DASH Archives - October 2008

CHArt 2008 Conference - Deadline for early booking discount extended to 10 October 2008

From: "Gardiner, Hazel" <hazel.gardiner@KCL.AC.UK>

Date: Wed, 1 Oct 2008 12:54:01 +0100

*CHArt CONFERENCE EARLY BOOKING DEADLINE EXTENDED TO 10 OCTOBER 2008*

 

The CHArt committee has extended the early booking period by a further 10 days – don’t miss this opportunity to register for the reduced conference rate!

 

CHArt TWENTY-FOURTH ANNUAL CONFERENCE

 

Seeing…Vision and Perception in a Digital Culture

 

Thursday 6 - Friday 7 November 2008

 

The Clore Lecture Theatre, Clore Management Centre, Birkbeck, University of London, Torrington Square, London, WC1 7HX.

 

THEME

 

This year's CHArt conference takes seeing as its theme and the associated questions of vision, perception, visibility and invisibility, blindness and insight - all in the context of our contemporary digital culture in which our eyes are assaulted by ever greater amounts of visual stimulus, while we are also increasingly being surveyed, on a continual basis.

 

What does it mean to see and be seen nowadays? How have advances in neuroscience or developments in technology altered our understanding of vision and perception? What kind of visual spaces do we now inhabit? What new kinds of visual experiences are now available? And what are now lost or no longer possible? How does the increasing digitalisation of media affect the experience of seeing? What and who might be rendered invisible by the processes of digital culture? What are our current digital culture's blindspots? What are its politics of seeing? The 2008 conference investigates such questions.

 

Places are limited so early booking is recommended.

 

The booking form is available online on www.chart.ac.uk.  Bookings made before 1 October 2008 will be entitled to a discount.  Conference fees (pounds sterling) - include coffee/tea breaks and lunch. 

                                     

 

PROGRAMME

 

THURSDAY 6 NOVEMBER

 

KEYNOTE ADDRESS – Paul Brown, Visiting Professor at the Centre for Computational Neuroscience and Robotics (CCNR), University of Sussex, Brighton, UK.

 

 

SESSION 1 – REPRESENTATION

 

Night-Colored-Eye: Night vision in Video or the Mediated Perception of Invisibility

Eduardo Abrantes, New University of Lisbon, Portugal.

 

Realism vs Reality TV in the War on Terror: Artworks and Models of Interpretation

David Crawford, Göteborg University, Sweden.

 

Amalgamating Vision: Photography, Artificial Intelligence and Visual Art

Simone Gristwood, Birkbeck, University of London, UK.

 

Digital Synaesthesia: Hearing Colour/Seeing Sound/Visualising Gesture

Birgitta Hosea, Central Saint Martins School of Art, London, UK.

 

 

SESSION 2 – REPRESENTATION (cont.)

 

Seeing What You Believe, Believing What You See: Revisiting ‘Photorealism’

David Humphrey, Royal College of Art, London.

 

The Participatory Off-screen:  Spatial Perception and Suture in Interactive Soap KateModern

Valentina Rao, Factory Girl Games; Pomaia, Pisa, Italy.

 

Not-just-seeing, not-just-reading (On the perception and cognition of digital literature).

Janez Strehovec, Ljubljana, Slovenia.

 

 

SESSION 3 – SPACE

 

GIS and WebGIS Technologies for Enhanced Seeing in Archeology. The Case of the Roman Aqueducts

Luciana Bordoni, ENEA; Attilio Colagrossi and Lorenzo Felli, Institut for Research and Protection of the Environment (IRPA), Italy.

 

Performing the Archive for the Visibility of Information in Space

Monika Fleischmann and Wolfgang Strauss

Fraunhofer Institute IAIS, MARS - Media Arts and Research Studies,  Germany.

 

Seeing in 3D: New Problems In Accessibility

Graham McAllister, University of Sussex, Brighton, UK.

 

 

SESSION 4 – SPACE (cont.)

 

Configurations of the Unseen: Installation Art and Information Overload

Jennifer Steetskamp, University of Amsterdam, Netherlands.

 

Architectural Space as Virtual Reality: Regarding Perceptional Parameters in Digital Culture

Pelin Yildiz, Hacettepe University. Ankara, Turkey.

 

 

FRIDAY 7 NOVEMBER

 

SESSION 5 –  BEYOND THE PIXEL

 

Seeing Software: The Biennale.py Net Art Virus and Visuality of Software

Jussi Parikka, Anglia Ruskin University, Cambridge, UK.

 

Subject to Change Without Notice:  How Advances In Modern Holography and Digital Imaging Have Altered Our Understanding of Vision and Perception

Paul Edward Scattergood  and Martin John Richardson, Institute of Creative Technologies, UK.

 

Seeing Through Imaging: An Exploration of Technology and Transparency

Nola Semczyszyn, University of British Columbia, Vancouver, Canada.

 

The Art and Science of Colour: Bridging the Gap between Art and Perception

Carinna Parraman, University of the West of England, UK; John J. McCann, McCann Imaging, Belmont, MA; USA;  Alessandro Rizzi, Università degli Studi di Milano, Italy.

 

 

SESSION 6 –  BODY AND PERCEPTION

 

Perception and Representation: the Visual Cortex and Landscape Art.

Ada Henskens, Tasmania, Australia.

 

A Presentation of ‘Saccadic Sightings’, Reflections on the Process of Working with a MobileEye and on the Difficulty of Visualising Sensory Experience.

Rune Peitersen, Amsterdam, Netherlands.

 

Attentional Surplus: Ambient Media Art and the Myth of Looking

Brett Phares, Marist College, USA.

 

Seeing Things: Ghosts in the Machine

Alan Dunning,  Alberta College of Art and Design, Calgary, Alberta, Canada;  Paul Woodrow, University of Calgary, Calgary, Alberta, Canada.

 

 

SESSION 7 –  BODY AND PERCEPTION (cont.)

 

SCANPATH

Catherine Baker, Norwich University College of the Arts, UK.; Iain Gilchrist, University of Bristol, UK.

 

Play it Again, SAM

Dirk de Bruyn, Deakin University, Burwood, Victoria, Australia.

 

Creative Perception: Sensory, Conceptual and Relational Ways of Seeing

Stuart G. English, Northumbria University School of Design, UK.

 

 

SESSION 8 –  PRACTICE

 

Machines, Drawing and Vision

James Faure Walker, Camberwell College of Arts, University of the Arts, London.

 

Conference Behind the Canvas, an Algorithmic Space: Reflections on Digital Art

Frieder Nake and Kolja Köster,  Informatik, University of Bremen, Germany.

 

The (In)Visibility of Digital Images

Søren Pold, University of Aarhus, Denmark.

 

Medical Imaging in the Digital Age: Fusing the Real and the Imagined

Dolores A. Steinman and David A. Steinman, Biomedical Simulation Laboratory, University of Toronto, Toronto, Canada.

 

 

DEMONSTRATIONS

To be confirmed

 

BOOKING FEE

CHArt Member: TWO DAYS £120 (£100 before 1 Oct 2008)

CHArt Member: ONE DAY £80 (£70 before 1 Oct 2008)

Non-member: TWO DAYS £160 (£140 before 1 Oct 2008)

Non-member: ONE DAY £110 (£100 before 1 Oct 2008)

CHArt Student Member: TWO DAYS £65 £45 before 1 Oct 2008)

CHArt Student Member: ONE DAY £45(£35 before 1 Oct 2008)

Student Non-member: TWO DAYS £85 (£65 before 1 Oct 2008)

Student Non-member: ONE DAY £55 (£45 before 1 Oct 2008)

 

*CHArt CONFERENCE EARLY BOOKING DEADLINE EXTENDED TO 10 OCTOBER 2008*

 

...........................................

Hazel Gardiner

Centre for Computing in the Humanities

King's College London

26-29 Drury Lane

London

WC2 5RL

 

hazel.gardiner@kcl.ac.uk

 

+44 020 7848 2013

 

*CHArt CONFERENCE EARLY BOOKING DEADLINE EXTENDED TO 10 OCTOBER 2008*

The CHArt committee has extended the early booking period by a further 10 days - don't miss this opportunity to register for the reduced conference rate!

CHArt TWENTY-FOURTH ANNUAL CONFERENCE

Seeing...Vision and Perception in a Digital Culture

Thursday 6 - Friday 7 November 2008

The Clore Lecture Theatre, Clore Management Centre, Birkbeck, University of London, Torrington Square, London, WC1 7HX.

THEME

This year's CHArt conference takes seeing as its theme and the associated questions of vision, perception, visibility and invisibility, blindness and insight - all in the context of our contemporary digital culture in which our eyes are assaulted by ever greater amounts of visual stimulus, while we are also increasingly being surveyed, on a continual basis.

What does it mean to see and be seen nowadays? How have advances in neuroscience or developments in technology altered our understanding of vision and perception? What kind of visual spaces do we now inhabit? What new kinds of visual experiences are now available? And what are now lost or no longer possible? How does the increasing digitalisation of media affect the experience of seeing? What and who might be rendered invisible by the processes of digital culture? What are our current digital culture's blindspots? What are its politics of seeing? The 2008 conference investigates such questions.

Places are limited so early booking is recommended.

The booking form is available online on www.chart.ac.uk.  Bookings made before 1 October 2008 will be entitled to a discount.  Conference fees (pounds sterling) - include coffee/tea breaks and lunch.


PROGRAMME

THURSDAY 6 NOVEMBER

KEYNOTE ADDRESS - Paul Brown, Visiting Professor at the Centre for Computational Neuroscience and Robotics (CCNR), University of Sussex, Brighton, UK.


SESSION 1 - REPRESENTATION

Night-Colored-Eye: Night vision in Video or the Mediated Perception of Invisibility
Eduardo Abrantes, New University of Lisbon, Portugal.

Realism vs Reality TV in the War on Terror: Artworks and Models of Interpretation
David Crawford, Göteborg University, Sweden.

Amalgamating Vision: Photography, Artificial Intelligence and Visual Art
Simone Gristwood, Birkbeck, University of London, UK.

Digital Synaesthesia: Hearing Colour/Seeing Sound/Visualising Gesture
Birgitta Hosea, Central Saint Martins School of Art, London, UK.


SESSION 2 - REPRESENTATION (cont.)

Seeing What You Believe, Believing What You See: Revisiting 'Photorealism'
David Humphrey, Royal College of Art, London.

The Participatory Off-screen:  Spatial Perception and Suture in Interactive Soap KateModern
Valentina Rao, Factory Girl Games; Pomaia, Pisa, Italy.

Not-just-seeing, not-just-reading (On the perception and cognition of digital literature).
Janez Strehovec, Ljubljana, Slovenia.


SESSION 3 - SPACE

GIS and WebGIS Technologies for Enhanced Seeing in Archeology. The Case of the Roman Aqueducts
Luciana Bordoni, ENEA; Attilio Colagrossi and Lorenzo Felli, Institut for Research and Protection of the Environment (IRPA), Italy.

Performing the Archive for the Visibility of Information in Space
Monika Fleischmann and Wolfgang Strauss
Fraunhofer Institute IAIS, MARS - Media Arts and Research Studies,  Germany.

Seeing in 3D: New Problems In Accessibility
Graham McAllister, University of Sussex, Brighton, UK.


SESSION 4 - SPACE (cont.)

Configurations of the Unseen: Installation Art and Information Overload
Jennifer Steetskamp, University of Amsterdam, Netherlands.

Architectural Space as Virtual Reality: Regarding Perceptional Parameters in Digital Culture
Pelin Yildiz, Hacettepe University. Ankara, Turkey.


FRIDAY 7 NOVEMBER

SESSION 5 -  BEYOND THE PIXEL

Seeing Software: The Biennale.py Net Art Virus and Visuality of Software
Jussi Parikka, Anglia Ruskin University, Cambridge, UK.

Subject to Change Without Notice:  How Advances In Modern Holography and Digital Imaging Have Altered Our Understanding of Vision and Perception
Paul Edward Scattergood  and Martin John Richardson, Institute of Creative Technologies, UK.

Seeing Through Imaging: An Exploration of Technology and Transparency
Nola Semczyszyn, University of British Columbia, Vancouver, Canada.

The Art and Science of Colour: Bridging the Gap between Art and Perception
Carinna Parraman, University of the West of England, UK; John J. McCann, McCann Imaging, Belmont, MA; USA;  Alessandro Rizzi, Università degli Studi di Milano, Italy.


SESSION 6 -  BODY AND PERCEPTION

Perception and Representation: the Visual Cortex and Landscape Art.
Ada Henskens, Tasmania, Australia.

A Presentation of 'Saccadic Sightings', Reflections on the Process of Working with a MobileEye and on the Difficulty of Visualising Sensory Experience.
Rune Peitersen, Amsterdam, Netherlands.

Attentional Surplus: Ambient Media Art and the Myth of Looking
Brett Phares, Marist College, USA.

Seeing Things: Ghosts in the Machine
Alan Dunning,  Alberta College of Art and Design, Calgary, Alberta, Canada;  Paul Woodrow, University of Calgary, Calgary, Alberta, Canada.


SESSION 7 -  BODY AND PERCEPTION (cont.)

SCANPATH
Catherine Baker, Norwich University College of the Arts, UK.; Iain Gilchrist, University of Bristol, UK.

Play it Again, SAM
Dirk de Bruyn, Deakin University, Burwood, Victoria, Australia.

Creative Perception: Sensory, Conceptual and Relational Ways of Seeing
Stuart G. English, Northumbria University School of Design, UK.


SESSION 8 -  PRACTICE

Machines, Drawing and Vision
James Faure Walker, Camberwell College of Arts, University of the Arts, London.

Conference Behind the Canvas, an Algorithmic Space: Reflections on Digital Art
Frieder Nake and Kolja Köster,  Informatik, University of Bremen, Germany.

The (In)Visibility of Digital Images
Søren Pold, University of Aarhus, Denmark.

Medical Imaging in the Digital Age: Fusing the Real and the Imagined
Dolores A. Steinman and David A. Steinman, Biomedical Simulation Laboratory, University of Toronto, Toronto, Canada.


DEMONSTRATIONS
To be confirmed

BOOKING FEE
CHArt Member: TWO DAYS £120 (£100 before 1 Oct 2008)
CHArt Member: ONE DAY £80 (£70 before 1 Oct 2008)
Non-member: TWO DAYS £160 (£140 before 1 Oct 2008)
Non-member: ONE DAY £110 (£100 before 1 Oct 2008)
CHArt Student Member: TWO DAYS £65 £45 before 1 Oct 2008)
CHArt Student Member: ONE DAY £45(£35 before 1 Oct 2008)
Student Non-member: TWO DAYS £85 (£65 before 1 Oct 2008)
Student Non-member: ONE DAY £55 (£45 before 1 Oct 2008)

*CHArt CONFERENCE EARLY BOOKING DEADLINE EXTENDED TO 10 OCTOBER 2008*

...........................................
Hazel Gardiner
Centre for Computing in the Humanities
King's College London
26-29 Drury Lane
London
WC2 5RL

hazel.gardiner@kcl.ac.uk

+44 020 7848 2013



CADE and the Computer Arts Society

From: Paul Brown <paul_brown@MAC.COM>

Date: Sun, 12 Oct 2008 16:39:33 +0100

IMPORTANT INFORMATION for CADE and CAS members

The BCS free one-year membership offer is being extended.

This announcement is being sent to all past and present members of the
CADE (Computers in Art and Design Education) e-lists and members of the
CAS and DASH jisclists.

Earlier this year the Computer Arts Society (CAS) and CADE agreed to
combine forces.  The CAS was founded in 1968 and celebrates its 40th
anniversary this year.  Its significant archives were acquired by the
Victoria and Albert Museum last year and are currently being  
accessioned.
CAS exists as an international member-run organisation and is also
recognised as a Specialist Group (SG) of the British Computer
Society (BCS).  The CAS exists to support and advance the use of
computers in the fine & performing arts, the applied arts & design,
entertainment & the media and in culture in general.

CAS has always had an educational remit and it is proposed that CADE
becomes the educational sub-committee of the CAS called CAS/CADE and run
a program of events including an annual conference continuing the
successful series of events run by CADE.  At present we are planning the
first of this re-launched series for Easter 2010 in central London.  We
intend that CAS/CADE will work closely with the BCS Education Group,
government agencies and others to promote the teaching of computer art
and design to the K-12, further and tertiary education sector.

CADE members, as members of CAS will also have the possibility of  
joining
the BCS for one year free of charge.  This offer will be announced in  
the
near future.  However it is imperative that CADE members who wish to  
take
advantage of this offer join the CAS _before_ the BCS offer is  
announced.

Membership of the CAS is free.  To join you should:

Go to http://www.jiscmail.ac.uk
Open an account (or log into your existing one)
Join list CAS
You may also wish to join CAS' sister list DASH (Digital ArtS Histories)

As soon as the free membership extension offer is made available we will
announce this on the CAS jisclist.  We expect this announcement to be  
made
soon and to extend to the end of the year.

We look forward to welcoming CADE members to the CAS and to the
consolidation and development of our educational agenda.

On behalf of the CAS committee
Paul Brown
Chair

====
Paul Brown - based in the UK Aug-Dec 2008
mailto:paul@paul-brown.com == http://www.paul-brown.com
UK Mobile +44 (0)794 104 8228 == USA fax +1 309 216 9900
Skype paul-g-brown
====
Visiting Professor - Sussex University
http://www.cogs.susx.ac.uk/ccnr/research/creativity.html
====

Academia.edu: 'tree' of departments and universities launches

From: Richard Price <richard.price@PHILOSOPHY.OX.AC.UK>

Date: Wed, 15 Oct 2008 15:33:42 -0700

Dear all,

I'm a Fellow of All Souls College, Oxford, where I recently finished my Ph.D
on the philosophy of perception. 

With people from Stanford and Cambridge University, I've launched a website,
www.academia.edu, which does two things:

 - It shows researchers around the world in a 'tree' format, displaying
which institution/department they are affiliated with.
 - It enables researchers and academics to keep track of the latest
developments in their field - the latest people, papers, and talks.

We're hoping that Academia.edu will eventually list every academic in the
world -- Faculty members, Post-Docs, and Graduate Students. People can add
their departments, and themselves, to the tree by clicking on the arrows. 

The site is getting some traction. Over 5,000 academics have joined
Academia.edu in the last two months. Some professors on the site include:

 - Richard Dawkins -  http://oxford.academia.edu/RichardDawkins
 - Stephen Hawking -  http://cambridge.academia.edu/StephenHawking
 - Paul Krugman - http://princeton.academia.edu/PaulKrugman
 - Noam Chomsky -  http://mit.academia.edu/NoamChomsky

We're trying to let as many academics as possible know about Academia.edu.
It would be terrific if you could visit the site, and add yourself to your
department on the tree. If your department/university is not there, you can
add it/them by clicking on the arrows coming out of the
department/university boxes.

And do spread the word to your friends and colleagues if you can.

Many thanks,

Richard

Dr. Richard Price,
Prize Fellow,
All Souls College,
Oxford,
OX1 4AL

http://oxford.academia.edu/RichardPrice

1958-2008 : from Philips Pavillon to Explorer Art

From: Franck Ancel <info@FRANCK-ANCEL.COM>

Date: Tue, 21 Oct 2008 01:27:22 +0100

(English below)

Communiqué de presse
16/10/08

Le dimanche 26 octobre 2008, à partir de 18 heures, Franck Ancel, via Internet rendra hommage au « Poème électronique » de Le Corbusier, Xenakis et Varèse. « Poème électronique » conçu pendant l'Exposition Universelle de Bruxelles, clôturée le dernier week-end d'octobre 1958.

Si le « Poème électronique » était une projection multimédia dans l'éphémère Pavillon Philips de Le Corbusier et Xenakis, qui bâtissaient à cette même période le Couvent de la Tourette*, Ancel tentera d'évoquer l'exploration d'une poésie numérique depuis ce bâtiment même.

Après avoir célébré sous cette forme contextuelle, le 04 octobre 2007, le lancement du premier satellite de l'humanité depuis une soufflerie, Ancel éclaire ces passages historiques dans l'art en connectant ceux-là dans la grande tradition des vidéo-performances depuis Dan Graham.

Déjà intervenu en 2003 par une projection interactive avec le Centre culturel de La Tourette, les pans de verre ondulatoires de Xenakis du Couvent participeront encore une fois à cette nouvelle création, entre la poésie de l'angle droit de Le Corbusier et le rêve d'un « Poéme radiophonique mondiale » de Varèse.

Un événement hors des sentiers battus signé Franck Ancel. Des collaborations avec Vincent Epplay (artiste sonore parisien), Derrick Giscloux (artiste numérique lyonnais), avec des entreprises locales comme webcastor, mais aussi en échangeant avec des universitaires comme le turinois Vincenzo Lombardo (coordinateur du « Virtual electronic poem »).

Contacts et informations
Ancel +33 676 470 610
info@franck-ancel.com

http://www.franck-ancel.com/atx

Franck Ancel vit à Paris. Il a organisé et coordonné des manifestations avec des institutions ou des associations culturelles dont la rétrospective majeure sur "Jacques Polieri : créateur d'une scénographie moderne" à la BnF à Paris (2002). Depuis les attentats du 11 septembre 2001, Ancel a mis en place un triptyque interactif et collaboratif, "A.I.T.", questionnant l'architecture, l'image, la technologie lors de créations éphémères, sur des sites patrimoines du 20ième siècle. En 2005, il a clôturé un cycle de cinq communications pour cinq continents, intitulé "De la scénographie au réseau planétaire", par une première mondiale sur Internet, depuis un avion en vol de Shanghai vers Munich. Il analyse sa pratique par une réflexion théorique, dans des textes pour des revues ou lors de conférences. Il produit et crée aussi des multiples d'art qui remixent comme des traces matérielles ses recherches. Il interroge les frontières classiques, en projetant dans l'espace contemporain, une mise en réseaux de données post-médiatiques.

Vincent Epplay, plasticien/musicien, élabore un travail de mise en jeu entre la matérialité du son et ses modes de diffusion/réception. Développant une pratique qui emprunte à la fois aux arts visuels et à la musiques électroniques, il interroge les rapports son/image, le contexte de la diffusion (durée, lieu), et le rapport à l'audio-spectateur.
http://www.viplayland.net

Derrick Giscloux est musicien et compositeur. Son travail de l'image se porte essentiellement sur la modification en temps réel d'images vidéo de la scène d'un spectacle ou d'une installation multimédia. Cette suite d'images vidéo "en mouvement" est alors projetée sur écran cinématographique simultanément à la scène captée.
http://derrickgiscloux.free.fr

* http://www.couventlatourette.com

Press release
16/10/08

On Sunday October 26 2008, starting at 6pm, Franck Ancel, will create homage through the Internet to the "Electronic poem" of Le Corbusier, Xenakis and Varèse. "Electronic poem" conceived during the World Fair of Brussels, closed the last weekend of the fair in October 1958.

The "Electronic poem" was a multimedia projection in the fleeting Philips House that Le Corbusier and Xenakis built the same period the Convent of the Tourette*, and Ancel will attempt to evoke the exploration of a numerical poetry from this same building.

After celebrating under this contextual form, last year on October 04 2007, the launch of the first satellite of the humanity in a soufflerie, Ancel will light up these historic passages in art while connecting them in the big tradition of the video performances from the time of Dan Graham.

Already in 2003 in an interactive projection with the cultural Center of The Tourette, the sections of glass ondulatoires of Xenakis of the Convent will participate once more in this new creation -- somewhere between the poetry of the straight angle of Le Corbusier and the dream of a "World-radio poem" of Varèse.

An event outside the beaten paths signed by Franck Ancel. Collaborations with Vincent Epplay (Parisian sonorous artist), Derrick Giscloux (Lyonese numerical artist), with local businesses such as Webcastor, but also in exchange with artists from universities, like Vincenzo Lombardo (coordinator of the "Virtual Electronic Poem") from Turin.

Contacts et informations
Ancel +33 676 470 610
info@franck-ancel.com

http://www.franck-ancel.com/atx

Franck Ancel lives in Paris. He has thus organized and coordinated symposiums, expositions, and performances in cooperation with associations and institutions. The last one was a retrospective on Jacques Polieri, « the creator of modern scenography », at the National Library in Paris. Since the 9/11 terrorist attacks, Ancel has set up an interactive, participative triptych, « A.I.T. », probing architecture, image and technology on 20th Century heritage sites.
In 2005, he concluded a cycle of five presentations for five continents entitled « From Scenography to the Planetary Network » with its world premiere being broadcast live on the Internet from a plane travelling between Shanghai and Munich. It analyzes his practice through theoretical reflection, in texts for magazines or at the time lectures. It produces and creates also multiples of art that remix as material tracks its research. It questions the classical borders, while projecting in the contemporary space, a placement in networks of data post-medias.

Vincent Epplay, plasticien/musical, elaborates a placement work in game between the matérial nature of the sound and its methods of broadcasting/reception. Developing a practice that lends itself at once to the visual arts and to the electronic music, it questions the reports his/picture, the broadcasting context (lasted, place), and the report to the audio spectator.
http://www.viplayland.net

Derrick Giscloux is a musician and a composer. His picture work carries itself essentially on the modification in real time of the video pictures of the scene of a spectacle or of a multimedia installation. Then the continuation of video pictures "in movement" is projected on film screen simultaneously to the obtained scene.
http://derrickgiscloux.free.fr

* http://www.couventlatourette.com

Si vous ne souhaitez plus recevoir de message de notre part cliquez sur le lien ci-dessous :
http://www.express-mailing.com/gestion/desabonnement.php?liste=56ae2e82&email=dash@jiscmail.ac.uk





























































(English below)

Communiqué de presse
16/10/08

Le dimanche 26 octobre 2008, à partir de 18 heures, Franck Ancel, via Internet rendra hommage au « Poème électronique » de Le Corbusier, Xenakis et Varèse. « Poème électronique » conçu pendant l'Exposition Universelle de Bruxelles, clôturée le dernier week-end d'octobre 1958.

Si le « Poème électronique » était une projection multimédia dans l'éphémère Pavillon Philips de Le Corbusier et Xenakis, qui bâtissaient à cette même période le Couvent de la Tourette*, Ancel tentera d'évoquer l'exploration d'une poésie numérique depuis ce bâtiment même.

Après avoir célébré sous cette forme contextuelle, le 04 octobre 2007, le lancement du premier satellite de l'humanité depuis une soufflerie, Ancel éclaire ces passages historiques dans l'art en connectant ceux-là dans la grande tradition des vidéo-performances depuis Dan Graham.

Déjà intervenu en 2003 par une projection interactive avec le Centre culturel de La Tourette, les pans de verre ondulatoires de Xenakis du Couvent participeront encore une fois à cette nouvelle création,  entre la poésie de l'angle droit de Le Corbusier et le rêve d'un « Poéme radiophonique mondiale » de Varèse.

Un événement hors des sentiers battus signé Franck Ancel. Des collaborations avec Vincent Epplay (artiste sonore parisien), Derrick Giscloux (artiste numérique lyonnais), avec des entreprises locales comme webcastor, mais aussi en échangeant avec des universitaires comme le turinois Vincenzo Lombardo (coordinateur du « Virtual electronic poem »).

Contacts et informations
Ancel +33 676 470 610
info@franck-ancel.com

http://www.franck-ancel.com/atx

Franck Ancel vit à Paris. Il a organisé et coordonné des manifestations avec des institutions ou des associations culturelles dont la rétrospective majeure sur "Jacques Polieri : créateur d'une scénographie moderne" à la BnF à Paris (2002). Depuis les attentats du 11 septembre 2001, Ancel a mis en place un triptyque interactif et collaboratif, "A.I.T.", questionnant l'architecture, l'image, la technologie lors de créations éphémères, sur des sites patrimoines du 20ième siècle. En 2005, il a clôturé un cycle de cinq communications pour cinq continents, intitulé "De la scénographie au réseau planétaire", par une première mondiale sur Internet, depuis un avion en vol de Shanghai vers Munich. Il analyse sa pratique par une réflexion théorique, dans des textes pour des revues ou lors de conférences. Il produit et crée aussi des multiples d'art qui remixent comme des traces matérielles ses recherches. Il interroge les frontières classiques, en projetant dans l'espace contemporain, une mise en réseaux de données post-médiatiques.

Vincent Epplay, plasticien/musicien, élabore un travail de mise en jeu entre la matérialité du son et ses modes de diffusion/réception. Développant une pratique qui emprunte à la fois aux arts visuels et à la musiques électroniques, il interroge les rapports son/image, le contexte de la diffusion (durée, lieu), et le rapport à l'audio-spectateur.
http://www.viplayland.net

Derrick Giscloux est musicien et compositeur. Son travail de l'image se porte essentiellement sur la modification en temps réel d'images vidéo de la scène d'un spectacle ou d'une installation multimédia. Cette suite d'images vidéo "en mouvement" est alors projetée sur écran cinématographique simultanément à la scène captée.
http://derrickgiscloux.free.fr

* http://www.couventlatourette.com

Press release
16/10/08

On Sunday October 26 2008, starting at 6pm, Franck Ancel, will create homage through the Internet to the "Electronic poem" of Le Corbusier, Xenakis and Varèse.  "Electronic poem" conceived during the World Fair of Brussels, closed the last weekend of the fair in October 1958.  

The "Electronic poem" was a multimedia projection in the fleeting  Philips House that  Le Corbusier and Xenakis built the same period the Convent of the Tourette*, and Ancel will attempt to evoke the exploration of a numerical poetry from this same building.  

After celebrating under this contextual form, last year on October 04 2007, the launch of the first satellite of the humanity in a soufflerie, Ancel will light up these historic passages in art while connecting  them in the big tradition of the video performances from the time of Dan Graham.  

Already in 2003 in an interactive projection with the cultural Center of The Tourette, the sections of glass ondulatoires of Xenakis of the Convent will participate once more in this new creation -- somewhere between the poetry of the straight angle of Le Corbusier and the dream of a "World-radio poem" of Varèse.

An event outside the beaten paths signed by Franck Ancel.  Collaborations with Vincent Epplay (Parisian sonorous artist), Derrick Giscloux (Lyonese numerical artist), with local businesses such as Webcastor, but also in exchange with artists from universities,  like Vincenzo Lombardo (coordinator of the "Virtual Electronic Poem") from Turin.

Contacts et informations
Ancel +33 676 470 610
info@franck-ancel.com

http://www.franck-ancel.com/atx

Franck Ancel lives in Paris. He has thus organized and coordinated symposiums, expositions, and performances in cooperation with associations and institutions. The last one was a retrospective on Jacques Polieri, « the creator of modern scenography », at the National Library in Paris. Since the 9/11 terrorist attacks, Ancel has set up an interactive, participative triptych, « A.I.T. », probing architecture, image and technology on 20th Century heritage sites.
In 2005, he concluded a cycle of five presentations for five continents entitled « From Scenography to the Planetary Network » with its world premiere being broadcast live on the Internet from a plane travelling between Shanghai and Munich. It analyzes his practice  through theoretical reflection, in texts for magazines or at the time  lectures.  It produces and creates also multiples of art that remix as material tracks its research.  It questions the classical borders, while projecting in the contemporary space, a placement in networks of data post-medias.

Vincent Epplay, plasticien/musical, elaborates a placement work in game between the matérial nature of the sound and its methods of broadcasting/reception.  Developing a practice that lends itself at once to the visual arts and to the electronic music, it questions the reports his/picture, the broadcasting context (lasted, place), and the report to the audio spectator.
http://www.viplayland.net

Derrick Giscloux is a musician and a composer.  His picture work carries itself essentially on the modification in real time of the video pictures of the scene of a spectacle or of a multimedia installation. Then the continuation of video pictures "in movement" is projected on film screen simultaneously to the obtained scene.
http://derrickgiscloux.free.fr

* http://www.couventlatourette.com

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Close to the Surface: Digital Presence

From: Emma Quinn <emmaq@ICA.ORG.UK>

Date: Tue, 28 Oct 2008 15:26:45 -0000

Close to the Surface Discussion
Tuesday 4th November, 6.30pm
ICA Theatre

This debate explores the role of surface within fine art digital print from a variety of perspectives including those of practitioners, critics, publishers and curators. It will investigate how it is possible to articulate the unique surface qualities of digital print and explore ways, through engagement with the technology, of creating personalised surfaces which reflect the artist's needs.

Convenor and chair: Dr Barbara Rauch. Participants: Professor Paul Coldwell, Dan Hays, Christian Nold, Bruce Gernand, Kathy Prendergast, Jonathan Kearney, Sissu Tarka.

The exhibition Close to the Surface: Digital Presence will be open to view in the Concourse, Digital Studio and Bar.

Supported by the Arts and Humanities Research Council.

www.faderesearch.com/digitalsurface

Ticket Prices: £5 / £4 Concessions / £3 ICA Members.

To book tickets in advance (advised) please call the ICA box office on 020 7930 3647 
or visit the ICA web site to book online:
http://www.ica.org.uk/Close%20to%20the%20Surface%20discussion+18391.twl

We look forward to seeing you at what will be an interesting discussion.

Institute of Contemporary Arts,
The Mall,
London, SW1Y 5AH

Nearest tube stations: Piccadilly or Charing Cross