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Tue, 02 Sep 2008

Tuesday 2 September 2008

5:45 for 6:00 - CAS AGM (until 6:30)
6:30 for 7:00 - Murray McKeich: Computational Creativity

System Simulation Ltd
Bedford Chambers
The Piazza
Covent Garden
London
WC2E 8HA

Due to a poor response we regret to announce that the planned joint CAS/TESLA meeting on 2 September has been cancelled.

INSTEAD we will hold the CAS AGM followed by a talk by the New Zealand artist Murray McKeich at System Simulation. The talk is a free event and is open to the public.

Murray McKeich is a New Zealander currently resident in Melbourne Australia where he is a lecturer and researcher in art at RMIT University. Following an early career in commercial art, he has since established himself as a leading practitioner of digital media in Australasian contemporary art. Working with digital photo-media, his exhibition projects include printed imagery and animation. Described as both macabre and darkly seductive, Mckeich's art weaves visions of surreal fantasy and magic from the tiny pieces of every-day debris found in urban and domestic environments. His recent practice uses generative software to autonomously breed art-works.

Murray McKeich believes that computational tools are about to become far more intimately integrated with human creativity. Artists and designers will take on the role of creative directors while their personalized software will work for them in the capacity of highly trained, trusted and autonomous studio assistants, capable of producing finished artworks without direct supervision.

McKeich demonstrates that this form of practice is possible with current off-the-shelf software and minimal programming skill. More difficult is the psychological challenge of breaking with culturally ingrained biological models of creative process and forming new ones that are natural and native to computational agency.

Note: this will be our final meeting at System Simulation - a tradition that goes back 40 years. They will be moving to smaller offices later this year.

Thu, 12 Jun 2008

5:30 for 6:00 Thursday 12 June 2008

Recent Large-Scale Public Artwork

Garwood Lecture Theatre, South Wing, University College London Gower Street, London, Post Code Nearest tubes - Euston Square, Warren Street, Euston

[map]

Instructions for finding:
Once you enter the main gate of UCL in Gower Street, you will face the Portico in the UCL quadrangle courtyard. Please take the right hand side diagonal and walk to the right corner of the building. You will see the brass tablet indicating South Wing. Enter the second entrance door at the South Wing, and you will find the Garwood Lecture Theatre on the first floor. There will be signs from the entrance that will help you to find the exact location easily.

Or you can ask the porters at the Main Gate for directions.

Anna Valentina Murch is an artist who works primarily with the medium of light and whose work focuses on creating places that lead the viewer on a sensory and psychological journey that measures time and provokes memory. Since 1980, her work has been involved with designing and building large public art projects, sometimes working collaboratively with architects, engineers and other artists. These large-scale public works incorporate ambient elements such as light, water and sound, to create experiential places. This has allowed her to take her personal creative investigations to another level by widening the focus to explore the definition of place and venues for community interaction.

Anna Valentina Murch received her MA in Environmental Media, Sculpture from the Royal College of Art and a Graduate Diploma from the Architectural Association in London, England. Through the Computer Arts Society she exhibited an installation at the Edinburgh Festival in 1973. In the late 1970's she moved to San Francisco and developed many works in galleries and museums. Her recent permanent Public Art installations include: St. Louis Metro System, and the Muni Metro Extension, San Francisco California, Queens Civic Court House, New York, Arroyo Suite, Century City, Los Angles, Waterscape, Civic Center plaza in San Jose, California, Water Scores, for the Performing Arts Center plaza in Miami, Florida. She is currently a Professor of Art at Mills College, Oakland, California.

Tue, 03 Jun 2008

6:30 for 7:00pm Tuesday 3 June 2008

Room G22
History of Art Film and Visual Media
Birkbeck College
43 Gordon Square
London WC1H 0PD

MPEG7 and genetic co-evolution: Sound Improvisation Strategies

Nearest tubes - Euston Square, Warren Street & Russell Square

[map]

Musical improvisation is driven mainly by the unconscious mind, engaging the dialogic imagination to reference the entire cultural heritage of an improviser in a single flash. This workshop will introduce a case study of evolutionary computation techniques, in particular genetic co-evolution, as applied to the frequency domain using MPEG7 techniques, in order to create an artificial agent that mediates between an improviser and her unconscious mind, to probe and unblock improvisatory action in live music performance or practice.

David Plans Casal is a musician and researcher, and digital technologist at Brunel University. His research focuses on artificial intelligence and music. He has given concerts at IRCAM (Igor Stravinsky Hall), the Sonic Arts Research Centre in Belfast, and several London venues. His research proposes that musical improvisation is driven mainly by the unconscious mind, engaging the dialogic imagination to reference the entire cultural heritage of an improviser in a single flash. He uses evolutionary computation techniques, in particular genetic co-evolution, as applied to the frequency domain using MPEG7 techniques, in order to create an artificial agent that mediates between an improviser and her unconscious mind, to probe and unblock improvisatory action in live music performance or practice.

Tue, 06 May 2008

18:30 for 19:00 Tuesday 6 May 2008

System Simulation Ltd
Bedford Chambers
The Piazza Covent Garden
London
WC2E 8HA

'Parallel Evolution: the Patric Prince Collection and the emergence of SIGGRAPH as a North American computer arts venue'

[map]

The Computer Arts Society continues its 40th Anniversary celebrations with a presentation about the emergence of the SIGGRAPH Art Show. CAS Meetings are open to the public and are free.

The Computer Arts and Technocultures Project, a joint venture between Birkbeck and the Victoria & Albert Museum, recently received AHRC funding to research and digitise the Patric Prince Collection of computer art. Birkbeck had already collaborated with CAS and SSL through the CACHe Project and this resulted in CAS's collection of computer art being donated to the V&A.

Computer Art and Technocultures is studying the wider area of international computer art as it emerged in parallel with the developing computer graphics industry, especially in conjunction with SIGGRAPH during the 1980s. The interchange between new technologies and artistic practice, and also the opportunities afforded by an art show attached to a major conference, ensured that SIGGRAPH became one of the principal nodes for computer art. Patric Prince was closely connected with the art show and chaired it in 1986.

We will consider how her collection connects with the art show (especially the retrospective on computer art she put together in 1986), how new artists and technologies were represented, and whether the situation of computer art has changed since the area was discussed in a special SIGGRAPH in 1989.

The members of the Computer Arts and Technocultures team will each examine different aspects of the project, with presenters including Nick Lambert, Doug Dodds, Jeremy Gardiner, Lanfranco Aceti and Honor Beddard.

Tue, 01 Apr 2008

6:30 for 7:00 Tuesday 1 April 2008

Speaker: Cynthia Beth Rubin

System Simulation Ltd
Bedford Chambers, The Piazza Covent Garden
London WC2E 8HA, England

[map]

Art on the edge once meant Painting. Not clean, representational, neat painting, but messy, expressive, abstract painting. Then the computer came along. Touted as a procedural machine, no one expected intuitive, non-procedural painters to turn to pixels. Why were so many expressionist painters drawn to the computer in the buggy days of mid-1980s, and how did it transform their visual language and output? What are they doing now? As one of the artists who made the leap, Rubin will discuss her own leaps, give an overview of the work of other artists, and look at how the computer continues to change concepts of imagery as it becomes a more available medium in previously less technologically advanced countries.

Cynthia Beth Rubin is a digital artist working in 2D and 3D imagery, interactivity, and animated images. Trained as a painter, she turned to digital art in 1984, creating works drawn from cultural memories and nature. Rubin's work has been shown in diverse venues including the Jewish Museum in Prague, the Pandamonium Festival in London, the Lavall Gallery in Novosibirsk, the DeLeon White Gallery in Toronto, and numerous editions of international conferences such as ISEA, ArCade and SIGGRAPH. Her works can be found in several books and journals, including Art in the Digital Age by Bruce Wands, The Computer in the Visual Arts, by Anne Morgan Spalter, and Painting the Digital River, by James Faure Walker. Rubin's studio is in New Haven, Connecticut, USA.

Tue, 04 Mar 2008

6:30 for 7:00 Tuesday 4 March 2008

Speaker: Sue Gollifer

System Simulation Ltd
Bedford Chambers
The Piazza Covent Garden
London
WC2E 8HA

[map]

Sue Gollifer will talk about her artwork, which has developed in the last thirty years according to a rigorous programme of formal experiment, through which sets of relationships evolved between shapes, colours and tones. Her talk will also make reference to a number of digital art exhibitions which she has curated since 1995: ArCade1 1-V, GAMUT I & II and the SIGGRAPH Art Gallery'04 Synaethesia. What lessons if any can be drawn/learnt from any of these exhibitions, particularly ArCade, who's original intention and objective was to demonstrate how using new technology could be used in fine art practices to create, on the one hand, a new media and on the other a hybrid link between both old and new technology, creating a convergence of ideas, disciplines and practices

Sue Gollifer is the Course Leader for an MA in Digital Media Arts and in Printmaking and Professional Practice, at the University of Brighton. She has been a professional artist/printmaker for over 30 years. Her primary research is into 'the impact of new technology within the practice of Fine Art'. She has been the curator of a number of Digital Art Exhibitions including ArCade, the UK Open International Exhibition of Digital Fine Art Prints (1995 – 2007) and the SIGGRAPH Art Gallery'04. She serves on a number of National and International Committees and is the Assistant Editor of Digital Creativity, a Journal published by Taylor Francis/Routledge.

Tue, 19 Feb 2008

6:30 for 7:00 Tuesday 19 February 2008

Speaker: Alan Sutcliffe

System Simulation Ltd
Bedford Chambers
The Piazza Covent Garden
London
WC2E 8HA

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A simple method to generate irregular but smooth curves will be described, together with shading to give 3-d forms. The method uses the repeated addition of differences of differences of differences in one co-ordinate for unit change in the other co-ordinate. Drawing in the XOR mode gives unexpected benefits in this context. The anatomy of the XOR operator applied to grey-scales and colours will be illustrated. This is an extended version of the talk given at the Bridges Conference at Donostia in July 2007, updated with some more recent animations based on these and other mathematical methods.

In 1967 Alan Sutcliffe wrote a program, to compose electronic music, which ran on an ICL 1900 computer. The music was realised, from a paper tape of the score, in the electronic music studio of Peter Zinovieff. When this won second prize in the International Computer Music Competition at IFIP 68 in Edinburgh he was prompted to propose the formation of a Computer Arts Society that he chaired until 1979. During 2007 he has exhibited in Bremen, Graz, Donostia and Karlsruhe. An early graphic, thought lost, turned up in the CAS Collection during its hand-over to the Victoria & Albert Museum. Alan now edits PAGE – the bulletin of the CAS.

Mon, 03 Dec 2007

6:30 for 7:00 Monday 3 December 2007

The Nature of Interaction in Digital Art

Computer Arts Society Public Meeting

System Simulation Ltd
Bedford Chambers
The Piazza Covent Garden
London WC2E 8HA, England

Ernest Edmonds and Stroud Cornock presented a paper about interaction in a CAS session at the Computer Graphics 1970 conference. This presentation describes Edmonds' latest Shaping Form series of interactive works shown this year in Washington DC and Sydney. These works develop over time as a result of their interaction with the world. The use of the word interaction is reviewed and alternative approaches to describing the concept explored. In particular, a systems view is taken and contrasted with an action/response model. A refined view of such interactions is proposed in which artwork and audience are said to influence one another.

Ernest Edmonds has been an invited presenter in, for example, the UK, France, the USA, Australia, Japan, Taiwan and Malaysia. He has many publications in the fields of art, creativity and interaction and has exhibited throughout the world, from Moscow to LA. He is editor-in-chief of the Leonardo journal's Transactions. He is currently Professor of Computation and Creative Media at the University of Technology Sydney.

Tue, 02 Oct 2007

6:30 for 7:00PM, Tuesday 2 October 2007

Interactive Art: complexity, emergence and mimetics.

System Simulation Ltd
Bedford Chambers
The Piazza Covent Garden
London WC2E 8HA, England

In my talk I will show examples of three artworks, Alembic, Biotica and the Mimetic Starfish that use real-time 3D computer simulations and interactive interfaces to enable participants to engage with complex, emergent and mimetic processes. In contrast to digital media, I will also show how these processes can be realised in alternative artworks using electrochemical, electromagnetic and electrostatic systems, some of which were shown at the recent Pask inspired exhibition "Maverick Machines" in Edinburgh.

Biography:
Richard Brown has a BSc in Computers & Cybernetics and an MA in Fine Art and creates interactive artworks using multi-media technology, computer programming, electronics and interfacing. Between 1995 and 2001 Richard was a Research Fellow at the Royal College of Art, where he created and exhibited three major interactive works Alembic, Biotica and the Mimetic Starfish. The research outcomes of Biotica were published as a book entitled "Biotica: Art, Emergence and Artificial-Life".

In 2001 Richard was invited as Artist in Residence at the Centre for Electronic Media Arts (CEMA), Monash University. In 2002, an award from NESTA (the National Endowment of Science Technology and the Arts) enabled Richard to work as an independent artist and researcher, between 2002 and 2003 he was based in Australia as an Honorary Senior Research Fellow at the Victorian College of Arts, Melbourne University.

In 2004 Richard moved to Edinburgh where he participated in the EPIS entrepreneurial scheme hosted at Edinburgh University, Scotland. In 2005 he won an Ideasmart award to develop a novel interactive lighting system and is currently Research Artist in Residence in Edinburgh Informatics.

Tue, 10 Jul 2007

6:30 for 7:00 Tuesday 10 July 2007

Ecology, Performance and Collaboration - Embodying Intimate Transactions.

The Screen on Gordon Square
Birkbeck
43 Gordon Sq
London
WC1H 0PD

Nearest tubes - Euston Square, Warren Street, Russell Square.

As part of this year's EVA Conference, Australian media artist Keith Armstrong is giving a talk for CAS.

Intimate Transactions is a dual site, telematic installation currently been shown in the US. It allows two people located in separate spaces to interact simultaneously using only their bodies (predominantly their backs and feet), using two identical interfaces called 'Bodyshelves'. During a 30-minute, one-on-one session their physical actions allow them to individually and collaboratively explore immersive environments. Each participant's own way of interacting results in quite different, but interrelated animated and generative imagery, real time generated audio (seven channels), and three channels of haptic feedback (felt in the stomach and back). This experience allows each participant to begin to sense their place in a complex web of relations that connect them and everything else within the work.

Intimate Transactions is an investigation in creating embodied experiences that are both performative and improvisational by harnessing individual, performative languages of 'untrained' bodies as a means to engender understandings of 'ecological' relationship. It arose from a deep collaboration between media artists, performance practitioners, sound artists, hardware and software engineers, a furniture maker and a scientific ecologist. Our entire process was informed by a praxis-led approach to art making that stressed embodied connectivity and inseparability. This allowed us to understand how participants might move within the constraints of a particular interface, allowing us to shape and form the overall phrasing and sensibilities of their experiences, whilst maintaining the unique nature of their collaborative experiences. In this presentation Keith will discuss his practice-led research approach and illustrate the presentation with videos, images and sound (www.intimatetransactions.com).

Keith Armstrong is an Australian/English interdisciplinary media artist, Australia Council New Media Arts Fellow, Queensland University of Technology Faculty of Creative Industries Research Fellow and has just finished a Visiting Professorship at Calpoly State University, California, working in collaboration with their Liberal Arts and Architecture Faculties.

His recent work Intimate Transactions, created with the Transmute Collective, received an Honorary Mention in the 2005 Prix Ars Electronica and featured in the 2005 Ars Electronica Festival in Austria. His latest interactive installation, Shifting Intimacies, was presented at the ICA London in March 2006.

Email: keith@embodiedmedia.com
Web: www.embodiedmedia.com

Displaying 61 to 70 of 98