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Mon, 06 Jul 2009

Monday 6th—Wednesday 8th July 2009

British Computer Society
The Davidson Building
5 Southampton Street
London
WC2E 7HA

Sponsored by the BCS Computer Arts Society Specialist Group

REGISTRATION OPEN
Catch the Early Bird rates before the end of May!

Current BCS members receive a 20% discount on all attendance fees

EVA London 2009 will debate the issues, discuss trends and demonstrate the digital possibilities in:

  • Reconstructive archaeology
  • Digital history
  • Virtual museology
  • Digital arts concepts and practice
  • Immersive environments
  • Digital performance
  • Computer music

If you are interested in the new technologies in the cultural sector - if you are an artist, policy maker, manager, researcher, practitioner, audience evaluator or educator - this conference is for you.

For further information including programme, social events and registration details, please visit www.eva-conferences.com/eva_london/

A limited number of bursary places are available. If you would like to apply please see www.eva-conferences.com/eva_london/2009/bursaries.

Wed, 06 May 2009

6:30 for 7:00pm Wednesday 6 May 2009

Speaker: Jörn Ebner

London Knowledge Lab
Institute of Education
23 - 29 Emerald St
London
WC1N 3QS

Nearest tubes: Holborn, Russell Square or Chancery Lane.

[map]

"In this artist's talk I will present notions of the use of objects, landscapes / cityscapes and song / sound in the context of my online works. Beginning with earlier performative pieces, I will speak about sculptural notions - the use of space and objects - in my early online works 2000-2004. My move to understand the internet as a physical element of landscape since 2005, and recent browser-based structures about central-peripheral cityscapes."

Jörn Ebner, born 1966, visual artist. Studied Fine Art at Central Saint Martins, London [1995-98], and English Literature at Universität Hamburg [1990-95]; he currently lives in Berlin, Germany. His works are predominantly located online, yet refer back to the viewers' situation in the physical world or operate in the public realm. In 2008 and 2006 Ars Electronica Festival commissioned two visual accompaniments for performances by the Bruckner Orchestra. In 2001 his work "Lee Marvin Toolbox" was awarded the Kunstpreis des Medienforums München. His works are shown in international galleries and festivals (Siggraph; FILE; Stuttgarter Filmwinter; Viper; selection FILE Rio).

Wed, 01 Apr 2009

6:30 for 7:00pm Wednesday 1 April 2009

London Knowledge Lab - Institute of Education
23 - 29 Emerald St
London
WC1N 3QS
England

Nearest tubes: Holborn, Russell Square or Chancery Lane.

[map]

"In this talk I will present my research developing computational models of curiosity and their application to the modelling of individual and social creativity. Curiosity is a behavioural response to a perceived lack of information. Computational models of curiosity can be constructed using a wide range of machine learning technologies. The development of agent-based models of curiosity opens up new possibilities for modelling creative behaviour, including the autonomous exploration of conceptual spaces. The autonomy of motivated creative agents supports the modelling of emergent dynamics of social creativity. Motivated creative agents also present new opportunities for supporting human creativity."

Rob Saunders is Lecturer in Design Computing at The Design Lab in The University of Sydney, Australia. His research has focussed on the development of computational models of creativity. In particular, he has developed computational models to explore the role of curiosity, interest and boredom in the creative process.

He has used his models of curiosity to develop computational models of social creativity to explore the emergent dynamics of social creativity. His most recent research includes extending models of social creativity to include aspects of language and culture to explore the consequences of these phenomena on the evolution of creativity.

The Computer Arts Society is pleased to invite you to our March meeting. This event is open to the public and is free. You are invited to attend a little earlier - at 6:30 - for a glass of wine to celebrate the informal launch of the new book "White Heat Cold Logic - British Computer Art 1960-1980" from MIT Press. Three of the books four editors and several contributors will be present.

Wed, 04 Mar 2009

6:30 for 7:00pm Wednesday 4 March 2009

London Knowledge Lab
23—29 Emerald St
London
WC1N 3QS
UK

Nearest tubes: Holborn, Russell Square or Chancery Lane.

[map]

"My talk focuses on the history of the first computer art show held at the Venice Biennale in 1970 and its political and social context. What consequences did this show bring about to the Biennale?

I propose to consider the 1970 Venice Biennale as a reflection of the global changes in the art world that happened in the late 1960s in response to technological developments. Two earlier events, namely the Tendencies 4 exhibition in Zagreb and the First Nuremberg Biennale, both held in 1969, foreshadow these changes. I will consider works presented by artists such as Herbert Franke, Frieder Nake, Georg Nees and the Computer Technique Group (CGT, Japan), to discuss to what extent the Biennale reflected different approaches to computer art in western and eastern countries. I will also analyse the way technology brought to the Biennale a new wave of creativity, but at the same time an element of destabilisation to the traditional asset of the Biennale institution."

Francesca Franco is an associate lecturer at Birkbeck College, University of London, within the School of History of Art, Film & Visual Media (2007-present). She is currently completing her PhD in history of art on the relationship between art, technology and politics in the context of the Venice Biennale, 1966-1986, at Birkbeck College. She holds an MA in Digital Art History obtained from the same college. She has been sitting on the editorial board of Computers and the History of Art (CHArt) since 2005.

Sat, 28 Feb 2009

Saturday 28 February: 10:00 - 22:00hrs
Sunday 1 March: 11:00 - 22:00hrs
Monday 2 March: 09:00 - 16:00hrs

P3
35 Marylebone Road
London
NW1 5LS

Very near Baker Street tube station, roughly opposite Madame Tussauds.

Wed, 04 Feb 2009

6:30 for 7:00pm Wednesday 4 February 2009

London Knowledge Lab - Institute of Education
23 - 29 Emerald St
London
WC1N 3QS

Nearest tube: Holborn, Russell Square or Chancery Lane.

[map]

The talk is about three enterprises of excellence that I have been intimately involved in. I describe my making the first geological map of the Cuillins mountains in Skye (1958), the problems of my early computers (1960's) in electronic music contrasted to some present day experiments (2008), and the preparation of my libretto for 'The Mask of Orpheus' (1984) by Birtwistle.

I show that these wildly different endeavours are not so dissimilar when it comes down to the nuts and bolts of their actual creation.

The lecture of 40 minutes is accompanied by archive videos, sounds and slides, as well as a display of rocks, pictures and electronic objects.

Peter Zinovieff is a pioneer of electronic and computer music. He is a British inventor of Russian ethnicity, most notable for his EMS company, which made the famous VCS3 synthesiser in the late '60s. The synthesiser was used by many early progressive rock bands such as Pink Floyd and White Noise, Krautrock groups like Kraftwerk as well as more pop oriented artists, a good example being David Bowie.

Zinovieff also wrote the libretto for Harrison Birtwistle's opera The Mask of Orpheus.

Mon, 19 Jan 2009

19th January 2009

This is a one-day public symposium endorsed by the Computer Arts Society and the Design Research Society.

There is reduced admission for members of CAS.

British Computer Society
Davidson Building
5 Southampton Street
London
WC2E 7HA

Tue, 02 Dec 2008

6:30 for 7:00 2 December 2008

Speaker: Ranulph Glanville

Institute of Archaeology
Room 410 University College London
31-34 Gordon Square
London
WC1H 0PY

Nearest tubes: Euston Square, Warren Street & Russell Square.

[map]

The significance of cybernetics in the development of computer arts is apparent in the title of Jasia Reichart's Cybernetic Serendipity Exhibition, now celebrating its 40th anniversary (which is also the 50th of the Philips Pavilion and the 60th of Wiener's eponymous book). It featured, prominently, the work of several cyberneticians whose art is currently being very positively re-evaluated (see for instance www.paskpresent.com, and exhibition of work coming out of Gordon Pask's work and ideas). Yet 1968 is also often seen as the beginning of the very rapid decline of cybernetics to the point that, by the early 1970s, some were referring to it as dead.

However, 1968 also sees the beginning of a transformation of cybernetics that occurred through the application of cybernetic understandings to the field itself. For convenience, we can take this as initiated by Margaret Mead's paper "Cybernetics of Cybernetics". For some reason, this transformation has not received the recognition of the earlier version of cybernetics, or of other, contemporaneous developments. But it is alive, and well, if something of a shrinking violet!

In this talk, I will discuss the development of this so called second order cybernetics, and will present some of the central understandings and concepts. Many of them seem to me to be much more sympathetic to artists and the arts than those of 1968, and to bring an all together much more sophisticated world view, one that is much less mechanistic than the original.

About the Speaker

Ranulph Glanville studied architecture at the AA (where he was mainly interested in electronic performance music), followed by cybernetics (his 1975 PhD was examined by Heinz von Foerster, his supervisor was Gordon Pask) and then human learning (1987 PhD examined by Gerard de Zeeuw, supervisor Laurie Thomas). In 2006 he was awarded a DSc in Cybernetics and Design. He has published extensively in cybernetics, design and learning, as well as maintaining a modest art practice. He has taught in Universities around the world. He is a professor of architecture and cybernetics in the Bartlett at UCL; of research in Innovation Design Engineering at the RCA; of Research Design at St Lucas, Brussels and Ghent; and of Design and Research at RMIT, Melbourne. He is also a regular visitor at a number of other universities. He is on the editorial board of several journals and the committee of several conferences. He has published more than 300 papers. He researches the fundamental position of cybernetics and the implications of this, relating this to the activity of design and how we might do research within design. His hobby is whichever of his interests he is not currently actually doing.

Tue, 04 Nov 2008

Tuesday 4 November 2008

London Knowledge Lab - Institute of Education
23 - 29 Emerald St
London
WC1N 3QS

Nearest tubes: Holborn, Russell Square or Chancery Lane.

[map]

The meeting is open to the public and is free but please note that RSVPs are essential for the afternoon session so we can pre-arrange catering.

There is no need to RSVP if you are just coming to the 6:00 talk and performance.

RSVP to paul@paul-brown.com

RULES: algorithms | structures | intuition

2:30 pm for the afternoon session (RSVP necessary)

2:30 - registration & coffee
2:45 - Alan Sutcliffe
3:30 - Paul Prudence
4:15 - Janis Jefferies
5:00 - refreshments
5:30 for 6:00 for the evening performance and talk (no RSVP)
6:00 - Live Coding performance and talk by Slub
7:30 - ends

Alan Sutcliffe: Packing Circles, Dissecting Polygons, Animated

My association with the Bridges maths-arts conferences in the last three years is outlined.

Doyle spiral circle packings are described and the problem of their construction outlined. The first animation shows the self-similarity within a packing using simple endless zooms. The second animation shows some decorative uses.

A recursive method of dissecting any polygon into mainly pentagons is described. The method is applied to single and multiple polygons. Animations in which one variable is changed
gives perhaps surprising results including some 3d effects.

Alan Sutcliffe is sometime editor of PAGE, bulletin of the CAS: "I have always known more about maths and music than about anything else, and took up computer graphics in the 1970s as a CAS member."

Paul Prudence: From Vector to Vertex - A non-deterministic Journey.

Paul Prudence is an artist and real-time visual performer (VJ) working with generative/computational systems, audio responsive visual feedback and processed video. He is also a writer, researcher and lecturer in the field of visual music and computational synaesthetic Art.

Paul will be talking about his own work in detail, beginning with early generative mathematically based works done in Flash to more recent work using the video synthesis toolkit VVV including his sound responsive signal-feedback works.

Paul is contributor to a number of books dealing with computational design and generative art. Recent exhibitions/performance in which his work has been included are Artificial Emotion 3.0 in São Paulo, > Tomorrow Now - Engage the Code in Venice, Code in Motion in Turin and Hacktronic in Boston US.

Having recently completely a small tour of gigs in Holland, the US and France he will also be talking about his real-time software based VJ performances in the club environment.

Janis Jefferies: Common Threads: re visiting a math/textile archive

Recognition of the relationship between mathematics, mathematical forms and textiles has been substantially documented across a variety of disciplines For example; the investigation of complex binary systems of Inca knotted forms (Wilford, 2003), to knot, braid and lace theory (Scharein 1998), the mathematical symmetry of woven pattern forms (Washburn and Crowe, 2004), and crochet
(Kenning, 2005).

For example in String, and Knot, Theory of Inca Writing - JOHN NOBLE WILFORD. (August 12, 2003) argues that In the conventional view of scholars, most khipu (or quipu, in the Hispanic spelling) were arranged as knotted strings hanging from horizontal cords in such a way as to represent numbers for bookkeeping and census purposes. The khipu were presumably textile abacuses, hardly
written documents.

Mathematicians often try to discover new facts regarding old phenomena. New phenomena are rarely discovered but they do
determine different conditions under which old ones, Artists are concerned with arranging phenomena in a manner that has not been seen before, or perhaps to increase the spectators' awareness of the phenomena. Often this involves complicating the effects rather than simplifying them. Thus, mathematicians and scientists rarefy and isolate phenomena to control them in abstract thought or in a laboratory, whereas artists embrace complexity and manipulate phenomena intuitively. The differences in method have resulted in divergent vocabularies for describing similar visual effects, and the two approaches can appear more disparate than their phenomenal commonality would suggest.

Janis Jefferies currently holds a Crafts Council Spark Plug curating award that seeks to examine the creative and dynamic
relationship between mathematics, mathematical forms and craft through an exploration of a particular maths and textile archive, called Common Threads, that is held in the Constance Howard Resource and Research Centre in Textiles, Goldsmiths, University of London.

Janis Jefferies is an artist, writer and curator, Professor of Visual Arts at the Department of Computing, Goldsmiths University of London, Director of the Constance Howard Resource and Research Centre in Textiles and Artistic Director of Goldsmiths Digital
Studios.

Jefferies was trained as a painter and later pioneered the field of contemporary textiles within visual and material culture, internationally through exhibitions and texts. In the last five years she has been working on technological based arts, including Woven Sound (with Dr. Tim Blackwell) and has been a principal investigator on projects involving new haptics technologies and generative software systems for creating and interpreting arts objects.

She is an associate researcher with Hexagram (Institute of Media, Arts and Technologies, Montreal, Canada) on two projects,
electronic textiles and new forms of media communication in cloth.

Slub Dave Griffiths, Adrian Ward and Alex McLean

Dave, Adrian and Alex will introduce the emerging performance practice of live coding -- writing and modifying software while
it runs, in order to improvise live music and video. The history of live coding will be introduced, along with contemporary live
coding platforms and fringe developments such as programming with a game pad and controlling synthesisers with onomatopoeia.

Slub sound emerges from slub software; melodic and chordal studies, generative experiments and beat processes. Process-based sonic improvisations; live generative music using hand crafted and live coded apps, scripts and l-systems in networked synchrony. With roots in UK electronica and tech culture, slub
build their own software environments for creating music in realtime. Only custom composition and DSP software is used.
Everything you hear is formed by human minds.

Slub project their screens so that the audience are able to appreciate their live software development process, which does
not adhere to industry quality control standards. They communicate using OSC over UDP and eyebrow gestures. The output ranges from extra slow gabba, through intelligent ambient to acid blues glitch. Slub have performed widely across Europe including Sonic Acts Amsterdam, Sonar Barcelona, Club Transmediale Berlin, leplacard London and Ultrasound Huddersfield.

Alex McLean is a member of slub and PhD student in Arts and Computational Technology at Goldsmiths College. He co-organises the dorkbotlondon meetings of people doing strange things with electricity, helps run the runme.org software art repository, and is a member of the TOPLAP organisation for the proliferation of live algorithm programming.

Adrian Ward is a member of slub, a very part-time software artist and technical director of a company specialising in software for interactive experiences. For eight years he ran Signwave, an eclectic software company, using it as an excuse to do whatever he felt, whenever he liked, but had to get a proper job once he got a mortgage. He is a member of TOPLAP, did Grade 4 on the trumpet, and still enjoys the occasional weird electronic noise.

Dave Griffiths is a member of slub, and has been writing programs to make noises, pictures and animations using a variety of languages for many years. He is the author of many free software projects exploring these areas, and uses much of it in performances and workshops around europe. He is part of the Openlab free software artists collective and TOPLAP. He lives in London where he makes computer games.

Tue, 07 Oct 2008

6:30 for 7:00 pm Tuesday 7 October 2008

London Knowledge Lab
Institute of Education
23 - 29 Emerald St
London WC1N 3QS
UK

Nearest tubes: Holborn, Russell Square or Chancery Lane.

[map]

Nigel Johnson's individual research and practice since 1978 has been focused within the domain of small and large scale, "real-time" interactive installations, whilst attempting to bring clarity, insight and new understanding where the art - science boundaries meet and overlap.

Recent projects include: "G-Vision", a Scottish Enterprise funded project in collaboration with colleagues from the School of Computing in the development of a vision-based, gesture recognition software application for interactive installations and performance scenarios. Another project, "A-Life", is a large-scale, real-time, interactive computer installation paying retrospective homage to the early work of John Conway's "Game of Life", incorporating elements of artificial life and gaming. It recently won a major award at the Shrewsbury International Exhibition 2007, Batteries Not Included: Mind as Machine in association with the Darwin Summer Symposium. A-Life is currently showing at the CCA (Centre for Contemporary Arts, Glasgow) until September 13th as part of the Alt-w: New Directions in Scottish Digital Culture exhibition. Current collaborative activities include research into the latest developments in "cognitive" software, interactive installations based on RSS data and participating in the European Mobile Lab for Interactive Artists.

Nigel Johnson is a practising artist, researcher and teacher who studied Fine Art at Liverpool Polytechnic from 1976-1979 and Experimental Media at the Slade School of Fine Art, University College, London from 1979-1981. From 1983 – 1987 he was Lecturer in Fine Art (Sculpture) at Grays School of Art (The Robert Gordon University), Aberdeen. Since 1987 he has held academic positions at Duncan of Jordanstone College of Art & Design, University of Dundee, including Senior Lecturer in Computer Imaging and was appointed Reader in Digital Arts in 2000. Since 1996 he has been running the practice-led PhD programme within the School of Media Arts and Imaging and appointed Professor and Chair of Interactive Arts in 2007. Nigel exhibits his work widely, both nationally and internationally at galleries and festivals throughout the U.K., Europe, Asia, Australasia and the United States amongst others.

Displaying 51 to 60 of 98