DASH Archives - February 2008

FIRST INTERNATIONAL MASTER OF MEDIA.ART.HISTORIES 
(Low residency; English language, open for applications now)

The postgraduate program MediaArtHistories conveys the most important
developments of contemporary art through a network of renowned
international theorists, artists, curators and many others. 
 
Artists and programmers give new insights into the latest and most
controversial software, interface developments and their
interdisciplinary and intercultural praxis. Keywords are: Strategies of
Interaction & Interface Design, Social Software, Immersion & Emotion and
Artistic Invention. Using online databases and other modern aids,
knowledge of computer animation, net art, interactive, telematic and
genetic art as well as the most recent reflections on nano art, CAVE
installations, augmented reality and wearables are introduced.
Historical derivations that go far back into art and media history are
tied in intriguing ways to digital art. Important approaches and methods
from Image Science, Media Archaeology and the History of Science &
Technology will be discussed. 
 
MediaArtHistories MA is based on the international praxis and expertise
in Curation, Collecting, Preserving and Archiving and Researching in the
Media Arts. What are the conditions necessary for a wider consideration
of media art works and of new media in these collections of the
international contemporary art scene? And in which way can new Databases
and other scientific tools of structuring and visualizing data provide
new contexts and enhance our understanding of semantics? 

Further Information:
www.donau-uni.ac.at/dis   
www.donau-uni.ac.at/mediaarthistories   
www.virtualart.at   
www.mediaarthistory.org/pub/mediaarthistories.html 
www.donau-uni.ac.at/telelectures 


FACULTY

Prof. ERKKI HUHTAMO, UCLA / Media History and Theory Department Design,
Media Arts, FIN
Prof. Dr. LEV MANOVICH, University of California, San Diego, USA
Dr. CHRISTIANE PAUL, Whitney Museum, New York / Curator for New Media,
USA
Dr. JENS HAUSER, Paris, FRA
Dr. GERFRIED STOCKER, Ars Electronica Festival, Linz
Prof. Dr. CHRISTA SOMMERER & LAURENT MIGNONNEAU, Art University Linz, AT
Prof. Dr. PAUL SERMON, University of Salford, Manchester, UK
Dr. JASDAN JOERGES, Micromovie, Berlin, GER
Dr. STEVE DIETZ, Curator for New Media and Director of ISEA 2006, USA
Prof. Dr. OLIVER GRAU, Donau-Universitaet Krems / Head Department for
Image Science, GER/AT
Prof. Dr. EDWARD SHANKEN, Savannah College of Art and Design, USA
Prof. CHRISTIAN HUEBLER, KNOWBOTIC RESEARCH, Hochschule fuer Gestaltung
und Kunst Zuerich HGKZ, CH
Prof. Dr. FRIEDER NAKE, University Bremen / Professor for
Computergraphics and interactive systems, GER
Prof. MACHIKO KUSAHARA, Tokyo Metropolitan Museum of Photography, JAP
Prof. MONIKA FLEISCHMANN, Fraunhofer Institute, Bremen, GER
Mag. JEANNA NIKOLOV, Danube University, AT
MARGIT ROSEN, MA, ZKM | Zentrum fuer Kunst und Medientechnologie
Karlsruhe, GER
Prof. Dr. MIKLOS PÉTÉRNAK, Intermedia/Academy of Fine Arts, Budapest,
HUN
Dr. Sylvia GRACE BORDA, University of British Columbia, CAN
Dr. Martina LEEKER, University Bayreuth, GER


DANUBE UNIVERSITY - located in the UNESCO world heritage Wachau is the
first public university in Europe which specializes in advanced
continuing education offering low-residency degree programs for working
professionals and lifelong learners. Students come twice a year for 2
week blocks to Monastery Goettweig in Austria. 
 
With its new modular courses the DEPARTMENT FOR IMAGE SCIENCE at Danube
University offers an educational program internationally unique. Without
interrupting the career students have the opportunity to learn through
direct, hands-on experience, social learning in small groups and
contacts with labs and industry. They gain key qualifications for the
contemporary art and media marketplace. 

Module dates:
May 17 - May 27, 2008 
Law and Copyright 
Market of Media Art / -Management 
Important Media Art Institutions 
Videoediting 
Preservation ofMediaArtHistories & Media Archaeology 
Media Theory and Theory of multimedia-based systems 
Theory of perception 
Visualization 
Art & Science - History of Science 
Spaces of interaction and their planning 
Social Software 


May 4 - May 15, 2009 
Introduction to Interfacedesign 
Locative Media: Augmented Space 
Digital Tools and their programming 
From Telematic Images to Micromovies 
Immersion & Emotion 
Design & Function of Knowledge Space 
Medial performance, theater und opera 


November 2 - November 12, 2009 
Strategy of networks 
Ambient Intelligence 
Planning festivals 
Exhibiting & Curating 
Media Art Exhibiting, Curation and Collection 
Digital Art Archiving and Preservation 
interdisciplinary and intercultural work 


The Center in Monastery Goettweig, where most MediaArtHistories courses
take place, is housed in a 14th century building, remodeled to fit the
needs of modern research in singular surroundings. International experts
analyze the image worlds of art, science, politics and economy and
elucidate how they originated, became established and how they have
stood the test of time. The innovative approach at the Department for
Image Science is reinforced by praxis-oriented study. 

Contact:  
Sabine Weber, MSc
Department for Image Science
Danube University 
Dr.-Karl-Dorrek-Str. 30, A-3500 Krems
Tel: +43(0)2732 893-2569 
sabine.weber@donau-uni.ac.at   
www.donau-uni.ac.at/dis 

re:place conference collectively reviewed by:
Jon CATES (US), Winnie FU (HK), Mary HAMMER (US), Rachelle Viader
KNOWLES (CA), Eleni MICHAILIDI (GR), Reginald NJEMANZE (NG), Nicolas
ROMANACCI (DE), Joanna WALEWSKA (PL), Nina WENHART (AT) and Rolf
WOLFENSBERGER(CH)

:::   re:place collectively re:viewed   :::      :::   full-length
reviews of each panel www.mediaarthistory.org/replace/reviews 

re:place 2007 was the second international conference on the histories
of Media, Art, Science and Technology. It took place in Berlin from the
15th until the 18th of November 2007 at the Haus der Kulturen der Welt.
re:place followed the first conference Refresh!, the First International
Conference on the Histories of Media Art, Science and Technology held at
the Banff New Media Institute, Canada, in 2005 (cf. Oliver Grau ed.,
MediaArtHistories, MIT 2007). In the second conference, re:place was
chaired by Andreas Broeckmann and Gunalan Nadarajan supported by an
advisory board and a program committee with many well-known key players
of the field Media Art Histories. The conference consisted of several
pre- and post-conference activities, which were only partly open to the
public, and many parallel events. The three-day conference itself was
organized into ten thematic panels, evening key lectures, lunchtime
lectures and poster sessions. The conference was also complemented by
three independently organized exhibitions that were shown in Berlin at
the same time: 9 Evenings Reconsidered: Art, Theatre and Engineering at
the TESLA, From Spark to Pixel at the Martin-Gropius-Bau and History
Will Repeat Itself at the KW. The combination of conference proceedings,
parallel events and exhibitions, gave conference attendees many choices
to engage in a wide range of activities during re:place.

In the introductory talk Oliver Grau gave an overview of the
development of the field of MediaArtHistories before and after Refresh!
and asked what value can research in this field achieve within the
framework of Image Science and Digital Humanities? Starting with the
mission of the conference series (www.mediaarthistory.org) the
presentation created a "discipline strategic" bridge opening up a
perspective to overcome the often placement of Media Arts in a ghetto.  
In support of that Grau showed the increasing significance of new
scientific instruments for the field, *collective* online image and text
archives, like www.virtualart.at, www.mediaarthistory.org, which
document the art and theory production of the last decades. He finished
with a note of caution regarding the too strong particularization in
this area and made a plea for a concerted policy and strategy for
collectively documenting, archiving and collecting the art of the latest
history.

In his opening remarks, Andreas Broeckmann referred specifically to the
comma between "Media" and "Art" in the subtitle of the conference. He
repeated this comment later while introducing the speakers of Panel 5
(which he moderated). Broeckmann stated the organizers gave a great deal
of consideration to this distinction while organizing the conference and
that it is indicatory of their approach. Unfortunately, as a result,
Media Art Histories were less thoroughly addressed as a field. In
Broeckmann's explanation, most of the panelists came from very diverse
fields. Panels were arranged around special topics. This combination of
various fields and approaches in the topical panels would have offered
the opportunity to inform a cross-disciplinary toolset of Media Art
Histories methods and strategies, but this chance went by unused.

 

:::   Panels  :::

The 10 panels of re:place covered a variety of subjects and topics with
a few themes connecting multiple panels and presentations. Longer panel
reviews follow this general review of re:place. 

Panel 1 was on the topic of ART, SCIENCE AND ENGINEERING as
sites/places where early experiments in Media Art took place, most often
as a combined form of research and development, focusing on examples of
their intersections. The panel was moderated by Edward Shanken, with
panelists Michael Century, Stephen Jones, Eva Moraga and Robin
Oppenheimer and is reviewed by Nina Wenhart. 

The second panel, INTERSECTIONS OF MEDIA AND BIOLOGY, incorporated
speakers from vastly different study or artistic backgrounds and study
epochs. The first two speakers, Assimina Kaniari and Jussi Parikka,
adopted a historical approach on understanding the relationship between
Biology and Media Art, while the last two attempted to incorporate
theories into their respective art works with Michele Barker describing
how the Life Sciences interact with Digital culture and Boo Chapple
experimented with sound in relation with biological systems. This panel
was moderated Ingeborg Reichle and is reviewed by Winnie Fu. 

In Panel 3, HISTORIES OF ABSTRACTION, the four lecturers offered
brilliant and sophisticated studies on seemingly quite different
subjects. Laura Marks, Arianna Borrelli, Amir Alexander and Paul Thomas
offered complex and diverse perspectives with highly specialized and
elaborated insights that are detailed in the review by Nicolas
Romanacci. 

Panel 4, The COMPARATIVE HISTORIES OF ART INSTITUTIONS, was moderated
by Stephan Kovats and included presentations by Lioudmila Voropai,
Renata Sukaityte, Christoph Klütsch and Catherine Hamel. This panel
raised questions of the possibilities of institutional critiques and is
reviewed by jonCates. 

Panel 5 traced some of the Media Art Histories that can be told in a
local context, namely in Australia, Poland, Japan and the North American
Pacific Coast. This panel, PLACE STUDIES: MEDIA ART HISTORIES, raising
the complex issue of how national and local processes relate to broader
national and international media art contexts. Eleni Michailidi reviews
this panel, discussing how, as Media Art's global networks have had an
acute impact on the development of local artistic and critical
practices, analyzing their interactions and mutual influences can help
us understand the different ways in which Media Art develops. With:
Daniel Palmer, Ryszard W. Kluszczynski, Caroline Seck Langill, Machiko
Kusahara. 

The panelists of Panel 6, MEDIA THEORY IN PRACTICE, charted
intersections of Media theory and practice through points of tension and
friction, conflicts between innovation and institutional frameworks,
displacements, immateriality and the instability of memory in all its
forms. This panel included Kathryn Farley, Nils Röller, Wendy Hui Kyong
Chun, Antony Hudek and Antonia Wunderlich as panelists and is reviewed
by Rachelle Viader Knowles. 

INTERDISCIPLINARY THEORY IN PRACTICE, the 7th Panel, started by a brief
introduction of the speakers by the Moderator Sara Diamonds. She
buttressed the effort made by the speakers to apply the emerging forms
of Interdisciplinary Theories to Practice, not only in Media Art History
but across various domains of knowledge. The papers presented by
Christopher Salter, Simone Osthoff, Janine Marchassault and Michael
Daroch painted pictures of a hybridized knowledge of Meta Analysis of
Methodology and the various points of Productive Collision; not only to
New Theories but as they relate to New Practices. Panel 7 is reviewed by
Reginald Njemanze. 

All lectures of Panel 8, PLACE STUDIES: RUSSIA / SOVIET UNION, as well
as an introduction by Inke Arns (who tried to outline the importance of
Russian avant-garde movements and its technology related utopias)
clarified the background of New Media Art in Central and East Europe. In
Joanna Walewska's review of Panel 8, she discusses the panel's attempt
to extrapolate the future meaning of collaboration between artists and
engineers from the histories of such collaborations. With: Olga
Goriunova, Margareta Tillberg, Margareta Voehringer, and Irina
Aristarkhova. 

Panel 9, CROSS CULTURAL PERSPECTIVES, investigated the
interrelationships and differences between Western and non-Western
views. The moderator, Bernd Scherer, stated that this investigation
involves a great deal of exchange between cultures, and that the results
may challenge the current definitions of modernity. Each panelist,
including Erkki Huhtamo, Cynthia Ward, Manosh Chowdhury and Sheila
Petty, presented a paper that attempted to challenge the traditional
Western view and encourage exchange between cultures. The Cross Cultural
Perspectives panel is reviewed by Mary Hammer. 

The final panel, CYBERNETIC HISTORIES OF ARTISTIC PRACTICES, was
introduced and moderated by Geoff Cox. The connections between
cybernetics and artistic or, more precisely, emergent everyday practices
was presented in two computer-archaeological case studies by David Link
and Kristoffer Gansing. Both speakers were separately looking at
different occurrences in the early software/hardware history when
engineers and programmers were experimenting with the cybernetic
machines to produce something other than what they were originally
designed for. Brian Reffin Smith then delivered the literally final
speech of the panels in a kind of conference performance. In his review
of Panel 10, Rolf Wolfensberger, describes how Brian Reffin Smith
passionately denounced the ongoing mystification of the computer by
artists, scientists and art-critics alike since the early 1970ies and
the progressive culture of the spectacle fed by the capitalistic
IT-industries since the mid 1990ies.

:::   Poster Presentation   :::

In addition to the panels, re:place also hosted a Poster Presentation
of about 20 projects, reaching from doctoral projects about individual
artists such as Lenka Dolanova's poster on her research into the
Vasulkas or Darko Fritz's research on Vladimir Bonacic to a poster from
and about The Experimental Television Center. If time is limited,
posters are a way of at least including projects in the context of the
conference. But the way in which the posters were physically presented
at re:place was very impolite. The posters were put on simple stand,
quite small and too close to one another. Still, the worst aspect of the
presentation of the posters was their location. The posters stood in the
last corner of the entrance hall, a place with no sufficient lighting.
In addition there were two poster presentations, where everyone had 5
minutes to present their projects. Even if time is limited, there can be
better ways of showing and presenting these posters, if the organizers
are really interested in enriching the content of the conference.

Links to all the posters can be found here:
http://www.flickr.com/photos/ninawenhart/sets/72157603265770404/ 


:::   Key Note   :::

The most pointed approach to describe the framework of a potential
field of media art histories was formulated, performed and put into a
flaming manifesto by Siegried Zielinski. He made a claim for being
enthusiastic, something which was missing in a lot of presentations. 



:::   Critique & Conclusion   :::

The notion of 'place' in the title of the conference was not as evident
as the premise of the conference seemed to promise. Perhaps the proposed
"thematic focus on located-ness and the migration of knowledge and
knowledge production in the interdisciplinary contexts of art,
historiography, science and technology" was by definition too vague.
Glimpses of local practices at the fringes of mainstream reception (such
as the Eastern European Media Art Histories thread that connected a few
panels and panelists) or inspirations taken from crossing borders and
boundaries did come up momentarily during several of the panels, but
practically none of the panelists or moderators made a specific
reference to the title of the conference or used this theme to 'locate'
her presentation in a broader context. Some of the panels left the
impression of a more or less artificially conceived theme with a
collection of presentations. This impression seemed to render the hope
of the moderators for controversial discussions almost futile from the
start. Seen in retrospect the conference did not fully re:cover its
'place' although many of the presentations, posters and discussions as
such were fascinating without doubt.

:::   Links   :::

- re:place 2007 at Haus der Kulturen der Welt:
http://www.mediaarthistory.org/replace/reviews 
- 9 Evenings Reconsidered at TESLA:
http://www.fondation-langlois.org/html/e/page.php?NumPage=2092 
- History Will Repeat Itself at the KW:
http://www.kw-berlin.de/deutsch/program_frameset.htm 
- From Spark to Pixel at the Martin-Gropius-Bau:
http://tinyurl.com/3asg88 



Department for Image Science - Danube University

>>> "Thanos Vasilakos"  10.02.2008 08:22 >>>
 

International Journal of Arts and Technology www.inderscience.com/ijart


EditorinChief: Athanasios Vasilakos,  issn (online) 17548861,  issn
(print) 17548853

 

Call for Papers: DIGITAL ART

 

We invite short and long submissions on Digital Art. This call
coincides with the inaugural DigArt

2008 event in Denmark (http://www.DigArt.dk). Work addressing digital
art related practise, creation,

design, and production are solicited. Performance issues, alternative
interfaces for expression,

multimodal contexts, philosophical perspectives, tools and technologies
are all welcome. We

particularly welcome interdisciplinary submissions across these
themes.

With technological advances a new generation of Art interpretation and
expression has evolved.

Traditional and contemporary artists are adopting, learning and
exploring the latest trends in

technology and, realising the potency, are presenting works that are
not only advancing the genre, but

also, like ripples from a stone thrown into a still pond, are
influencing across disciplines. Thus

repercussions are evident beyond what has traditionally been deemed the
art field.

The thinking and creative process has changed, the traditional
aesthetic is addressed and questioned,

one*s imagination can more than ever be realised through the
opportunities that are embedded in the

genus. The computer programmer can increasingly be regarded as an
artisan co-creator; interactive

computer graphics and other modalities of stimuli are implemented more
than ever to augment

performance composition/design and often used as a virtual partner; and
the advent of sensor

technology into performance has helped to inspire a new manifold entity
* the

programmer/designer/performer/director/producer *and any combination:
Thus, for example, the

dancer, musician, or painter can undertake to develop digital
competences to realise the dream of the

articulated NEW.

The Technical Revolution has arrived with an exhibited agency that is
reflected through the genre of Digital Art and its related

topics 

Topics that are solicited are:

_ Games and digital art

_ Case studies and evaluations of deployments

_ Analysis of key challenges, proposals of research agenda

_ Relation of digital art and embedded interaction to other paradigms

_ Programming tools, toolkits, software architectures

_ Emergent methodologies of study, analysis and refinement

_ Novel interactive uses of sensors + actuators, electronics +
mechatronics

_ Iterative production processes

_ Associated neuroesthetics

_ Digital Art, the Brain and Languages

_ Cybernetic associations

_ Design guidelines, methods, and processes

_ Novel application areas, innovative solutions/systems

_ Theoretical foundations, frameworks, and concepts

_ Philosophical, ethical & social implications

_ Projecting performance

_ Toys as digital art, digital art toys

_ The embodied play

_ Visual Music

_ Dance, Music , Interactive Theatre and Cinema

_ Cross Modal representations in digital art

_ Interfaces specific to particular genres

_ Sonic synthesis, sound modelling

_ Usability and enjoyment, aesthetics and design, issues of production

_ Advantages and weaknesses of Digital Art

_ Inherent learning

_ New Media and Medialogy

_ Emergent objects

_ Performance Art

_ Articulating difference

_ A critique of the adoption into the arts

_ Digital art as playground, Playground as digital art

_ Societal potentials beyond art

_ Embodied interaction, movement, and choreography of interaction

_ Digital Art and related human perception, cognition and experience
issues

_ Teaching digital art, interaction design, and best practices

And related*

The new symposium series *DigArt* (www.DigArt.dk), was inaugurated
in Esbjerg, Denmark in March 2008. DigArt 2008

organisers invited international luminaries from selected fields
presented their contribution to the field of digital art. A milestone

performance at the prestigious West of Denmark Music Conservatory
concluded the proceedings. A multidisciplinary audience

across age groups attended. This included existing artists, educators,
and engineers, as well as the next generation with a large

number of students. The cross section of audience illustrated the
potential from Digital Art as representatives from national

educations included those in therapeutic studies, business studies,
computer science, control, Medialogy and others. Such a

wide spectrum of attenddes demonstrates the interest and the many
dimensions and applications of the work across genres.

Submissions can either contain new original work, or be revised
versions of previously published papers. Revised versions need

to contain at least 30% new content, providing (e.g.) more details or
extensions with followup research. Authors should provide

access to an online version of the previously published version (to
ease work for reviewers) and explicate how the new version

differs. Each submission should be written in a way that is accessible
to the multidisciplinary audience of the journal.

 

Guest Editors: Tony Brooks. tonybrooks@aaue.dk & Eva Petersson
ep@aaue.dk

Aalborg University Esbjerg, Denmark

 

Full articles * 50007000 words, plus figures (no more than 20 pages)

Statements / works in progress / design sketches* 1000 words, plus
figures (max 2 page)

Detailed author guidelines:

http://www.inderscience.com/mapper.php?id=31 

Journal editorial board:

http://www.inderscience.com/browse/index.php?journalID=264#board 

Abstract and paper submission to ijart2008@hcilab.org 

 

Abstract (optional): May 2nd 2008

Paper submission: May 21st 2008

Acceptance notification: July 11th 2008

Camera ready papers due: August 9th 2008

Publication: Dec. 2008

 

 

 

 

SCIENTIFIC ICONS Area
2008 Film & History Conference
“Film & Science: Fictions, Documentaries, and Beyond”
October 30-November 2, 2008
Chicago, Illinois
http://www.uwosh.edu/filmandhistory
Second-Round Deadline: May 1, 2008

AREA: Scientific Icons

Beginning with The Story of Louis Pasteur in the late 1930s, a small but
steady stream of films -- documentaries, dramas, and occasional
comedies--have focused on the great scientists of the past.  Newton,
Darwin, and Einstein have all had their turns on screen, as have J.
Robert Oppenheimer (Day One, Fat Man and Little Boy, and the award-
winning The Day After Trinity), Dian Fossey (Gorillas in the Mist),
James Watson and Francis Crick (The Race for the Double Helix), Marie
and Pierre Curie (Madame Curie), and many others. These films have, for
better or worse, a key role in shaping the public understanding of how
science works.

This area welcomes all papers that deal with films and television
programs depicting real scientists whose work was important enough or
influential enough to give them iconic status at the time the film was
made. The list of scientists in the preceding paragraph is meant to be
suggestive, but by no means exhaustive.  "Scientist" is meant, for the
purposes of this area, to include medical researchers (as in Dr.
Ehrlich's Magic Bullet or And the Band Played On) but to exclude
engineers and inventors (as in The Story of Alexander Graham Bell and
Young Thomas Edison).

Possible topics include, but are not limited to:

* Depictions of historic scientists in specific films or television  
programs
* Depictions of a particular scientist in multiple films and/or
television programs
* Real scientists, fictionalized (Edward Teller/Dr. Strangelove, T. H.
Huxley/Professor
     Challenger)
* Historic scientists on the A&E network's Biography
* Historic scientists in classroom films
* Use of dramatic conventions in telling "real" stories about scientists
* Real scientists in non-US film and television
* Documentaries about historic scientists
* Historic scientists as supporting players (e.g. Lord Kelvin in the
2005 Around the World in Eighty Days)
* Patterns: Who gets films made about them? Who gets overlooked?

Please send your 200-word proposal (email is fine) by May 1, 2008 to:

A. Bowdoin Van Riper
Social and International Studies Department
Southern Polytechnic State University
1100 South Marietta Parkway
Marietta, GA 30060
Email: bvanriper@bellsouth.net 

Panel proposals for up to four presenters are also welcome, but each
presenter must submit his or her own paper proposal. Deadline for
second-round proposals: May 1, 2008.

This area, comprising multiple panels, is a part of the 2008 biennial
Film & History Conference, sponsored by The Center for the Study of Film
and History. Speakers will include founder John O’Connor and editor
Peter C. Rollins (in a ceremony to celebrate the transfer to the
University of Wisconsin Oshkosh); Wheeler Winston Dixon, author of
Visions of the Apocalypse, Disaster and Memory, and Lost in the Fifties:
Recovering Phantom Hollywood; Sidney Perkowitz, Charles Howard Candler
Professor of Physics at Emory University and author of Hollywood
Science: Movies, Science, & the End of the World; and special-effects
legend Stan Winston, our Keynote Speaker.  For updates and registration
information about the upcoming meeting, see the Film & History website
(www.uwosh.edu/filmandhistory ).


====
Paul Brown - based in OZ Dec 07 - Apr 08
mailto:paul@paul-brown.com == http://www.paul-brown.com
OZ Landline +61 (0)7 5443 3491 == USA fax +1 309 216 9900
OZ Mobile +61 (0)419 72 74 85 == Skype paul-g-brown
====
Visiting Professor - Sussex University
http://www.cogs.susx.ac.uk/ccnr/research/creativity.html
====

Association of Art Historians
34th annual conference, 2-4 April 2008
Tate Britain & Tate Modern, London

Academic Session: Photography after Conceptual Art
(3-4 April 2008)

More information: http://aah.org.uk/conference/index.php

Session convenors:
Margaret Iversen, Deptment of Art History and Theory, University of  
Essex,
Colchester CO4 3SQ
Diarmuid Costello, Department of Philosophy, University of Warwick

Speakers:
Wolfgang Brückle (University of Essex)
'Near-Documentary' in the work of Jeff Wall

Margaret Iversen (University of Essex)
Ed Ruscha and Performative Photography

Mark Godfrey (Tate Modern)
Close-ups, Archives, Doubles, Series Portraits: Roni Horn and  
photography

Catherine Grant (Slade School of Fine Art, UCL and Courtauld  
Institute of
Art)
  From „The Directorial Mode" to „The Anti Photographers"

Hilde Van Gelder (Katholieke Universiteit Leuven)
The Shape of the Pictorial in Contemporary Photography

Alexander Streitberger (Université Catholique de Louvain, Belgium)
Victor Burgin, Thomas Demand and the Logical Structure of Photography

Aron Vinegar (Ohio State University)
Deadpan and the Absorption of Skepticism

Luke Skrebowski (Middlesex University)
Productive Misunderstandings: Interpreting Mel Bochner's theory of
photography

Jean-François Chevrier (École Nationale des Beaux-Arts de Paris)
The Persistence of Realism

James Nisbet (PhD Stanford University and California College of the  
Arts)
Hybrid Capture: James Welling's photographs

Sandra Plummer (London Consortium, Birkbeck College)
Depicting the Photograph

Tamara Trodd (University of Edinburgh)
Thomas Demand's Uncanny Re-Staging of Atget

Christine Conley (University of Ottawa)
Morning Cleaning: Jeff Wall's Large Glass

Rosemary Hawker (Queensland College of Art, Griffith University)
Photography and the Banal

Joanna Lowry (University College for the Creative Arts)
Photography Entropy and the Archive

Gordon Hughes (Rice University,Texas)
Making Faces: Douglas Huebler's photographic portraits


====
Paul Brown - based in OZ Dec 07 - Apr 08
mailto:paul@paul-brown.com == http://www.paul-brown.com
OZ Landline +61 (0)7 5443 3491 == USA fax +1 309 216 9900
OZ Mobile +61 (0)419 72 74 85 == Skype paul-g-brown
====
Visiting Professor - Sussex University
http://www.cogs.susx.ac.uk/ccnr/research/creativity.html
====