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Fri, 24 Oct 2014 3:00pm
Serendipity after Cybernetic

Friday October 24th
3pm at the ICA

A panel discussing the long-term outcomes of Cybernetic Serendipity, to link with the exhibition at the ICA. Panel members include Janis Jefferies, Jonathan Benthall, Brent MacGregor and Bronac Ferran, chaired by Nick Lambert.


Book here: https://uk.patronbase.com/_ICA/Seats/NumSeats?prod_id=9N&perf_id=1&section_id=M&seat_type_id=S

Tue, 24 Jun 2014
The Plan - British Electronic Music in 1971

The first CAS Lecture of the summer features Dr Mick Grierson and Tom Richards of Goldsmiths, who work with the Daphne Oram Archive:

"The Plan - British Electronic Music in 1971"

In September 1971 at the Calouste Gulbenkian Foundation in London, a meeting took place to discuss the future funding of Electronic Music in the UK. Many UK pioneers were present, as well as representatives from the Arts Council and some Universities.

Mick Grierson and Tom Richards will initially discuss the innovations and artistic philosophies of two of the attendees; Daphne Oram and Peter Zinovieff (EMS), before looking in some detail at the discussions held at the meeting and their implications at what was to become a pivotal moment in British Electronic Music, not least for the career trajectory of Daphne Oram.

Book a free place via Eventbrite.

Tue, 11 Feb 2014 6:30pm
CAS Leicester: Elaine O'Hanrahan - The Work of D.P.Henry

Tue, 11 Feb 2014, 18:30 - 20:30

D.P. Henry (1921-2004) Early British Computer Art Pioneer of the 1960s (www.desmondhenry.com). His donated works form part of the V & A's Digital Pioneers collection. He participated in the seminal Art and Technology exhibition: Cybernetic Serendipity in 1968.

During the 1960's Henry converted army surplus Bombsight Analogue Computers into a series of three mechanical drawing machines. His machine-generated images represent the permanent graphic reminders or 'performative trace' of the inner mechanical motions of the Bombsight Computer in action. His machines' reliance on a mechanics of chance, combined with their interactive features, set them apart from most other computer-generated art of the period.

Henry's distinct preference for restricting his experimental drawing production techniques to war time technology, means his drawing machines mark a transitional stage in Digital Art History, between the pre- WW2 Mechanical Age and the post- war Digital Age.

This talk will contextualise the inspiration, methods and visual results of Henry's 1960's drawing machines.

FREE entry.

Book here: http://interactlabs.co.uk/diary/2014/02/cas-talk-elaine-ohanrahan

Wed, 05 Feb 2014 6:00pm
Martin Rieser - The Digital Uncanny

Venue: BCS London, First Floor, Davidson House, 5 Southampton St, London, WC2E 7HA

Book your free place at: https://events.bcs.org/book/957/

Martin Rieser examines how the spread of Augmented Reality heralds the advent of a new kind of unfamiliar familiarity - that Freud labelled the "uncanny" or 'unheimlich'. Digital worlds may now seem immersive, in that they are convincing, multi-faceted and "user friendly", but it seems that an unfriendly aftertaste lingers on around the figure of the avatar, related to their imperfect but familiar appearance

At the same time, new narrative spaces are being opened up by mobile and pervasive technologies , that offer the possibility of escaping the now prevailing functionalism of the everyday digital, and through that, the possibility of new and individual expressive freedoms. He will review a number of his own and other recent creative digital art projects that center on the notion of 'otherness' as being intrinsic to the digital medium.

Professor Rieser has worked in the field of interactive arts for many years. He was research Professor in the Institute of Creative Technologies in The Faculty of Art Design and Humanities at De Montfort and is now visiting Professor at the Pervasive Studio University of the West of England. His art practice in internet art and interactive narrative installations has been seen around the world including Cannes; Holland, Paris; Vienna, Thessaloniki, London, Germany, Milan and Melbourne, Australia. He has published numerous essays and books on digital art including New Screen Media: Cinema/ Art/Narrative (BFI/ZKM, 2002), and has recently edited The Mobile Audience, a book on mobile and locative technology and art from Rodopi.

Mon, 11 Nov 2013 6:00pm
Computer-generated Op Art from Lines and Curves by Craig S. Kaplan

Venue: BCS London, First Floor, Davidson House, 5 Southampton St, London, WC2E 7HA

We are pleased to welcome Craig Kaplan for our second Autumn Lecture 2013. Craig is Associate Professor at the Computer Graphics Lab in the David R. Cheriton School of Computer Science, University of Waterlooin Ontario, Canada and is in the UK this year to pursue research at UCL. He studies the use of computer graphics in art, ornament, and design, with interests in nonphotorealistic rendering. He also dabbles in human-computer interaction, computational geometry and programming languages.

Craig is the editor of the Journal of Mathematics and the Arts, published by Taylor & Francis and welcomes submissions on scholarly research at the intersection of art and mathematics. Along with our own CAS Cttee member John Sharp, Craig is involved in organising the Bridges Conference, an annual event about art and mathematics.

Computer-generated Op Art from Lines and Curves

Op Art rose to prominence in the 1960s with powerful abstract compositions that evoked sensations of movement, vibration, and scintillation. The geometric regularity of Op Art makes it an ideal design space for algorithmic exploration with computer software. In this talk, I will present some of my recent research on computer-general Op Art compositions. I will use Reginald Neal's Square of Three as a point of departure to discuss compositions in which sharp bends in lines and curves communicate shape information. I will then explore the extent to which this style of Op Art can be animated. This research is joint work with PhD student Tiffany Inglis.

Thu, 24 Oct 2013 6:00pm
Computer Arts Society Autumn Lecture

6pm Thursday 24th October at British Computer Society, First Floor The
Davidson Building, 5 Southampton Street London, WC2E 7HA

The CAS is pleased to welcome James Faure Walker to open its 44th year of lectures in the digital arts.

The lecture will be followed by the launch of Electronic Visualisation in
Arts and Culture, the best papers from the EVA London conference since
2008, published as part of the Springer Series on Cultural Computing

Going With The Flow

In the eighties, James Faure Walker was knocked sideways by the paint
systems on the Apple II and the Amiga – Dazzle Draw, Deluxe Paint. Already established as a painter and critic, he had to begin again, liberated, improvising between screen and canvas. Paint software simulates paint, and paint simulates the screen. Painters mostly avoided these tools, having a low opinion of computer art. In turn, the digital art community set itself apart, dreaming of a time when virtual art would take over – some time after 2000. That didn't happen. 'Painting the Digital River' was his response, arguing that painters could use the new palette and still be painters. He questioned the technological stereotypes – weird, bionic, nocturnal. There was no need to re-invent the roots or change the flavours.

This illustrated talk brings the story up to date, with themes from pigeons
to football, from watercolour to the Cintiq. He will also mention early
how-to-draw books, and how they anticipate the draw program.


James Faure Walker (born London 1948, St Martins 1966-70, RCA 1970-72) has been incorporating computer graphics in his painting since 1988.
Exhibitions include the Hayward Annual (1979), the John Moores (1982,
2002), the Whitworth (1985), eight times at Siggraph (1995 to 2007), and at DAM Berlin. In 1998 he won the 'Golden Plotter' at Computerkunst, Gladbeck, Germany. He has eleven works in the collection of the Victoria and Albert Museum, and his work was featured in 'Digital Pioneers' in 2009. He was one of five English artists commissioned to produce a print for the 2010 South African World Cup. He co-founded Artscribe magazine in 1976, and edited it for eight years. His 2006 book, 'Painting the Digital River: How an Artist Learned to Love the Computer', Prentice Hall (USA) won a New England Book Award. In 2013 he won the Royal Watercolour Society Award. He is Reader in Painting and the Computer at CCW Graduate School, Chelsea, University of the Arts.

Tue, 11 Jun 2013
CAS Leicester: Talk by Paul Brown

Phoenix, Midland St, Leicester
Tue 11th June 2013. 6:30pm, FREE
Call the box office on 0116 242 2800 to reserve your place

Paul Brown is an artist and writer who has specialised in art, science & technology since the late-1960s and in computational & generative art since the mid 1970s. His early work included creating large-scale lighting works for musicians and performance groups like Meredith Monk, Music Electronica Viva, Pink Floyd, etc… and he has an international exhibition record that includes the creation of both permanent and temporary public artworks dating from the late 1960s. He has participated in shows at major venues like the TATE, Victoria & Albert and ICA in the UK; the Adelaide Festival; ARCO in Spain, the Substation in Singapore and the Venice Biennale and his work is represented in public, corporate and private collections in Australia, Asia, Europe, Russia and the USA. Since 2005 he has been honorary visiting professor and artist-in-residence at the Centre for Computational Neuroscience and Robotics, School of Engineering and Informatics at the University of Sussex.

"During my 40-year career as an artist my principal concern has been the systematic exploration of surface. Since 1974 my main tool has been the computational and generative process. My work is based in a field of computational science called Cellular Automata or CAs. These are simple systems that can propagate themselves over time. CAs are part of the origins of the discipline known as Artificial Life or A-life. In this presentation I will describe my 45-year engagement with computational processing and also discuss the work of my son Daniel Brown, who is also a generative artist and our creative partnership Brown and Son.


Tue, 21 May 2013
When Technology met Art: An introduction to 1960’s British Computer Art Pioneer, Desmond Paul Henry (1921-2004)

Our next CAS lecture will take place at 7:30pm on Tuesday 21st May at the Keynes Library, Birkbeck, University of London, 43 Gordon Square, London WC1H 0PD.

We are very pleased to welcome Elaine O'Hanrahan who will talk about the pioneering analogue computer artwork of Desmond Paul Henry

When Technology met Art: An introduction to 1960's British Computer Art Pioneer, Desmond Paul Henry (1921-2004)

Elaine O'Hanrahan, Henry's daughter and curator of The D.P. Henry Archive, will present an illustrated talk contextualising the machine-drawings Henry created using adapted bombsight computers from WWII aircraft.

Desmond Paul Henry (1921-2004) ranks among one of the few early British pioneers of Computer Art/Graphics of the 1960's. During this period he constructed a total of three mechanical drawing machines (in 1960, '63 and '67) based around the components of analogue bombsight computers.

Henry's machine-drawings, together with his second drawing machine of 1963, were included in the I.C.A's seminal Art and Technology exhibition of 1968, Cybernetic Serendipity. In 2010 examples of Henry's machine-generated art were welcomed into the V & A collections and his work was included in their Digital Pioneers exhibition.

More at: www.desmondhenry.com

Mon, 04 Mar 2013 7:00pm
Yann Seznec: To Imagine, To Learn, To Create

To Imagine, To Learn, To Create
Yann Seznec [the amazing rolo]

FREE [Book Online]

Musical pigsties, sound installations, games, lasers and mushrooms; Yann Seznec's projects may seem wildly disparate. However they are all conceptually, artistically, and technically linked, forming a body of work looking at sound, music, interface, audience, and more. Yann will describe his projects and his career, from a (failed) appearance on Dragons' Den to founding an award-winning creative studio, showing the results of an uncompromising approach to artistic creation.An event held jointly between the BCS Chester & North Wales Branch & Computer Arts Society.Monday 4th March 201319:00Centre for Creative IndustriesGlyndwr UniversityPlas Coch Campus, Mold Road, Wrexham, LL11 2AW

Thu, 14 Feb 2013 6:00pm
Peter Beyls: "The delegation of aesthetic decision making to machines”

February CAS Lecture - Thursday 14th February at 6pm
BCS Davidson House, Southampton St, London

"This lecture documents the various generative systems I have developed over almost 40 years in the domain of the visual arts, music and hybrid formats."

Peter Beyls is a Belgian born artist/composer working with computer media since the Seventies. He explores computer programming as a medium for artistic expression and develops generative systems in music, the visual arts and hybrid formats. He studied at the Royal Music Conservatory Brussels, EMS Stockholm, Ghent University and the Slade School of Art, University College London. Beyls published extensively on various aspects of digital media, in particular, on the application of Artificial Intelligence for artistic purposes. He pioneered the use of cellular automata in the field of computer music while at Brussels University AI-Lab. He was awarded a PhD in Computer Science from the University of Plymouth, UK for his research in evolutionary computing applied to real-time interactive music systems. His work was widely exhibited and performed at conferences like Siggraph, ICMC, Imagina, ISCM, Generative Arts and ISEA. Beyls was visiting professor in the USA, Canada, China and Japan. He currently teaches Theory and History of Media Art at the School of Arts, University College Ghent, coordinates research at the KASK Interaction Lab and lectures on Sound Art and Generative Systems at the LUCA School of Arts Brussels.

Displaying 11 to 20 of 98