meeting of the spirits - sonic, sensuous, implacable. 16th oct gear-up
Wed 07 October at 02:41 AM
ICAS - Institute for the Converging Arts & Sciences: General Info
ICAS Launch: International Symposium Of Clocks and Clouds: When Art met the Web-Sciences
The Old Royal Naval College, Univ of Greenwich London, UK
Admission is Free, but due to demand, attendance is by Ticket only: Please email Gisela Lafico our Research Assistant at ICAS@gre.ac.uk to reserve your place.
Of Clouds and Clocks: When Art met The Web Sciences celebrates the launch of our post-graduate / post-doctoral research Institute for the Converging Arts & Sciences. It will host over 25 speakers/provocateurs from around the world dedicated to the scholarly advancement of the contemporary arts and sciences and the varying landscapes upon which they converge. The Table begins at 9.am on Friday and ends by 6pm Saturday.
It will be intense, provocative, playful and extraordinary. Be there if you can.
- 37 Views
-
Like (4)
Institute for the Converging Arts & Sciences
where the future begins.
ICAS
ICAS Launch: International Symposium “Of Clocks and Clouds: When Art met the Web-Sciences” 16th and 17th October 2009 Council Chambers, Queen Anne Court 063 The Old Royal Naval College Due to High Interest, attendance is by Ticket only: Please email ICAS@gre.ac.uk to reserve your place. The symposium celebrates the launch of our post-graduate / post-doctoral research Institute for the Converging Arts & Sciences. It will host 25 speakers/provocateurs dedicated to the scholarly advancement of the contemporary arts and sciences and the varying landscapes upon which they converge. Clouds and Clocks: When Art met The Web Sciences is designed as an International Roundtable running over two days and foregrounding the cutting-edge work of Keynote Professor Dame Wendy Hall (founder of the Web Sciences Research Initiative, WSRI) and Sir Tim Berners Lee (Founder of the WWW consortium, MIT) whose pioneering advances with the web have been an inspiration around the world. The day of the Roundtable will begin with the Keynote address by renowned Philosopher and Cultural Theorist / Critical Digital Studies, Professor Arthur Kroker, founding Director of The Pacific Centre for Technology and Culture (PACTAC – Univ of Victoria) and Marilouise Kroker (Senior Researcher at PACTAC, video presence). Their remarks will set the agenda with reflections on the relation between drift/code/art and the political. The evening discussion will culminate in the Keynote address by Professor Dame Wendy Hall, founding Director of The Web-Sciences Research Initiative (WSRI – University of Southampton), one of the first computer scientists to undertake serious research in multimedia and hypermedia and has been at its forefront ever since. In between we will have a number of brilliant scholars/researchers presenting their work, interwoven midday with the third Keynote address by Mashahiro Miwa and Nobuyasu Sakonda performing their award winning Opera on shape-shifting and keyhole aesthetics. On the following day, events will continue to unfold culminating in the compositional atonal works and invented musical instruments of Joel Ryan (internationally renown composer, physicist and artist-in-residence at STEIM, Amsterdam), and the wave-light-sound collaborative team Steve Gibson & Stefan Müller Arisona (Software Architects and games theoreticians, Institute of Creative Technologies, De Montfort University and Director Digital Information, ETH Zurich). In addition to the Keynotes, we will engage Speakers and Provocateurs from around the world, who have come to discuss their work or give a performance (or both) using up to a 20-minute time slot. The underlying context for these discussions will be around the question What is the Enlightenment in the Age of Technology as it relates to the critical paradigmatic shift we now face via the tremendous advances in web-sciences and communication technologies. The context will be amplified via discussions on the Time-space continuum, drift codes, holographic gaming, security and the Web (including identity theft, military and corporate hacking). Part of the discussion will be addressed via ‘non-representational’ concepts/practices, including fractal philosophy and community, electronic arts performance, and advanced music, light and sound compositions. Friday evening will culminate with the launch of the Issues in Contemporary Culture and Aesthetics, the international journal for contemporary art, philosophy and science. There will be up to 80 guests seated within the Chambers. Attendance will also include scholars, researchers, professional practitioners and post-graduate students not only from the University of Greenwich but also from other UK/EU/US and Asian universities, arts & science institutes. As the event will be live streamed and, in part, interactive, a web-screened environment for overflow interest will be set up in the Institute, located in KW 202. Welcome to the place where the future begins. Professor Sue Golding Director
Institute for the Converging Arts & Sciences
where the future begins.
ICAS
A brief list of the invited speakers and their biographies below. KEYNOTES: Friday, October 16, 2009 Wendy Hall is Professor of Computer Science at the University of Southampton, UK. She was Head of the School of Electronics and Computer Science (ECS) from 2002 to 2007. She is one of the first computer scientists to undertake serious research in multimedia and hypermedia, she has been at its forefront ever since. The influence of her work has been significant in many areas including digital libraries, the development of the Semantic Web, and the emerging research discipline of Web Science. Her current research includes applications of the Semantic Web and exploring the interface between the life sciences and the physical sciences. She is a Founding Director, along with Professor Sir Tim Berners-Lee, Professor Nigel Shadbolt and Daniel J. Weitzner, of the Web Science Research Initiative. She became a Dame Commander of the British Empire in the 2009 UK New Year's Honours list, and was recently elected a Fellow of the Royal Society. Dame Wendy was elected President of the Association for Computing Machinery (ACM) in July 2008, and is the first person from outside North America to hold this position. Until July 2008, she was Senior Vice President of the Royal Academy of Engineering, is currently a member of the UK Prime Minister's Council for Science and Technology, a is a founder member of the Scientific Council of the European Research Council. She was President of the British Computer Society (2003-4) and an EPSRC Senior Research Fellow from 1996 to 2002. Arthur Kroker is a Critical Digital Arts Philosopher and Director of The Pacific Center for Technology and Culture -PACTAC, -The University of Victoria, BC) and Marilouise Kroker (Senior Research Scholar at the University of Victoria – video presence). ARTHUR and MARILOUISE KROKER represent one of the most significant collaborative cultural theorists/practitioners of our contemporary times. Writing about the impact of the technology, the new media environments, its impact on culture, art, politics and community, their work spans over 40 years of cutting edge research. Together they edit the electronic internationally renowned journal CTheory. In addition, they are series editors of Digital Futures (University of Toronto Press) and, most recently, editors of Critical Digital Studies: A Reader (2008). Masahiro Miwa and Nobuyasu Sakonda are composers / media artists on criticism of technology at IAMAS (Institute of Advanced Media Arts & Sciences), Ogaki and NUAS (Nagoya University of Arts and Sciences). Masahiro holds a Professorship at IAMAS. Nobuyasu Sakonda holds an Associate Professorship at NAGOYA University of Arts and Sciences. Their extraordinary collaborative work traces the performative in relation to identity-shape shifting and public personae. Concentrating on the role of animation, key-hole documentary, automism, woven within and through, classical composition, they trace the aesthetic and political role of ‘machine’ from binaric to fractal. Together they are ‘The Formant Brothers,’ a collaborative partnership who will be performing their award winning Opera, Le Trombeau d’Freddie/ L’Internationale. SATURDAY KEYNOTES: Joel Ryan (composer/physicist) Spawned in the first generation of computer music hackers in San Francisco’s silicon valley, Joel Ryan is a composer who has long championed the idea of performance-based electronic music. Drawing on his scientific background, he pioneered the application of digital signal processing to acoustic instruments. At STEIM in Amsterdam since 1984, he has collaborated extensively with artists and musicians including Evan Parker, William Forsyth, George Lewis, Steina Vasulka and Jerry Hunt. Formerly a Research Associate in physics at the Lawrence Berkeley Laboratories of the University of California, he has taught philosophy, physics, and mathematics. He is a researcher at STEIM in Amsterdam, tours with the Frankfurt Ballet and is Docent in Sonology at the Royal Conservatory in The Hague. He has performed at the Theater Chatelet in Paris, the Concertgebau Amsterdam, the Pit Inn in Tokyo, Brooklyn Academy of Music and The Kitchen in New York. Recent work includes a series of duets with Evan Parker,Frances Marie Uitti and Joelle Leandre, EIDOS/TELOS, with William Forsyth and Roberto Zucco with
Institute for the Converging Arts & Sciences
where the future begins.
ICAS
the Royal Shakespear Company. Other works include Or Air, The Number Readers, Hat Moon Joy, and The Effect of Noise on the Sleep of Children. Steve Gibson and Stefan Müller Arisona have worked as a collaborative team for several years. Steve Gibson is a Canadian media artist, curator and Senior Research Fellow at the Institute of Creative Technologies at De Montfort University. He was formerly Director of the Multimedia Program at Karlstad University in Sweden, and later Associate Professor of Digital Media in Visual Arts at University of Victoria. He also has been curator for the Media Art event Interactive Futures since 2002. Influenced by a diverse body of art and popular movements his work fuses electronica, immersive art, game art, montage and postminimalism. His pieces have been performed at major venues including: Ars Electronica; the Whitney Museum of American Art; the Banff Centre for the Arts; the European Media Arts Festival. He recently coedited a volume entitled Transdisciplinary Digital Art which was released by Springer in April 2008. http://www.telebody.ws/ Stefan Müller Arisona is a software architect at Procedural Inc. and a research scientist at the Chair for Information Architecture of ETH Zurich. His main interests are at the intersections of science, art and technology, and his research focuses on interactive and generative design tools, on computer-assisted techniques for architectural design and urban simulation. Previously, Stefan was researcher at the University of Zurich (PhD 2004), ETH Zurich (PostDoc 2005 - 2007) and Media Arts and Technology of UCSB (Swiss NSF Fellow, 2007 - 2008). As an artist, Stefan has performed internationally and his works have appeared at renowned venues such as the Ars Electronica Center (Austria, 2006 - 2008, 2009). http://www.corebounce.org/sma
Speakers/ Provocateurs Alev Adil is a poet, photographer and film theorist. Head of the Department of Communication and the Creative Arts at the University of Greenwich, Alev teaches film theory and visual culture in the context of critical theory. Research interests include psychoanalysis and cinema, postcolonial literatures, global cinema, and the mediation of memory. Current research explores memory in new media environments and how creative practice can constitute research. An award winning poet, member of P.E.N. and reviewer for the Independent, her works include Venus Infers (2004), ‘Writing the (post-Oriental) Self’ (2006), ‘Technology on Screen: Projections, Paranoia and Discursive Practice’ (co-authored with S. Kennedy, 2007); ‘Towards a methodology: a poetics of forgetting, an aesthetics of ruin, the ‘dead zone’ of Nicosia’ (2008). Kristina Andersen is a maker and researcher based at STEIM in Amsterdam. She works with electronics to create unusual objects and experiences as a part of her ongoing obsession with naïve electronics. She holds an MA in Wearable Computers, an MSc in Tangible Objects in Virtual Spaces, and was a research fellow at the Interaction Design Institute Ivrea. She has mentored and taught at DasArts, Piet Zwart Institute and Willem de Kooning Academie and she was an honorary visiting design fellow at the University of York. She has designed and hosted countless workshops in strange locations. She mentors at the Patchingzone and is director of research and communication at STEIM Caroline Arscott is Head of Research at the Courtauld Institute of Art London. She came into Art History from the study of English Literature at Cambridge University. She studied the Social History of Art at the University of Leeds, working with T. J. Clark, Griselda Pollock and Fred Orton. She did research work at Leeds, working on modern life painting in Victorian art, Victorian patronage and the representation of nineteenth-century industrial cities. She has been lecturing at the Courtauld Institute since 1988: extending her study of the Victorian art world from an initial focus on the 1840s and 1850s into work on the preVictorian period in relation to urban topography and the late Victorian period in relation to the Aesthetic
Institute for the Converging Arts & Sciences
where the future begins.
ICAS
Movement. She was a member of the Editorial Board of the Oxford Art Journal from 1998-2008. Her current research interests include: George Scharf the elder, Frith, Millais, Whistler, Burne-Jones and William Morris considered via investigations into the nineteenth-century armaments industry, stained glass production, thermodynamics, neurology, horticulture, sensation/ horror fiction and Victorian tattooing. She is particularly interested in the development of scientific and medical theory in the Victorian age and the impact that this has on the artistic imagination. Simon Biggs is the Edinburgh College of Art, Research Professor. Born in Australia, Simon studied Electronic and Computer Music at Adelaide University 1979-81. Since 1978, Biggs has been working with computers and interactive systems within large-scale installations, web-based artworks and other media. His work has been shown at numerous international venues in over 35 countries, including (in the UK) Tate Modern, Tate Liverpool, Whitechapel, Institute of Contemporary Arts and (internationally) Centre de Georges Pompidou, Academy de Kunste and Kulturforum (Berlin), Rijksmuseum (Twenthe), Macau Arts Museum, Cameraworks (San Francisco), Walker Art Center, Paco des Artes (Sao Paulo), Museo OI (Rio De Janeiro), McDougall Art Gallery (Christchurch) and the Art Gallery of New South Wales. He has participated in numerous symposia and lectured in Europe, the America's, Asia and the Pacific region. He has also curated exhibitions for Site Gallery, Sheffield, Berlin Video Festival, National Museum of Photography, Film and Television, Bradford, Walter Phillips Gallery, Banff, Canada and the Adelaide Festival of the Arts. Recent publications by the artist include theoretical book Autopoeisis (with James Leach, Artwords, London, 2004); CD-ROM's Great Wall of China and Book of Shadows (both Ellipsis, London, 1999 and 1996) and monographs Halo (Film and Video Umbrella, London, 1998) and Magnet (McDougall Art Gallery, NZ, 1997). http://www.littlepig.org.uk. Ecke Bonk is a designer/metamathematician and scientist whose research and output over the past two decades has moved to the aesthetic realisation/materialisation of sign systems. Arguing that these systems are always-already expressions of interdisiplinary art, science and philosophy, Ecke Bonk's most celebrated piece has been the Projekt BOOK OF WORDS – RANDOM READING", Arbeit über das Deutsche Wörterbuch der Brüder Grimm - working through the German dictionary of the Brothers Grimm (2002) as well as a series of definitive works on Marcel Duchamp, including: Marcel Duchamp: The Box in a Valise; and Marcel Duchamp Portable Museum – An Inventory Book. His artworks and designs have been widely exhbited in Documenta (1997 and 2002), in the Guanghou Triennal (2008-2009), Galerie Steinle (Munich), ZKM (Karlshrue), Künstlerhaus and Neue Galerie (Graz), Venice Biennale (2003). His design collections are kept at the Fabric and Workshop Museum, Philadelphia.
Pascal Brannan is an artist whose work brings together sound, image and theatre developing a relationship between the lo-fi and the high tech. Originally a member of Station House Opera whose large scale architectural works have been commissioned for buildings and structures in Melbourne, New York and Tokyo, Pascal's solo live art work has been shown in the more intimate environs of the ICA London, the Serpentine Gallery and the Lux Cinema. A commitment to political activism and involvement with ACT UP London brought about the collaboration Bum Boy with artists Michael Atavar and Robert Pacitti and his project Mr Madam is on going. Most recently Pascal Brannan has been part of the team responsible for the installation of the Tate Turner show in Beijing and is part of the on going technical and musical support offered to various members of London's alternative drag scene.
Carolyn Brown is Senior Lecturer at the Department of Communication and Creative Arts, University of Greenwich. A long time scholar and researcher into the gothic, murder and the uncanny, her work spans the intellectual terrain from literary London of the 18th C to the hyper-media of Deleuze and Guattari.
Institute for the Converging Arts & Sciences
where the future begins.
ICAS
Mary Bryson is Professor, Faculty of Education, University of British Columbia and Director, Network of Centers and Institutes in Education. Focussing on advance knowledge concerning the social, cultural and educational significance of new media technologies, Professor Bryson continues to make significant contributions to theoretical accounts of gendered and sexual marginality. A hallmark of her intellectual project continues to be the articulation of an original and productive dialogue between the discourses of critical studies of sexuality and gender, and of new media. Emerging from scholarly engagements with queer and feminist theory, her program of research contributes significantly to the production of theory at the interdisciplinary intersections of critical studies of gender, sexuality, and new technologies. Making the crucial step away from both disembodied narratives of virtuality and humanist accounts of liminal subjectivities, Mary Bryson’s programme of research charts new directions for socio-cultural work in educational, curricular and media studies.
Art Clay was born in New York, lives in Basel, Switzerland. He has worked in Music, Video & performance. He regards himself as a specialist in the performance of self created works with the use of intermedia. Appearances at international festivals, on radio and television in Europe, USA, Canada, and Japan. He has written works for newly invented instruments of his own design and for traditional acoustic and electroacoustic instruments. Recently, his work has focused on large-scale performative music-theatre works and public art spectacles using mobile devices. He is Artistic Director of the 'Digital Art Weeks' Program held at the ETH in Zurich. Phil Clipsham is Head of Information Systems and Digital Media. A member of several learned socieites including MBCS MIEE, his research involves Third Sector and Public organisations to model and build complex social systems. Currently he is investigating modelling and requirements analysis modelling techniques particularly linked with the strategies and complexities of the Web-Science Research Initiative (WSRI). Norbert Finzsch is Professor of Anglo-American History and Chair of the Department, University of Cologne. He received his education in Cologne, Bordeaux and Berkeley, CA. After lengthy stints in Washington DC (The Smithsonian Institute, 1990 – 1992) and at the University of Hamburg (1992 – 2000), he came back to his alma mater in 2001. A leading Foucauldian scholar on regimes of power, particularly as they manifest in colonialism, post-colonialism and nationalist permutations, he has set the standard in discursive analsysis with over 15 books on the subject. Among his main areas of interest and research are the history of racisms, gender history, the history of sexuality and theories and methods of historiography. From 2005 to 2007 he served as the University of Cologne’s provost. Matthew Fuller is the David Gee Reader in Digital media at the Centre for Cultural Studies, Goldsmiths, University of London. He is the author of a number of books and pamphlets including, Evil Media (forthcoming); Software Studies, a lexicon (MIT Press, 2008), Urban Versioning System v.10 (with Usman Haque, Architecturla League of New York, 2008); Softness: Interrogability, General Intellect; Art methodologies in Software (Digital Research Unit: 2007); Media Ecologies: Materialist Energies in Art and Technoculture (MIT: 2005), Behind the Blip: essays on the culture of software (Autonoedia/ Semiotext(e): 2003, ATM (ShaKe Editions: 2000), and Metastasis: genetics and ideology (1997). Steve Gibson is a Canadian multimedia artist, composer, and theorist. Simultaneously deeply involved with technology and deeply suspicious of its effects, Gibson’s musical, multimedia and virtual reality work
Institute for the Converging Arts & Sciences
where the future begins.
ICAS
celebrates both the liberation and paranoia of techno-fetishism. His works have been performed in such venues as Ars Electronica, the Whitney Museum of American Art, Banff Centre for the Arts, Festival International Musique Actuelle de Victoriaville, European Media Arts Festival, San Francisco Art Institute, 4 & 6 CyberConf. He currently serves as Senior Research Fellow at the Institute of Creative Technologies, De Montfort University in Leicester, UK. He was curator for the Media Art event Interactive Futures from 200207. Website: www.telebody.ws Sue Golding is Director of ICAS, and Chair of Philosophy in the Visual Arts & Communication Technologies. Prof Golding is a philosopher and artist whose research covers the intra-disciplinary discourses associated with the electronic arts, web sciences and communication technologies. Set out in terms of installation, performance, rolling-documentary, books, articles and aphoristic texts, her works address the various aspects of a post-metaphyical practice in terms of their mobile multi-media, cartographies and fractal dimensionalities. Her books include The 8 Technologies of Otherness; Games of Truth: A Blood Poetic in 7 part harmony; Honour; Dirty Theory: Aesthetics After Metaphyics (forthcoming). Her film work includes: Once Upon a Wormhole; I spy with my little eye; God is a Lobster (and other Forbidden bodies). She has supervised 11 PHD students to completion and is currently Research Professor for the MA-PHD in Media Arts Philosophy Practice (MAPP). Professor Golding holds a second (honorary) Professorship in Media Imaging Philosophy and Art at the Duncan Jordanstone College of Art and Design (Univ of Dundee). Executive-Editor of the international journal Issues in Contemporary Culture and Aesthetics, she also works and publishes under the name of Johnny Golding. Beryl Graham is Professor of New Media Art at the School of Art, Design and Media, University of Sunderland, and co-editor of CRUMB . She curated the international exhibition Serious Games for the Laing and Barbican art galleries, and has also worked with The Exploratorium, San Francisco, and San Francisco Camerawork. She has written extensively on curatorial and archival issues related to the media arts, including Digital Media Art (Heinemann, 2003). Dr. Graham has presented papers at conferences including Navigating Intelligence (Banff), Museums and the Web (Seattle), and Caught in the Act (Tate Liverpool). Her research also concerns audience relationships with interactive art in gallery settings, and she has written widely on the subject for books and periodicals including Leonardo, Convergence, and Switch. Michaela Hampf is Professor of North American History at the John F Kennedy Institute at the Freie University Berlin. With a background in history and American literature, her most recent study, Free a Man to Fight: Constructing the Woman-soldier in the Women’s Army Corps During World War II, restages the question of gender, cultural difference and violence. She has worked extensively on the history of the body and is preparing a book on machines and the body as well as an interdisciplinary compendium on the body in the field of cultural studies. She has also authored and co-edited two books on broadcasting history.
Fox Harrell is a researcher, author and artist exploring the relationship between the imaginative cognition and computation. He is Assistant Professor of Digital Media in the department of Literature, Communication, and Culture at the Georgia Institute of Technology. He directs the Imagination, Computation, and Expression [ICE] Lab/Studio (icelab.lcc.gatech.edu) in developing new forms of computational narrative and poetry, gaming, social networking, and related digital nfrastructures and technical-cultural media with bases in computer science, cognitive science, and digital media arts. He has presented his work internationally; sites of his publications and presentations include the MIT Press, the University of Toronto Press, the Inter-Society for the Electronic Arts (ISEA) conference, conferences and symposia of the Association for the Advancement of Artificial Intelligence (AAAI), the Digital Arts and Culture Conference, CTheory, and other book chapters, journals, and conferences. He holds a Ph.D. in Computer Science and Cognitive Science from the University
Institute for the Converging Arts & Sciences
where the future begins.
ICAS
of California, San Diego. He earned an M.P.S. in Interactive Telecommunications at New York University's Tisch School of the Arts. He also earned a B.F.A. in Art, a B.S. in Logic and Computation, and minor in Computer Science at Carnegie Mellon University, each with highest honors. He has worked as an interactive television producer and as a game designer. Ted Hiebert is a Canadian visual artist and theorist. His artworks have been shown across Canada in public galleries and artist-run centres, and in group exhibitions internationally. Recent exhibtions include Deluge Contemporary Art (Victoria, BC), the Comox Valley Art Gallery (Courtenay, BC), Two Rivers Art Gallery (Prince George, BC), and the Siauliaia Art Gallery (Siauliaia, Lithuania). Recent collaborative projects include "Electronic Shamanism" (InterAccess Electronic Arts, 2009) "The World Telekinesis Competition" (The Ministry of Casual Living, 2009; Deluge Contemporary Art, 2008) and "Dowsing for Failure" (Open Space Arts Society, 2007). Hiebert's theoretical writings have appeared in, among others, The Psychoanalytic Review, Technoetic Arts, Performance Research and CTheory, as well as in catalogues and exhibition monographs. He is a member of the Editorial Board of CTheory journal Stephen Kennedy is a political theorist/political-philoospher and dj composer/sound musician. He has written extensively on the political economy of media, and is currently re-thinking the advent of sound as a fractal economy which lends a political and historial tone (colour, shape, politic) to all cultures. Embodied in his reseasrch: Sound Economy: A Motorcity Project, and his latest manuscript Re-thinking the Technology Agenda, Dr Kennedy is also Head of the MA in Media-Arts Philosohy Practice and the associated BA/BSc degrees (Media-Arts Production and BA in Media and Communication. Olga Kisseleva is Professor of New Media Art and Science at the University of Paris 1 PantheoneSorbonne. She is one of the most accomplished Russian artists of her generation. Graduated from St. Petersburg University, Olga belongs to the first generation after Perestroika which helped to bring down the Berlin Wall. She works mainly in installation, science (quantum physics) and media art. Her work employs various media, including video, immersive virtual reality, the Web, wireless technology, performance, largescale art installations and interactive exhibitions. In the 1990’s, she was invited by the Fulbright Foundation to go to the USA and form part of research group of development of digital technologies. She participated in the first adventurous beginnings of Silicon Valley. In 1996 she got her PhD for her theoretical work on the theme of new forms of hybridization and she was invited to the Fine Art Institut of “Hautes Etudes” in Paris. A member of the High Scientific Committee of Sorbonne, Olga's exhibitions include: Centre Pompidou (Paris), KIASMA (Helsinki), Guggenheim Museum (Bilbao), National Centre for Contemporary Art (Moscow), ARC (Paris), Reina Sofia (Madrid), Art Institute (Chicago), Venice, Istanbul, Dakar, Tirana and Moscow Biennials. Tony Mann is Head of Department, Mathematical Sciences, at the University of Greenwich. He is also Secretary of the British Society for the History of Mathematics and Treasurer of the Leonardo da Vinci Society. He was previously employed as a software engineer and mathematical modeller in the electricity industry. Tony particularly delights in the privilege of working in Wren's beautiful buildings amidst Greenwich's rich mathematical heritage. He was awarded the prestigious National Teaching Award 2008. Mattia Paganelli is a visual artist whose work has been shown in New York, London, Marseille, Genova, Shanghai, and Beijing. He also holds a Laureate in Philosophy from the Università degli Studi of Milano, a Masters in Fine Arts from Chelsea College of Art in London, and a Master in Media Art and Philosophy from Greenwich University (Distinction, 2008). Mattia is currently embarking on a new set of researches reformulating the notion of representation through the intersection of Wittgenstein’s philosophical grammar, Deleuze’s plane of immanence, and Einstein’s relativity. (The Sensual Logic of Resonance: Philosophical Grammar, Relative Speed and the End of Semantic Representation in Contemporary Art)
Institute for the Converging Arts & Sciences
where the future begins.
ICAS
Dick Rijken is the Director of STEIM (Centre for Research and Design in Music – Studio for ElectroInstrumental Music) and Reader on Information Technology and Society, The Haage Hogeschool. One of the leading advisors on new media projects in the Netherlands cultural sector, his projects include the establishment of VPRO's 3voor12 lokaal, and more recently the ‘Wonderkamers’ in the Gemeente Museum in The Hague. Dick teaches at the Haagse Hogeschool, where he set up a course for students who come up with new media projects for cultural and social NGOs. The key issue in this course is to coach the student/artist/cultural producer on the processes in which an idea becomes a concept, a concept a project, and a project into a solid proposal that can raise funds within the media-arts environments. Daniel Rubinstein is an artist and critical philosopher. Head of the BA in Digital Photography at London Southbank University, Daniel previously studied History at Tel-Aviv University and Photography at the London College of Printing. He has written extensively about camera phone photography, mobile multimedia and digital image culture. Currently embarking on PHD at the University of Greenwich, Daniel’s research proposes that at an age when digital images continue to play significant and often controversial roles in political and cultural events; when commercial advertising is increasingly promoting not only the product but the ‘image’ (brand) as meaningful substance of that product, it is important to investigate the very mechanisms through which the (im)materiality of the digital image reaches into the sense of who we are, how we use images to establish our identity and how images use us. Daniel is also the Editor of the new international journal, The Philosophy of Photography. Gauti Sigthorsson is media theorist whose research is on the history of digital culture, media practices and the business of media and communication. He is Senior Lecturer in Media and Communication at the University of Greenwich and is Programme Leader for the new MA in Media and Communications. At present he is co-authoring a book on the Creative Industries and work in the digital economy. He blogs irregularly and irresponsibly at http://conceptbin.wordpress.com. James Swinson is a theorist and artist specialising in documentary filmmaking, site-specific installation, video and television script/camera/directing and postproduction. Coming from a science & technology background, James’s research cuts across the creative modes of visual arts, moving image, photography, literature, music, digital, data-based and network art. Phases of technological development from mechanical to electronic to digital are central to his research, giving voice to creative practices as a poetics located in the flux of the modern city. Forthcoming monograph: Urban Poetics, which sets out to map the contours of current creative practice, especially in terms of the shifting landscapes between the artist, technology and urban existence, defining the emergent field of new media theory against the confines of current theories of visual culture. He is the Editor of Outsidedge, (www.outsidedge.co.uk) an internationally refereed on-line journal with site-specific gallery exhibitions. James is also Senior Lecturer at Central St Martins, The University of The Arts London. Maureen Thomas is a Creative Director of the Cambridge University Moving Image Studio. She is a writer, director and dramaturgist. A Senior Research Fellow of Churchill College, University of Cambridge. From 1993 – 1998 she was a Head Tutor at the National Film and Television School, UK (from 1986- 1993 a visiting tutor), where, as well as developing productions across fiction, documentary and animation, she led the NFTS’ successful Digital and Interactive Studio initiative, funded in 1996 through the Department of Trade and Industry, UK, Technology Foresight Challenge. Maureen is Visiting Professor in Narrativity and Interactivity at the Norwegian Film SchooI, Helsinki, and a member of the Editorial Board of the journal Digital Creativity. She is also on the Board of UK Screen Agency Screen East. Some of Maureen’s work include: International UNESCO/NCF New Media Expo, Reykjavik 2003; Cambridge International Film Festival, 2001
Institute for the Converging Arts & Sciences
where the future begins.
ICAS
(shortlisted for BAFTA interactive award nomination): full-length interactive movie, Vala; Anglia TV/UK Film Council, 2004: Unreal City (animation, d. Peter Addington); Wall to Wall TV/ Channel 4 TV/Discovery Channel, 2002 & 2004: Iceworld (drama-doc d.Tim Lambert); Covent Garden Opera House Linbury Studio, 2001: Lombroso in About Face (music Rachel Leach); New End Theatre, London, 2001: Alice (from Lewis Caroll’s Through the Looking Glass) (m.d. Stephen Daltry); Moviemakers 1996: Goodbye Thirteen (d. Sirin Eide) [Jury and Audience awards for Best Film International Festivals Frankfurt 1996 and Antwerp 1997]. In 2004-2006, for LUME Crucible Finland, Maureen developed RunoTanssi, a reconfigurable multimedia dance/music performance (Gloria Theatre, Helsinki; Kuopio International Festival). Aya Walraven is a digital media and internet enthusiast who primarily works in video, web, holographic interactivity and music. A self-appointed internet-culture historian and archivist, she studies and documents online behavior, particularly in Japanese youth and anonymous communities. Walraven is also active in theatre, managing the production of several plays in Canada and Japan including, among others, The Face of Jizo (Chichi to Kuraseba) and The Lady Aoi (Aoi no Ue). Currently a researcher at PACTAC, The University of Victoria, BC.
Add Comment