives

Organizer/Chair: Steven Meyer

·                     Diagrammatological Surgery on Whitehead's Time
Sha Xin Wei, Topological Media Laboratory, Georgia Institute of Technology

·                     Whitehead on the Temporal Object
Mark Hansen, Department of English, Princeton University

·                     Digital Philosophy and the Whitehead's Prehension
John Johnston, Departments of English and Comparative Literature, Emory University

8E. Feminist Science Studies: Past, Present, and Future I

Organizers: Bernice Hausman, Muriel Lederman, Carol Colatrella
Chair: Bernice Hauseman

·                     Rethinking Feminist Science Studies
Lynda Birke, Affiliation

·                     Feminist Pedagogies for the Sciences: Key to the Future of Feminist Science Studies?
Muriel Lederman, Department of Biology, Virginia Polytechnical Institute

·                     Gut Feminism
Elizabeth A. Wilson, Institute for Advanced Study, Princeton, NJ

9E. Feminist Science Studies: Past, Present, and Future II

Chair: Carol Colatrella
Respondent: Bernice Hausman

·                     Feminism and Fiction: The Gendered Production of Knowledge or Agnotology in Feminist Science Studies
Susan Squier, Women's Studies and English, Penn State University

·                     Immigrant Mothers, Biogenetics, and the Idea of the Person
Priscilla Wald, Department of English, Duke University

10E. Migration, Communication, and Globalization

Chair: Ursula Heise

·                     From the Poetics of Wandering to the Poetics of Processing: The Space and Time of Classical Genetics
Phillip Thurtle, Sociology and Anthropology, Carleton University

·                     The Trans-Siberian Railway and Russia's Asian Identity
Anindita Banerjee, Comparative Literature Program, University of Oregon

·                     Globalization, Deterritorialization and Ecology
Ursula Heise, Department of English, Columbia University

11E. Narrative, Media, Systems

Organizer/Chair: Bruce Clarke

·                     The System-Subject in David Foster Wallace's Infinite Jest
Mark Hansen, Department of English, Princeton University

·                     Blur: Architecture, Time, and Dematerialization in the Diller+Scofidio Project
Cary Wolfe, Department of English, Rice University

·                     Epic and System: William Gaddis, American Literature, and Empire
Joseph Tabbi, Department of English, University of Illinois at Chicago

·                     Narrative, Systems, and Time
Bruce Clarke, Department of English, Texas Tech University

F. Science, Technology, Medicine, Mathematics


1F. Science and Medicine in 19th Century Literature

Chair: Katherine Arens, Department of Germanic Studies, University of Texas at Austin

·                     Poe's Ethereal Dialogues
Joe Milutis, Department of Art, University of South Carolina

·                     Serialization, Sensation, and the Sphygmograph
Meegan Kennedy, Program in History and Literature, Harvard University

·                     Public Bodies and Textual Hysteria: Dissecting the Angel of the House in Late Victorian Urban Discourse
Jane Rago, Department of English, West Virginia University

·                     Rethinking Oneness and Multiplicity with Poe, Deleuze, and Serres: Space, Duration and Matter in Eureka and Contemporary Critical Theory
Leyla Ercan, University of Erlangen

2F. The Status of Emergence: A Roundtable--I: Science and Representation

Organizer/Chair: Victoria Alexander

·                           Katherine Hayles, Department of English, University of California, Los Angeles

·                           John Johnston, Department of English and Comparative Literature, Emory University

·                           Eve Keller, Department of English, Fordham University

·                           Susan Oyama, Department of Psychology, John Jay College

3F. The Status of Emergence II: Scholarship and Popularization

Organizer/Chair: Victoria Alexander

·                           Katherine Hayles, Department of English, University of California, Los Angeles

·                           John Johnston, Department of English and Comparative Literature, Emory University

·                           Eve Keller, Department of English, Fordham University

·                           Susan Oyama, Department of Psychology, John Jay College

4F. Interdisciplinary Pedagogy

·                     Interdisciplinary Pedagogy and Practice: The Challenges of Collaboration
Stephen Kellert, Philosophy Department, and Michael Reynolds, English Department, Hamline University

·                     Teaching Science for Gender Equity
Muriel Lederman, Biology and Women's Studies, Virginia Polytechnical Institute

·                     Teaching LIterature and Science: The Clashng Points
Ian Roberts, English, Foreign Languages, and Journalism, Missouri Western State College

·                     Jack and Jill in teh Moon: Rethinking Jack and Jill as Keepers of Time and Space
Sallie Teames, Fort Wroth Astronomical Society

5F. Mathematics, Physics, and Cosmology

Chair: Jay Labinger

·                     What is the Universe Made Of?
Jack Sarfatti, Internet Science Education Project

·                     Probabilistic Geometry: From Physics to Perception
Sisir Roy, Indian Statistical Institute, India and Menas Kafatos, School of Computational Sciences, George Mason University

6F. Communing Bodies: On Birding, Breathing, Secreting

Organizer/Chair: Debra Hawhee

·                     Birding with Nietzsche: Appreciation, Classification, Cognition, and Anthropomorphism
Jeff Karnicky, Department of English, Millersville University

·                     Oxygen Use on Everest: Managing Inspiration
Elizabeth Mazzolini, Department of English, Penn State University

·                     Rhetoric and Internal Secretions: Kenneth Burke's Engagements with Endocrinology
Debra Hawhee, Department of English, University of Illinois

·                     Bird Art, Bird-Lore, and the Conservation Agenda of the Nascent Audubon Societies
Mike Dooley, School of Art and Art History, University of Iowa

7F. Registering the Invisible: Chladni Figures, Automatism, and Clairvoyant Chemistry

Chair: Mark Morrisson

·                     When Nature Begins to Write Itself: German Romanticists Read the Electrophore
Antje Pfannkuchen, Department of German, New York University

·                     Automatism: Ghost in the Machine
Alan Clinton, Literature, Communication, and Culture, Georgia Institute of Technology

·                     Theosophy, Alchemy, and Atomic Physics: the Occult Chemistry of Annie Besant and C. W. Leadheater
Mark Morrisson, Department of English, Pennsylvania State University

8F. Relativity, Quantum Theory, Topology, Philosophy

Chair: Arkady Plotnitsky

·                     The End(s) of Space-Time: From Relativity to Quantum Theory and Beyond
Arkady Plotnitsky, Program in Theory and Cultural Studies, Purdue University

·                     The Philosophy of Topology and the Topology of Philosophy
Uziel Awret, Independent Scholar

9F. Image and Narrative in Medicine

Chair: Ronald Schleifer

·                     Anatomy Lessons and Artificial Intelligence: Dionysus and Apollo in Film and Medicine
Rhona Justice-Malloy, Department of Theatre, Central Michigan University

·                     The Tri-dimensional World of Carlo Levi: Medicine, Art and Narrative
Maria Wells, Harry Ransom Humanities Research Center, University of Texas at Austin

·                     'Doctor, Can't You Do Something?' Educating the General Public about Limitation, Failure, and Mistake in Medicine
Cheryl Koski, Journalism and Media Studies, University of South Florida

·                     Autobiographical Medicine: Physician Life Stories, the Memoir, and the Nature of Empathy
Ronald Schleifer, Department of English, University of Oklahoma

10F Faraday, Forces, and Patterns in Nature

Chair: Dennis Summers

·                     The Life of Faraday: A (kind of) Performance with Sets by Richard Long
Dennis Summers, Quantum Dance Works

·                     Faraday, Nanotechnology
Steven Oscherwitz, Artist

·                     Bridges Between Human Knowledge and Patterns in Nature
Zachary Jones, Independent Scholar

11F. Technoscience and the Sublime

Chair: Elizabeth Kessler

·                     Reprising the Infinite and Sublime: Contemporary Astronomical Images
Elizabeth Kessler, History of Culture, University of Chicago

·                     Quantum Spacetime and the Aesthetics of the Sublime
Ian Greig, Art History and Theory, University of South Australia

G. Guest Scholar Plenary Session


1G. Histories and Pre-Histories of the Twentieth Century: From Early Modernism to Cyberspace

Moderator: William Everdell, St. Ann's School, Brooklyn, NY

·                     Rethinking The Culture of Time and Space
Stephen Kern, Department of History, Ohio State University

·                     The Avant-Garde and Radical Modernism in the Pre-history of Cyberculture
Donald Theall, Department of English, Trent University