Friday, February 29, 2008

YASMIN-messages Digest 01.03.2008.

YASMIN-messages Digest 01.03.2008.

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1. Re: 1957-2007: Space Imaginaries
2. Re: Synesthesia


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From: rmalina@prontomail.com
Subject: Re: 1957-2007: Space Imaginaries
Date: Fri, 29 Feb 2008 12:17:43 +0200

   SPACELAND AWARDED THE PRIZE “ETHICS AND ENTERPRISE”  During the national ceremony in Rome, SpaceLand Italia has been awarded the national Prize “Ethics & Enterprise” for its achievements in transferring technology and life science results from astronaut programs to elderly people and disabled.  http://www.eticaeimpresa.net/2007/vincitori2007.htm   NEW MOON-G , MARS-G AND ZERO-G FLIGHT CAMPAIGNS OPENED TO EVERYBODY ANNOUNCED AT THE TOUR FOR THE MINISTERY OF UNIVERSITY AND RESEARCH   During the recent event in the lake region of Avigliana (Torino-Italy) for the SpaceLand public outreach science tour commissioned to the SpaceLand Cultural Association by the Italian Ministery of University and Research (Italian Parliament Act nr 6/2000, “Spreading the Science Culture”), Mission Commander Doct. Eng. Carlo Viberti and space-journalist Antonio Lo Campo officially announced to several hundreds of students and to several mass-media the start of preliminary activities to implement a nation-wide selection of youngsters for upcoming SpaceLand Research and Educational Flight Campaigns in zero-gravity, Moon-gravity and Mars-gravity from the Space Shuttle strip at NASA in Florida and/or from the new SpaceLand flight center in Europe: www.SpaceLand.it  SPACELAND MOON-G, MARS-G AND ZERO-G FLIGHT TRAINING CAMP EXPANDS  The new SpaceLand Alpine Camp on the Olympic Alps widens up: extensive training and qualification events shall be held from March 2008 featuring, inter alia, hand-on tests for international visitors and mass media, going through underwater space operations trials and astronaut training experiences at the 2000-meter high SpaceLand campus in a brand new, beautiful 4-star hotel on the Olympic mountains. www.SpaceLand.it 


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From: vkorakidou@yahoo.gr
Subject: Re: Synesthesia
Date: Fri, 29 Feb 2008 12:50:31 +0200

Hervi-Pierre,
 
Thank you so much for your illuminating posting :-)
 
Actually, I think that a synaesthesia discussion in the intersecting fields of art, science and technology leaves some room for "creative" exploration in the broadly defined field of neuro-aesthetics as you have described it.
 
For instance, I received an e-mail coming from Mit Mitropoulos about a conference that took place here in Athens (22 - 23 Feb)  on issues relating to Alzheimer. Surely as he comments: "Memory Degeneration is one context for a synesthesia question".
 
For those of you interested in the project regading art & sense deprivation, as it was mentioned in my previous posting, it was organized by K.E.T.E. the "Research Center for the Art and the Sciences" founded in Athens in 1986 by Takis. I think the project started in 1993-4 and the exhibitions took place in Athens and France in 1996-7.
 
Furthemore, as we wish to pursue further discussion on synaesthesia, art, science and technology, we are interested in connecting to on-going international activities.
 
One example is: "The Brain" travelling exhibition originating from Denmark. It is currently in Athens (Greece), and for those living here or currently visiting, it still is an intersesting place to go: www.thebrain.gr (call 210 9834776).
 
The exhibition is on as from Dec 2, and will run for another 2 weeks. It is a product of the Danish Science Center Experimentarium and its curator is Nils Hornstrup.
 
I am going to post a review of it sometime next week (as related to Synaesthesia topics) and provide those YASMIN members interested to follow the discussion (now continuing on LEF: http://www.leonardo.info/isast/lef.html) with the current schedule of the exhibition (as well as the ground the exhibition has already covered both as content and in geographical terms).
 
Hoping to see all of you in the Leonardo Education Forum: "Synaesthesia, Art, Science and Technology" discussion Group. To join or read the discussion, please register at: http://artsci.ucla.edu/LEF/node/132
 
Best regards,
 
Veroniki
 
hplambert <hplambert@hotmail.com> Ýãñáøå:

Bonjour, dear Yasminers

Bonjour!

- I observe that a lot of messages in the section Synesthesia have no direct relations with the phenomenon of synesthesia but generally speaking with the relations between arts and the new field of neurosciences. I consider that to be very meaningful. The term synesthesia is used more as a metonymy for something much more extensive, which would include neuropsychology, neurobiology, cognitive psychology and what is called neuroesthetics.

- The idea of” that artists and writers are able to explore specific functioning of the cognitive system through their works” has nothing new. It is largely used by Semir Seki in Inner Vision: An Exploration of Art and the Brain. Oxford University Press: Oxford. (1999).
Zeki who coined the term neuro-aesthetics illustrated every specialized cortical era by a painter. Fauvism was supposed to have explored the V4 era, specialized in the colour processing, and kinetic art would correspond to the specialization of V5. In his conference on the “Beautiful”, Jean-Pierre Changeux gives the example of Matisse as a neurophysiologist artist.
There is an excellent article called « Art and Neuroscience », written by John Hyman, on line (http://www.interdisciplines.org/artcognition/papers/15 ), from a conference on line about art and cognition organized by ENS/ CNRS/ Institut Jean Nicod in 2005. John Hyman reminds the idea that artists would be neurologists as studying the brain with their own techniques is just a modernized rewriting of Helmhotz’s theory of 1871. According to Helmholtz, artists were explorers of visual system. John Hyman quotes Helmholtz in a text of 1871:
"We must look upon artists as persons whose observation of sensuous impressions is particularly vivid and accurate, and whose memory for these images is particularly true. That which long tradition has handed down to the men most gifted in this respect, and that which they have found by innumerable experiments in the most varied directions, as regards means and methods of representation, forms a series of important and significant facts, which the physiologist, who has here to learn from the artist, cannot afford to neglect. The study of works of art will throw great light on the question as to which elements and relations of our visual impressions are most predominant in determining our conception of what is seen, and what others are of less importance. As far as lies within his power, the artist will seek to foster the former at the cost of the latter."
After this quotation, Hyman comments:
“In this passage, Helmholtz combines the idea that artists test and explore the visual system Most visual scientists have abandoned Helmholtz’s theory of vision. They no longer talk about sensuous impressions, or about the unconscious mind interpreting sensuous impressions. Instead, it is generally held that different parts of the brain are simultaneously performing various highly specialized tasks, reacting to form, or to motion, or to colour; and that somehow or other the results of these processes are combined to form a unified visual perception, although nobody is sure yet how this synthesis occurs.”
The article is furthermore a devastating critique of V.S. Ramachandran’s ideas on neuroesthetics.
3
For relations between arts and neurosciences, and especaillya arts and neuropsychology, I would recommend some books or articles: :
- Rose, F. C. (Ed.), (2004). Neurology and Arts: Painting, Music, Literature. London: Imperial College Press.

Bogousslavsky, J., & Boller. F. (Eds.). (2005). Neurological disorders in Famous Artists. Basel: Karger AG.

Chatterjee, A. (2004). “The neuropsychology of visual artistic production”, Neuropsychologia, (42) 1568-83.

4
Sorry for that, I would indicate some personal papers. But one was done in Leonardo Conference in Prague, called : « neuroaesthtics, neujrological disorders and creativity”, which begins by:

« Neurology of the arts or neuroaesthetics is a new branch of neurology especially concerned by neuropsychology of visual artistic production and cerebral localisation of musical perception and musical memory (Seki, 1999; Rose, 2004; Chatterjee, 2004; Bogousslavky & Boller, 2005). Among the different activities the new field of research is gathering, such as study of pictorial representation of neurological symptoms in the art history, diagnosis of artists’neurological diseases, this article will focus on the study of relations between cognitive disabilities for neurological disorders and artistic production by visual artists. Neurological deficits can change the work in content or in style, but can be used also as sources of inspiration, especially in the case of epilepsy and migraine. But some final diagnosis remain controversial as regards for instance the nature of the disease of Ravel, Van Gogh, or Giorgio de Chirico, (Bogousslavky & Boller, 2005) or even De Kooning!
. According to Anjan Chatterjee (2004) writing about the breakdown of the visual representations: “The work produced by artists who have suffered from brain damage can contribute to our understanding of these representations“(p.1568) and it is also the opinion of Bogousslavky and Boller (2005): »

Among more personal writings:

- Article, « Art et cerveau : vers la neuro-esthétique ? », in « Rencontre », Recherches en esthétique, Revue du C.E.R.E.A.P, n°12, 2006.

Cette revue reliée au Laboratoire d’Esthétique Théorique et Appliquée de l’Université de Paris I Panthéon Sorbonne est dirigée par Dominique Berthet, dans le comité de rédaction : Ernest Breleur et Marc Jimenez.


- Colloque MutaMorphosis: Challenging Arts and Sciences, International Conference, Prague. A Leonardo 40th Anniversary celebration, Prague, novembre 2007.

Titre de l’intervention : “Neuroesthetics, Neurological Disorders and Creativity“ (La neuro-esthétique, désordres neurologiques et créativité)

- Article en ligne : « Littérature, arts visuels, neuroesthétique »,
http://www.epistemocritique.org/spip.php?rubrique22
Épistémocritique, revue d’études et de recherches sur les littératures et les savoirs, Université du Québec

- Intervention : « Dernières traces : l’ultime possibilité créatrice dans la maladie neurologique », Colloque Voyages Au Noir, organisé par le Centre des cultures et des arts de la Caraïbe et la délégation académique aux arts et à la culture, du vendredi 23 novembre au dimanche 25 novembre 2007, Martinique ( on line in the next months)


5

I am preparing an article for a conference on Besançon on memory at he ed of mars and one of my theme is on what Jonah Lehrer wrote on “Proust as an neuroscientist”
.The theme is nothing new as we saw with Zeki and even Lemholtz. And furthermore a lot of authentic scientists have wrotten on relations between Proust and neurosociences. . As early as the 9th of november 1998, a specialist of Proust, Yves Tadié had presented in front of the Académie des Sciences morals et politiques, pusblished in the Revue of the Académie an article about “Proust neurologue”. In his recension fo books and articles on it, there were, D.Shacter, Searching for memory, I. Rosenfield, Invention of memory, G. Edelman, Bright air, Bright fire, without speacking of Changeux and Vigouroux.

What would be original in what he wrote on the theme should be on the speculative explanation of involuntary memory by prions, - whitout entering in easy commentaries of bizarre errors on Proust’s work.
It is why in the article I compare this kind of new scientific fantasies with Narby’s explanation of memories in the nature. The well-know Jeremy Narby’s «hypothesis » in The cosmic snake: DNA and the origins of Knowledge postulates a link between the genetic code and shamanic knowledge, refering to a speculative hypothesis, that of Popp, Gu and Li. about biophotons like cellular language. In both texts, Narby’s and Lehrer’s you have the same importation of highly speculative theories connected to the genetic code to explain memory mechanisms. Of cause, my point of view is not to judge or condemn, but from an anthropological point of view, to describe phenomena of the contemporary imaginary.

Hervé-Pierre Lambert
Institut Nicod. EHESS
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Thursday, February 28, 2008

YASMIN-messages Digest 29.02.2008.

YASMIN-messages Digest 29.02.2008.

YASMIN website: http://www.media.uoa.gr/yasmin/
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1. CfP on Immersive Virtual, Mixed, or Augmented Reality Art
2. NYT: Where Science and Art Collide
3. ITALY: Pari Center Blogs
4. AESTHETIC PEACE Group

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From: mroussou@acm.org
Subject: CfP on Immersive Virtual, Mixed, or Augmented Reality Art
Date: Thu, 28 Feb 2008 01:48:45 +0200

Call for Papers on Immersive Virtual, Mixed, or Augmented Reality Art
a Special Issue of the International Journal of Arts and Technology

http://www.inderscience.com/browse/callpaper.php?callID=914

Important Dates
Submission intent (title and 300-word abstract): 1 September, 2008
Deadline for full paper submission: 31 October, 2008
Review results returned to authors: February 29, 2009
Deadline for camera-ready papers: June 30, 2009

Guest Editors:
Maria Roussou, makebelieve design & consulting, Greece
Maurice Benayoun, UniversitÎ"© Paris 1 Pantheon-Sorbonne, France

For the past fifteen years, virtual reality (VR) and, more recently, mixed reality (MR) and augmented reality (AR) environments that immerse their participants in imaginary space, have emerged to define an area that blurs the lines between the seemingly different worlds of research, creativity, and technological practice, while exploring the interdependencies between the virtual and the physical. From the immersive, yet more esoteric, CAVE®-based projects of the mid-nineties to the contemporary open experiences spread out in virtual as well as physical space, creative VR/MR/AR applications are challenging the ways we perceive both digital art and the science and engineering behind them.

Early enthusiasm with the use of projection-based display structures and the development of authoring solutions for application-building has brought a level of maturity, characterized by the emergence of new technical and conceptual forms. It is this particular moment in the evolution of immersive VR/MR/AR art practice that this special issue seeks to capture. Hence, in this special issue, we aim to bring forth the topic of immersive art in its current maturity, present the newest developments and explore its evolving forms, aspiring to shape a framework that will help us to develop the next generation of environments.

Therefore, this special issue will not include contributions that deal solely with describing a narrow and specific piece of art or research without reference to a conceptual framework or a critical analysis; rather we encourage contributions that take a broad and integrative view of relevant topics, encompassing both theoretical and empirical perspectives of digitally-generated creative spaces.
Submissions are invited that touch on but are not limited to the following themes:

* Theoretical discourse on immersive virtual, mixed or augmented reality art environments.
* Novel design concepts, applications, implementations and experiences from the actual deployment of immersive VR/MR/AR art applications
* Research or empirical work addressing some of the open questions in the design of immersive art environments. For example:

* Issues concerning creativity and aesthetics, visual depiction, storytelling and narrative, triggering other senses, embodiment, etc.
* The fine line between designing for entertainment or for artistic pleasure
* Issues in the design of interactivity, interfaces, and interaction methodologies, such as navigation by and tracking of multiple users, meaningful group interaction, the integration of multi-modal interfaces (e.g. tactile and haptic displays, sensing technologies), etc.
* Issues concerning the design and development process of immersive artwork, such as the conceptualisation and collaboration challenges presented by multitalented interdisciplinary teams working together, the unavailability of resources and work environments, etc.
* Issues in the deployment of different display configurations, sizes, and installations, as well as challenges in the practical use with diverse audiences (e.g., the need to guide people in experiencing the artwork)

Contributions are encouraged from different disciplinary perspectives, including fine arts, computer science, performance art, theatre, design, architecture, communications and social sciences, philosophy, cognitive psychology, and enabling technologies.

Contributions should take a broad and integrative view of relevant topics, rather than merely describing a narrow and specific piece of art or research.


See http://www.inderscience.com/browse/callpaper.php?callID=914 for more information.

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From: id@elumenati.com
Subject: NYT: Where Science and Art Collide
Date: Thu, 28 Feb 2008 16:29:29 +0200

http://www.nytimes.com/2008/02/26/science/26elas.html

February 26, 2008


Where Science and Design Collide, a Few Weird Sights to Behold

By JOHN SCHWARTZ
<http://topics.nytimes.com/top/reference/timestopics/people/s/john_schwartz/index.html?inline=nyt-per>

In the drawing, a nude man and woman stand on either side of a wall.
Each wears a plastic breathing mask that covers the nose and mouth; the
masks are connected to air hoses that pass through the wall. The hoses
attach to pouches at each other's underarms and crotches.

It is a device that allows people — and there is no polite way to put
this — to sniff each other. Remotely.

Things can get weird when the worlds of science and design collide. A
new exhibition at the Museum of Modern Art in New York, "Design and the
Elastic Mind," contains more than 200 arresting and provocative objects
and images that may evoke a "whoa" or an "ugh" or simply "huh?"

When art museums take on science, the results are often pretty but
superficial, with blown-up images from under a microscope or through a
telescope and artificial colors, said Peter L. Galison, a Harvard
professor of the history of science and of physics. He said this
"out-of-context aestheticization" was not just "kitschy," but could also
kill the depth and context that made science interesting.

"Design and the Elastic Mind," Dr. Galison said approvingly, is
different — playful, yet respectful of the science that informs each
object on display. "It's science in a new key," he said.

In this exhibition, Paola Antonelli, senior curator in the museum's
department of architecture and design, gathered the work of designers
and scientists, meeting in the sweet spot on a cultural Venn diagram
where the two disciplines overlap.

The exhibition came together through an unusual process, Ms. Antonelli
said. Some two years ago, she began talking with Adam Bly, the editor of
a hip science magazine, Seed, and asked him to collaborate with her on a
series of salons devoted to exploring the relationship between science
and design.

"At the beginning it was this sort of apology-fest," Ms. Antonelli said.
She recalled the way scientists would open their talks by saying, "I
don't know what art is," and the artists would say they did not know any
formulas. Through the salons — with speakers like Benoît Mandelbrot, a
mathematician who pioneered the creation of gorgeous images from
mathematical functions, and leading designers — the outlines of an
exhibition took form.

The works that come from laboratories have a quality that can evoke
wonder: a soft-bodied robot designed to move like a caterpillar, and
movies of a circular pool with wave-generation machines ringed around it
that beat the water in rhythms and that can form letters of the
alphabet. And, yes, some images come from under microscopes. But they
stay true to their scientific roots, said Paul W. K. Rothemund, a
scientist at Caltech, whose work is on display. He manipulated molecules
of DNA to create a series of microscopic smiley faces that are one
one-thousandth the width of a human hair.

"The work isn't mere artwork," he wrote in an e-mail message in response
to questions. "Artwork is necessary for engineering and science."

The designers tend to approach the work with a bit more puckishness.
There are visual displays of data that present, for example, thousands
of personal advertisements in a heart-shaped flux of bubbles that can be
searched and manipulated. And there are the smell tubes. The designer of
the "Smell +" project, James Auger, said he wanted to underscore the
diminished importance the sense of smell had in our lives by creating a
device that allowed people to smell each other's bodily scents before
they met. It would be a kind of olfactory blind-dating service.

Is it a serious proposal? Mr. Auger, who is from Britain, hedges. The
science of smell, he notes, is serious, and he cites research into smell
as a marker for genetic compatibility. He said he was fascinated by
science and scientists, who were "creating amazing possibilities of what
it means to be human. But they don't necessarily understand what to be
human is. That's where design can play a very important role."

So while scientists have studied the ways that smell might have
developed to warn humans of food gone bad or an approaching fire, it is
up to designers to encourage people to think about what is lost when we
have "fire alarms and sell-by dates and fridges" and, for that matter,
deodorants and perfume.

Other projects try to build by nature's plan. Joris Laarman, a designer
in the Netherlands, is designing chairs and sofas based on his research
into the way that bone grows — giving support where needed and removing
material where less support is required. A result is an eerily elegant
assortment of legs that form a whole, using software that mimics
evolutionary processes. "I try to create beautiful objects that make
sense," Mr. Laarman said.

And what can we make of the display of "dressing the meat of tomorrow"?
It is a fanciful representation of what meat might look like when
tissues for food can be cultivated cheaply in vats instead of through
grazing and slaughtering. Practical applications that would bring the
cost of "cruelty free" tissue down to affordable prices are years away,
at best.

But James King, a British designer who created the prototype for the
brave new meat, said edible tissues from the lab opened possibilities
for what cultured meat might look like. "It's not designed by the
anatomy of the animal," Mr. King said. Instead of slabs of steak, he
envisions a delicate design that resembles "the cross section of a cow."

Some of the objects have an otherworldly beauty. Tomas Gabzdil
Libertiny, who lives in the Netherlands, studied bees and developed a
scaffolding he could use to enlist them in the manufacture of objects.
His beeswax vase, a golden wonder that droops slightly on a pedestal
near the entrance to the exhibition, exemplifies what he calls "slow
prototyping." Like the "slow food" movement, he sees his vase as showing
the way to a kind of thing that demands attention and respect, in part
because it is not just knocked out by a machine — it embodies, he said,
"the sort of thrill in the heart that you get when you see an object
that has magic."

Dr. Mandelbrot, a professor emeritus of mathematical science at Yale,
spoke with joy in an interview about the new exhibition, but also with
an air that suggested he was wondering why it had taken so long for the
world to catch up to him. "I have been fighting on that front for a very
long time," he said.

Dr. Mandelbrot said the separation of science and aesthetics had always
puzzled and frustrated him, though now "the separation is decreasing, or
vanishing," as more people find ways to bridge the gap.

Mr. Bly, of Seed magazine, agreed. Bringing diverse disciplines together
corrects a mistake in intellectual history and "harks back to the
Renaissance," he said, adding: "We created disciplines. Nature didn't
create disciplines."

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From: rmalina@prontomail.com
Subject: ITALY: Pari Center Blogs
Date: Thu, 28 Feb 2008 22:33:47 +0200

We have started two blogs. One is to encourage discussion around
themes in F. David Peat's "Pathways of Chance". Current topics
include Indigeneous Knowledge, Language, Gentle Action, Quantum
theory and the culture of Liverpool. Please feel free to post
your comments.

You can find this blog at :
http://www.paripublishing.com/blogs/pathwaysofchance/


The second blog is to foster debate on Religion and Science, in
particular the topics discussed in essays from "The Pari
Dialogues". Again your comments are most welcome.

This blog can be found at
http://www.paripublishing.com/blogs/paridialogues/

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From: rmalina@prontomail.com
Subject: AESTHETIC PEACE Group
Date: Thu, 28 Feb 2008 22:41:45 +0200

Aesthetic Peace
Type:
Entertainment & Arts - Online Media
Description:
The Aesthetic Peace Group aims through art and creativity to inspire new approaches and create new metaphors for peace between Israel and its neighbors.

The Arab conflict with Israel is an aesthetic problem that calls for an artistic solution. All political processes and road maps from Oslo to Annapolis are doomed to failure because the conflict is not political but rather aesthetic.

Rug weavers from Islamic lands intentionally weave a patch of dissimilar pattern to break the symmetry of their rugs honoring their belief that only Allah creates perfection. Instead of seeing Israel as a blemish in the Islamic rug spreading across North Africa and the Middle East, Israel needs a to be seen as counter-pattern affirming Allah’s will.

Peace requires a fresh aesthetic metaphor that symbolizes the fulfillment of Mohammed’s prophecy in the Koran (Sura 17:104): “And we said to the Children of Israel, ‘scatter and live all over the world’…and when the end of the world is near we will gather you again into the Promised Land.”

In the Aesthetic Peace group, Jews, Muslims, and Christians join together to promote an aesthetic metaphor for peace in the Middle East.
Contact InfoEmail:
melalexenberg@yahoo.com
Website:

www.aestheticpeace.blogspot.com

Wednesday, February 27, 2008

YASMIN-messages Digest 28.02.2008.

YASMIN-messages Digest 28.02.2008.

YASMIN website: http://www.media.uoa.gr/yasmin/
YASMIN map: http://haystack.cerado.com/yasmin
To unsubscribe: http://www.media.uoa.gr/yasmin/unsubs.php?lid=1
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1. Bioart goes live in more ways than one!
2. Invitation to the Eclectic Tech Carnival in May.
3. Lovely Weather - Art and Climate: Climate Clock
4. new subscriber

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From: communicate@anat.org.au
Subject: Bioart goes live in more ways than one!
Date: Wed, 27 Feb 2008 01:00:46 +0200

MEDIA RELEASE
**Apologies for cross postings

Bioart goes LIVE in more ways than one!

The Australian Network for Art & Technology (ANAT) is pleased to
announce its latest initiative: a moderated elist discussion on
contemporary art and science collaborations in fields including bioart,
artificial intelligence, robotics, climate change and space, amongst
others.

Running from March to December 2008, each month-long discussion will be
led by international experts.

To whet your appetite, here are some initial thoughts from participants
in the Bioart discussion, beginning on Monday the 3rd of March...

Oron Catts is an artist, researcher and curator. He is the co-Founder
and Director of SymbioticA, which won the 2007 Prix Ars Electronica
Golden Nica in Hybrid Art. Oron comments "the growing tension between
the 'essence of life' and contemporary approaches to the engineering of
life is where the most interesting bioart works lie."

Monika Bakke is Assistant Professor of Aesthetics at Adam Mickiewicz
University, Poland. She has a particular interest in posthumanist,
cross-cultural and gender perspectives in contemporary art/aesthetics.
Monika believes, "Bioart evokes questions of belonging, identity and
sustainability, highlighting the need to move beyond anthropocentrism
in order to fully recognise augmented, modified and
technologically-supported life of all kinds."

George Gessert's work focuses on the overlap of art and genetics. He
has exhibited widely and his writings have appeared in numerous books
and publications, including Best American Essays 2007. George notes
"I've been producing and exhibiting bioart works for more than 20
years, during which time I've sought to keep the focus on aesthetics
rather than politics. Lately, however, I've been asking myself: what is
the relevance of bioart to climate change?"

Kathy High is Head of Arts at Rensselaer Polytechnic Institute, (USA).
As a practicing artist, her works address medicine/bioscience, science
fiction and animal/interspecies collaborations. Kathy comments, "I am
involved with the development of a new animal research facility and
wonder what methods artists have used to 'humanise' engagement with
non-human subjects."

Jens Hauser is a Paris-based curator, writer and videomaker focussing
on the interactions between art and technology, and on transgenre and
contextual aesthetics. He organised L'Art Biotech (2003) France Still,
Living (2007) Australia and, most recently sk-interfaces (2008) UK.

To subscribe to the elist, please visit: www.synapse.net.au

___________________________________________________

ANAT is assisted by the Australian Government through the Australia
Council for the Arts http://www.ozco.gov.au its arts funding and
advisory body, by the South Australian Government through Arts SA
http://www.arts.sa.gov.au and the Visual Arts and Craft Strategy, an
initiative of the Australian, State and Territory Governments.

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From: czegledy@interlog.com
Subject: Invitation to the Eclectic Tech Carnival in May.
Date: Wed, 27 Feb 2008 09:33:08 +0200

Hello again Yasminers,

another call which might be of some interest:
nina


> Inviting All Women
>
> The seventh Eclectic Tech Carnival will be held from Sunday the 25th until
> Saturday the 31st of May in Amsterdam, The Netherlands.
>
> The /ETC is a unique tech skill-share that has been held annually since
> 2002. The emphasis has always been women sharing their experiences,
> knowledge and skills around free software, open hardware and universal
> interoperability of systems in a fun way.
>
> We are calling all women who are interested in the Eclectic Tech Carnival
> to register via the following form:
> https://eclectictechcarnival.org/register
>
> Registration closes at 23:59 on 1 April 2008.
>
> Participate! Whether you want to follow the content of the event or
> whether you want to present a workshop, lecture, performance, playlab,
> intervention, exhibition, you name it (to a certain degree) at the /ETC
> you're welcome.
>
> In addition to the skill-share program, this year the Eclectic Tech
> Carnival will be focusing on a number of specific political issues: the
> "life cycle" of hardware - from mining, to labour practices in the
> manufacturing industry, to waste management. In addition we will explore
> why there seems to be so little public interest in Privacy, or lack of, on
> the Net. And what can we learn from the Creative Commons movement?
>
> The participation fee of /ETC 2008 is as follows:
> For all seven days: a sliding scale of 30/60/120 Euros (at your own
> discretion).
> Per single day: 6 Euros.
> The evenings will be open to the public and free of charge.
>
> Our graded, scaled fee system aims to take into account that women are
> from varying contexts. This includes income, country of origin and
> personal priorities.
>
> The registration fee is collected from all participants, contributors and
> organisers. It covers, among other things, vegan food for all.
>
> We cannot accept payment on-line so please be prepared to pay cash, in
> Euros when you arrive.
>
> We have reserved a limited number of beds in a Youth Hostel, which will be
> filled on a first come, first served basis. If there are more people in
> need of accommodation, we will do our best to find a bed among our friends
> and acquaintances in Amsterdam.
>
> There is a discreet amount of money for those who need a travel grant.
> Please keep in mind that we do not reimburse flights but only [cheap] 2nd
> class train or bus tickets. One condition is that you need to register
> before April 1st 2008. We will look at each request individually.
>
> Please feel free to contact us at any time starting immediately.
>
> C o n t a c t :
> info2008@eclectictechcarnival.org
>
> The /ETC 2008 is organized by the Genderchangers and EYFA.
> www.genderchangers.org
> www.eyfa.org
>
> _______________________________________________
> Etc-int mailing list
> Etc-int@eclectictechcarnival.org
> http://eclectictechcarnival.org/cgi-bin/mailman/listinfo/etc-int

------------------------------------------------------------------------
From: czegledy@interlog.com
Subject: Lovely Weather - Art and Climate: Climate Clock
Date: Wed, 27 Feb 2008 09:34:51 +0200

------ Forwarded Message
From: Joel Slayton <joel@well.com>
Date: Tue, 26 Feb 2008 17:32:12 -0800
To: <List@fibreculture.org>
Subject: ::fibreculture:: Call for Concept Designs: SJ Climate Clock


The Climate Clock Global Initiative is seeking ideas from artist-led teams
to create a major artwork entitled Climate Clock, which will measure changes
in greenhouse gas levels, and be the first in a series of global projects
calling attention to climate change. Climate Clock will be an instrument of
long-term measurement and will collect data for 100 years. The artwork will
be located in downtown San Jose, California, Silicon Valley?s city center,
and will be a collaboration between an artist-led team composed of artists,
international and Silicon Valley engineers and other creative professionals
who are working with climate measurement and data visualization. It is
anticipated that the budget for the construction of Climate Clock will be
between $5 and $15 million, depending upon the scope of the final proposal.

For a PDF of the call, please visit http://www.sanjoseculture.org/?pid=4500
<http://www.sanjoseculture.org/?pid=4500> and to apply, go to
www.callforentry.org <http://www.callforentry.org> , register a username and
password, navigate to "Apply to Calls", and search for "San Jose Climate
Clock".

The Climate Clock Initiative is a collaboration between FUSE: cadre/montalvo
artist research residency initiative and the City of San Jose Public Art
program in cooperation with ZERO1.

Joel Slayton
Director, SJSU CADRE Laboratory and
FUSE: CADRE/Montalvo Artist Research Residency

------------------------------------------------------------------------
From: sharadasrinivasa@yahoo.com
Subject: new subscriber
Date: Wed, 27 Feb 2008 10:34:23 +0200

Re:New subscriber intro:
Iam Dr. Sharada Srinivasan, Faculty Fellow, National
Institute of Advanced Studies, Bangalore working in
the field of inter-disciplinary studies in art and
science, primarily as an archaeometallurgist, art
historian & performer of classical south Indian
Bharata Natyam dance and hence also interested in the
ramifications for the fields of art (including dance
and music), science, society, technology. Iam also
interested in topical societies issues such as
relating to climate change and ramifications for art.
Iam also interested in Yasmin in terms of
understanding the methodological approaches in these
subjects which are well developed in relation to the
Mediterranean region and the issues of how they may be
applicable or provide insights in regions beyond as
well.
Dr Sharada Srinivasan
Faculty Fellow, National Institute of Advanced
Studies,
Bangalore 560012
(Phd. London, Fellow, Royal Asiatic Society UK)


____________________________________________________________________________________
Looking for last minute shopping deals?
Find them fast with Yahoo! Search.

http://tools.search.yahoo.com/newsearch/category.php?category=shopping

Tuesday, February 26, 2008

YASMIN-messages Digest 27.02.2008.

YASMIN-messages Digest 27.02.2008.

YASMIN website: http://www.media.uoa.gr/yasmin/
YASMIN map: http://haystack.cerado.com/yasmin
To unsubscribe: http://www.media.uoa.gr/yasmin/unsubs.php?lid=1
------------------------------------------------------------------------

1. NEO LEO

------------------------------------------------------------------------
From: rmalina@prontomail.com
Subject: NEO LEO
Date: Tue, 26 Feb 2008 14:05:11 +0200

Dear YASMINERS

I would like to give you early warning of
the final Leonardo 40th anniversary event
which follows on from the beginning of our
birthday at MUTAMORPHOSIS in Prague.


It is a conference and summit called NEO LEO

A call for participation will come out later
this spring, but please sign up to be kept
informed. If your organisation might like*
to partner in some way please contact me
at rmalina@prontomail.com

We will certainly organise another YASMIN dinner
in New Mexico !

Roger Malina

NEO : LEO

http://artslab.unm.edu/leo40

New Leonardos engaged in the Burning Issues of our Times

Will be held at University of New Mexico Albuquerque March 18-21 2009

The Leonardo 40th anniversary event will adress key issues for the next decade that require interaction between the arts, humanities, and sciences or between arts,humanities and new technologies.

A) New Leonardos, New Medicis: Showcasing the Best of a New Generation.
B) Climate Change: Arts and Hard Humanities on the front line of cultural change.
C) Designing the World: from Nano Science to the Space Option.
D) Limits to Understanding: New Methods for Burning Issues. Incuding a symposium on Neo Darwinism.


Co Organised by the ARTS LAB UNM (artslab.unm.edu) and Leonardo/ISAST( www.leonardo.info)

To be kept informed about the conference sign up for the information list at:

https://list.unm.edu/cgi-bin/wa?SUBED1=leo40-l&A=1

Contact : leo40@unm.edu

Monday, February 25, 2008

YASMIN-messages Digest 25.02.2008.

YASMIN-messages Digest 25.02.2008.

YASMIN website: http://www.media.uoa.gr/yasmin/
YASMIN map: http://haystack.cerado.com/yasmin
To unsubscribe: http://www.media.uoa.gr/yasmin/unsubs.php?lid=1
------------------------------------------------------------------------

1. NATURE on "sk-interfaces"
2. cfp: Arts Program - Computational Aesthetics 08
3. Announcing Synaesthesia, Art, Science & Technology Discussion on the Leonardo Education Forum (LEF)
4. Re: Synesthesia

------------------------------------------------------------------------
From: jhauser@club-internet.fr
Subject: NATURE on "sk-interfaces"
Date: Mon, 25 Feb 2008 02:29:05 +0200

Dear Yasminers,

we are all looking forward to more art critics in the science press, and
more science critics in the art press, aren't we somehow? ... honni soit
qui mal y pense... but it is interesting to read how NATURE resumes the
SK-INTERFACES exhibition, as part of the programme of Liverpool,
European Cultural Capital:

http://www.nature.com/nature/journal/v451/n7181/full/451891a.html

The exhibitions runs until march 30, see:
http://www.fact.co.uk/news/?id=128

BBC tried hard to resume it:
http://news.bbc.co.uk/1/hi/england/merseyside/7218903.stm
http://www.bbc.co.uk/radio3/nightwaves/pip/jys6e/
http://www.bbc.co.uk/liverpool/content/image_galleries/skinterface_fact_gallery.shtml?10

Amitiés,

Jens

------------------------------------------------------------------------
From: paul@paul-brown.com
Subject: cfp: Arts Program - Computational Aesthetics 08
Date: Mon, 25 Feb 2008 05:58:55 +0200

Please circulate to colleagues, students and relevant lists.

Computational Aesthetics 2008 == Call for Artworks and Performances
http://computational-aesthetics.org/2008/
June 18-20, 2008, Lisbon, Portugal

Keynote Speakers: Pat Hanrahan, Stanford, CA and Ernest Edmonds, UT
Sydney

You are invited to participate in the fourth annual workshop on
Computational Aesthetics that will take place at the Hotel
Riviera in Lisbon, Portugal from 18-20 June 2008.

Computational Aesthetics bridges the analytic and synthetic and
integrates aspects of computer science, philosophy, psychology,
and the fine & performing arts. In particular it focuses on the
mathematical and information theoretic aspects of both
connectionist and symbol processing methods by humans and
computers.

Computational Aesthetics seeks to facilitate both the analysis
and the augmentation of creative behaviour. It investigates the
creation of tools that can enhance the expressive power of the
fine and applied arts and furthers our understanding of aesthetic
evaluation, perception and meaning. Invited talks will be given
by individuals involved in the technical, artistic and
theoretical aspects of this young field to help participants to
better understand what aesthetics is, what computer technology is
currently capable of delivering, and to appreciate what is
involved in the creative process.

Call for Artworks, Performances and Artist's Presentations

Members of the fine and performing arts community are invited to
submit work and presentations about their work for consideration
for the final program. Please note that full papers must be
received by the earlier deadline of 15 March 2008 (see website
for the cfp). The program organisers can provide some basic
computer systems and data-projectors to support artist's
contributions however installations and performances that require
additional support (or special technology) must include details
of how the submitter will provide, install and support the work.

Submissions will be reviewed by the Arts Program international
committee and accepted works will be included in a catalogue
section of the conference proceedings which will be published by
Eurographics and also appear in the Eurographics and ACM Digital
Libraries.

Please send proposals including: descriptive overview (proposed
catalogue entry) half page A4; images; sound samples; video;
time-based works; technical specification; artist's
resume/biography and artist's statement to the online portal
below by the deadline of 15 April. Any work that requires a
non-standard facility (codec, plug-in, etc...) must detail this
and give a location where this may be sourced. Submissions should
compose a pdf file as the descriptive overview (proposed
catalogue entry) and be accompanied by a single zip archive
containing all other files -or- the pdf should have links to
these.

Submit via:

http://www.computational-aesthetics.org/2008/ >
Arts Program

Important dates:
15 April 2008 Submission deadline - Arts Program
29 April 2008 Notification and catalogue draft - to you
2 May 2008 Approval of catalogue draft - from you
18-20 June 2008 Conference

Conference Chairs: Joaquim Jorge, INESC-ID, Portugal / Bruce Gooch,
Univ. Victoria, Canada

Program Chairs:
Technical Program: Douglas Cunningham, Univ. of Tübingen, Germany
Victoria Interrante, Univ. of Minnesota, USA
Arts Program: Paul Brown, Univ. Sussex, UK
Jon McCormack, Monash Univ., Australia
Curator
Local Arts Program: Adérito Marcos, Univ Minho, Portugal

Publicity Chair: Tobias Isenberg, Univ. of Groningen, The
Netherlands

Website:

http://www.computational-aesthetics.org/2008/

Further information: Paul Brown - paul@paul-brown.com - Arts Program
only please!

====
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
====

------------------------------------------------------------------------
From: vkorakidou@yahoo.gr
Subject: Announcing Synaesthesia, Art, Science & Technology Discussion on the Leonardo Education Forum (LEF)
Date: Mon, 25 Feb 2008 11:19:40 +0200

Synaesthesia, Art & Technology Discussion on the Leonardo Education Forum (LEF)

Following the Synesthesia Discussion on YASMIN List, during the month of February 2008, this discussion will continue on the Leonardo Education Forum on the topic of Synaesthesia, Art, Science & Technology.

To join or read the discussion, please register at:
http://artsci.ucla.edu/LEF/node/132


The LEF discussion is currently moderated by Veroniki Korakidou (PhD Researcher at the NT Lab of the Department of Communication & Media Studies of the University of Athens).

The LEF discussion is also part of the Leonardo Synesthesia and Intersenses Special Project launched in 1999 by Jack Ox and Jacques Mandelbrojt (www.leonardo.info/isast/spec.projects/synesthesia/synesthesia.html).

Current members of the Leonardo Working Group on Synaesthesia, Art, Science & Technology include : Roger Malina, Amy Ione (painter, writer), Paul Hertz (artist, independent curator), Cindy Keefer (Director of the Center for Visual Music in Los Angeles). All YASMIN Synesthesia discussants are invited to join.

We thank the YASMIN discussants led by Carol Steen, Co-Founder of the American Synesthesia Association (A.S.A.); including Greta Berman (art historian at the Julliard School); Cretien van Campen (moderator of the Synesthetics Netherlands website and author of the Leonardo Book Series book "The Hidden Sense"); Hervι-Pierre Lambert (member of Institut Nicod, ENS/EHESS, Paris); Pier Luigi Capucci (teacher at the Universities of Bologna and Urbino); Avishai Henik (faculty of Humanities and Social Sciences, University of the Negev Be'er-Sheva) Teoman Madra (artist); and also : Jeremy Hight, Joanna Hoffmann, Sean A. Day, Luigi Pagliarini, Antonio Feliz, Franck Ancel, Stewart Dickson and all other contributors.

Leonardo Education Forum invites all educators and students to join
the Forum and participate in the various discussion groups including ones
by the Bangalore Space and Cutlure Working Group, Smart Textiles, College Art Association Group and the new YOLE Young Leonardos Working Group and others.

http://artsci.ucla.edu/LEF


For futher information on Leonardo Network: www.leonardo.info

------------------------------------------------------------------------
From: hplambert@hotmail.com
Subject: Re: Synesthesia
Date: Mon, 25 Feb 2008 15:12:51 +0200

Bonjour, dear Yasminers

Bonjour!

- I observe that a lot of messages in the section Synesthesia have no direct relations with the phenomenon of synesthesia but generally speaking with the relations between arts and the new field of neurosciences. I consider that to be very meaningful. The term synesthesia is used more as a metonymy for something much more extensive, which would include neuropsychology, neurobiology, cognitive psychology and what is called neuroesthetics.

- The idea of” that artists and writers are able to explore specific functioning of the cognitive system through their works” has nothing new. It is largely used by Semir Seki in Inner Vision: An Exploration of Art and the Brain. Oxford University Press: Oxford. (1999).
Zeki who coined the term neuro-aesthetics illustrated every specialized cortical era by a painter. Fauvism was supposed to have explored the V4 era, specialized in the colour processing, and kinetic art would correspond to the specialization of V5. In his conference on the “Beautiful”, Jean-Pierre Changeux gives the example of Matisse as a neurophysiologist artist.
There is an excellent article called « Art and Neuroscience », written by John Hyman, on line (http://www.interdisciplines.org/artcognition/papers/15 ), from a conference on line about art and cognition organized by ENS/ CNRS/ Institut Jean Nicod in 2005. John Hyman reminds the idea that artists would be neurologists as studying the brain with their own techniques is just a modernized rewriting of Helmhotz’s theory of 1871. According to Helmholtz, artists were explorers of visual system. John Hyman quotes Helmholtz in a text of 1871:
"We must look upon artists as persons whose observation of sensuous impressions is particularly vivid and accurate, and whose memory for these images is particularly true. That which long tradition has handed down to the men most gifted in this respect, and that which they have found by innumerable experiments in the most varied directions, as regards means and methods of representation, forms a series of important and significant facts, which the physiologist, who has here to learn from the artist, cannot afford to neglect. The study of works of art will throw great light on the question as to which elements and relations of our visual impressions are most predominant in determining our conception of what is seen, and what others are of less importance. As far as lies within his power, the artist will seek to foster the former at the cost of the latter."
After this quotation, Hyman comments:
“In this passage, Helmholtz combines the idea that artists test and explore the visual system Most visual scientists have abandoned Helmholtz’s theory of vision. They no longer talk about sensuous impressions, or about the unconscious mind interpreting sensuous impressions. Instead, it is generally held that different parts of the brain are simultaneously performing various highly specialized tasks, reacting to form, or to motion, or to colour; and that somehow or other the results of these processes are combined to form a unified visual perception, although nobody is sure yet how this synthesis occurs.”
The article is furthermore a devastating critique of V.S. Ramachandran’s ideas on neuroesthetics.
3
For relations between arts and neurosciences, and especaillya arts and neuropsychology, I would recommend some books or articles: :
- Rose, F. C. (Ed.), (2004). Neurology and Arts: Painting, Music, Literature. London: Imperial College Press.

Bogousslavsky, J., & Boller. F. (Eds.). (2005). Neurological disorders in Famous Artists. Basel: Karger AG.

Chatterjee, A. (2004). “The neuropsychology of visual artistic production”, Neuropsychologia, (42) 1568-83.

4
Sorry for that, I would indicate some personal papers. But one was done in Leonardo Conference in Prague, called : « neuroaesthtics, neujrological disorders and creativity”, which begins by:

« Neurology of the arts or neuroaesthetics is a new branch of neurology especially concerned by neuropsychology of visual artistic production and cerebral localisation of musical perception and musical memory (Seki, 1999; Rose, 2004; Chatterjee, 2004; Bogousslavky & Boller, 2005). Among the different activities the new field of research is gathering, such as study of pictorial representation of neurological symptoms in the art history, diagnosis of artists’neurological diseases, this article will focus on the study of relations between cognitive disabilities for neurological disorders and artistic production by visual artists. Neurological deficits can change the work in content or in style, but can be used also as sources of inspiration, especially in the case of epilepsy and migraine. But some final diagnosis remain controversial as regards for instance the nature of the disease of Ravel, Van Gogh, or Giorgio de Chirico, (Bogousslavky & Boller, 2005) or even De Kooning!
. According to Anjan Chatterjee (2004) writing about the breakdown of the visual representations: “The work produced by artists who have suffered from brain damage can contribute to our understanding of these representations“(p.1568) and it is also the opinion of Bogousslavky and Boller (2005): »

Among more personal writings:

- Article, « Art et cerveau : vers la neuro-esthétique ? », in « Rencontre », Recherches en esthétique, Revue du C.E.R.E.A.P, n°12, 2006.

Cette revue reliée au Laboratoire d’Esthétique Théorique et Appliquée de l’Université de Paris I Panthéon Sorbonne est dirigée par Dominique Berthet, dans le comité de rédaction : Ernest Breleur et Marc Jimenez.


- Colloque MutaMorphosis: Challenging Arts and Sciences, International Conference, Prague. A Leonardo 40th Anniversary celebration, Prague, novembre 2007.

Titre de l’intervention : “Neuroesthetics, Neurological Disorders and Creativity“ (La neuro-esthétique, désordres neurologiques et créativité)

- Article en ligne : « Littérature, arts visuels, neuroesthétique »,

http://www.epistemocritique.org/spip.php?rubrique22
Épistémocritique, revue d’études et de recherches sur les littératures et les savoirs, Université du Québec

- Intervention : « Dernières traces : l’ultime possibilité créatrice dans la maladie neurologique », Colloque Voyages Au Noir, organisé par le Centre des cultures et des arts de la Caraïbe et la délégation académique aux arts et à la culture, du vendredi 23 novembre au dimanche 25 novembre 2007, Martinique ( on line in the next months)


5

I am preparing an article for a conference on Besançon on memory at he ed of mars and one of my theme is on what Jonah Lehrer wrote on “Proust as an neuroscientist”
.The theme is nothing new as we saw with Zeki and even Lemholtz. And furthermore a lot of authentic scientists have wrotten on relations between Proust and neurosociences. . As early as the 9th of november 1998, a specialist of Proust, Yves Tadié had presented in front of the Académie des Sciences morals et politiques, pusblished in the Revue of the Académie an article about “Proust neurologue”. In his recension fo books and articles on it, there were, D.Shacter, Searching for memory, I. Rosenfield, Invention of memory, G. Edelman, Bright air, Bright fire, without speacking of Changeux and Vigouroux.

What would be original in what he wrote on the theme should be on the speculative explanation of involuntary memory by prions, - whitout entering in easy commentaries of bizarre errors on Proust’s work.
It is why in the article I compare this kind of new scientific fantasies with Narby’s explanation of memories in the nature. The well-know Jeremy Narby’s «hypothesis » in The cosmic snake: DNA and the origins of Knowledge postulates a link between the genetic code and shamanic knowledge, refering to a speculative hypothesis, that of Popp, Gu and Li. about biophotons like cellular language. In both texts, Narby’s and Lehrer’s you have the same importation of highly speculative theories connected to the genetic code to explain memory mechanisms. Of cause, my point of view is not to judge or condemn, but from an anthropological point of view, to describe phenomena of the contemporary imaginary.

Hervé-Pierre Lambert
Institut Nicod. EHESS

Sunday, February 24, 2008

YASMIN-messages Digest 24.02.2008.

YASMIN-messages Digest 24.02.2008.

YASMIN website: http://www.media.uoa.gr/yasmin/
YASMIN map: http://haystack.cerado.com/yasmin
To unsubscribe: http://www.media.uoa.gr/yasmin/unsubs.php?lid=1
------------------------------------------------------------------------

1. Re: Synesthesia
2. Re: 1957-2007: Space Imaginaries

------------------------------------------------------------------------
From: rmalina@prontomail.com
Subject: Re: Synesthesia
Date: Sun, 24 Feb 2008 12:29:34 +0200


* Brain cells tied to consciousness reported
found:
Trying to understand what causes consciousness is
one of the most exasperating problems in all science.

http://www.world-science.net/othernews/080219_conscious

------------------------------------------------------------------------
From: rmalina@prontomail.com
Subject: Re: 1957-2007: Space Imaginaries
Date: Sun, 24 Feb 2008 12:37:16 +0200

Richard Garriott, a famous computer game designer, will be the next
commercial passenger to visit the International Space Station this
fall. Sam Dinkin interviews Garriott to find out what training has
been like so far and what his plans are for the flight and beyond.
http://www.thespacereview.com/article/1064/1

Saturday, February 23, 2008

YASMIN-messages Digest 23.02.2008.

YASMIN-messages Digest 23.02.2008.

YASMIN website: http://www.media.uoa.gr/yasmin/
YASMIN map: http://haystack.cerado.com/yasmin
To unsubscribe: http://www.media.uoa.gr/yasmin/unsubs.php?lid=1
------------------------------------------------------------------------

1. Re: Synesthesia
2. Re: Synesthesia / "DigArt2008"

------------------------------------------------------------------------
From: rmalina@prontomail.com
Subject: Re: Synesthesia
Date: Fri, 22 Feb 2008 18:18:44 +0200

yasminers

our synesthesia discussion seems to have run out
of steam !

for the discussion= i am just reading a book by
Jonah Lehrer "Proust was a neuroscientist" Houghton Mifflin 2007.

which
argues that artists and writers are able to explore
specific functioning of the cognitive system through their works.

Lehrer disusses Walt Whitman ( how emotions can prime and alter perception and embodiment in specific), George Eliot ( on free will and determinism), Auguste Scoffier ( on plasticity of smell and taste), Proust ( on malleability of memory), Cezanne ( how the visual cortex organises incoming visual data), Stravinksy, Gertrude Stein and Virgina Woolf.

He argues convincingly how scientific ideas are embedded in the cultural imaginary of their time. He argues against the idea of a third culture, but rather for enabling meaningful interaction between artistic and scientific cultures.

He makes a statement that I think is stimulating about the important of exploring areas that are at the limits of scientific understanding, and that in these terrains artists explore territory that in turn feeds into creative activity that resolves mysteries at those limits. It is interesting to note that many of the artists and writers he discusses were very much scientifically literate about the current scientific discoveries and controversies of their time.

William James and Whitman interacted, and Whitman's work on phantom limbs of amputees was original experimental observation.

i havent quite finished the book yet- but the discussion of stravinksy could be a springboard for a discussion of synesthetic artists and current neorobiology

roger

------------------------------------------------------------------------
From: vkorakidou@yahoo.gr
Subject: Re: Synesthesia / "DigArt2008"
Date: Fri, 22 Feb 2008 19:06:20 +0200

Yasminers,

I would like to draw your attention on two events which will receive Intl Jnl publication for selected articles. Call for papers is out now - DigArt & ArtAbilitation 2008: 2 Special Intl Jnl Art & Technology Issues

The Digital Art Conference "DigArt2008" Call for Papers for the special issue of Intl Jnl Art & Technology is now on the Inderscience website http://www.inderscience.com/browse/callpaper.php?callID=901

Topics that are solicited include but are not limited to:

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 and 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

Also, details of the 3rd ArtAbilitation conference and call for papers for the special ArtAbilitation issue of Intl Jnl Art & Technology is now on the Inderscience website : http://www.inderscience.com/mapper.php?id=204

--

For more details please contact :

Associate Professor Tony Brooks
Director SensoramaLab (http://sensoramalab.aaue.dk)

Assistant Editor International Journal Digital Creativity
Medialogy, Software & Media Technology
Computer Science Department
Research & Development Park
Institute of Technology Esbjerg
Aalborg University Esbjerg
Niels Bohrs vej 8
6700 Esbjerg
Denmark


Tel: 0045 7912 7716 (mob 26272279)

Fax: 0045 7912 7710

Uni: www.aaue.dk

Uni me: www.aaue.dk/~tonybrooks

Friday, February 22, 2008

YASMIN-messages Digest 22.02.2008.

YASMIN-messages Digest 22.02.2008.

YASMIN website: http://www.media.uoa.gr/yasmin/
YASMIN map: http://haystack.cerado.com/yasmin
To unsubscribe: http://www.media.uoa.gr/yasmin/unsubs.php?lid=1
------------------------------------------------------------------------

1. ESOF 2008 Barcelona

------------------------------------------------------------------------
From: guillermo.munoz@uv.es
Subject: ESOF 2008 Barcelona
Date: Fri, 22 Feb 2008 14:48:03 +0200


I would like to recomend to enter to the next ESOF meeting at Barcelona next July. It could be good time to perfom another Yasmin meeting in spain?.

http://www.esof2008.org

Guillermo Muñoz "Piratas de la ciencia"

Thursday, February 21, 2008

YASMIN-messages Digest 21.02.2008.

YASMIN-messages Digest 21.02.2008.

YASMIN website: http://www.media.uoa.gr/yasmin/
YASMIN map: http://haystack.cerado.com/yasmin
To unsubscribe: http://www.media.uoa.gr/yasmin/unsubs.php?lid=1
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1. Media Studies Position at Hunter/CUNY, please distribute
2. Moderator for the next two weeks

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From: andrea@andreapolli.com
Subject: Media Studies Position at Hunter/CUNY, please distribute
Date: Wed, 20 Feb 2008 16:46:18 +0200

Position: Assistant of Associate Professor, Department of Film and Media
Salary: Unspecified
Institution: Hunter College of the City University of New York
Location: New York
Date posted: 1/21/2008

ASSISTANT OR ASSOCIATE PROFESSOR
DEPARTMENT OF FILM AND MEDIA

The Department of Film and Media Studies at Hunter College of the City
University of New York, which combines critical analysis with a range of
creative media practices, invites applications for an
Assistant/Associate professor of media studies with substantial research
and teaching knowledge of the media and their historical and
contemporary contexts. Courses will be taught in the undergraduate Media
Studies program and the graduate Integrated Media Arts (IMA) M.F.A.
program. A Ph.D. in media studies or related area required.

For a detailed job description, please visit:
http://hr.hunter.cuny.edu/jobs/index.html.

To apply, please submit a letter of application, a current curriculum
vitae, a summary of teaching philosophy and a list of three references
to: Dr. James Roman, Chair, Department of Film and Media Studies, Hunter
College, 695 Park Avenue, New York, NY 10065.

EEO/AA/ADA/IRCA employer.


--
Andrea Polli
MFA Director
Associate Professor of Integrated Media Arts
The Department of Film and Media, Hunter College
695 Park Ave. New York, NY 10021
t (212) 772-5589
http://www.andreapolli.com

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From: vedesign@otenet.gr
Subject: Moderator for the next two weeks
Date: Thu, 21 Feb 2008 02:01:59 +0200

Dear YASMINers,

It is my turn to moderate the list for the two coming weeks.

I would like to request newcoming members to write a few lines introducing themselves to the list.

I would also like to ask you to have a look at the netiquette of the list before sending your first message. For instance one of the most important rules is that the list does not accept HTML or attachments in send messages.

Looking forward to your new messages and more newcomers

Best wishes

Dimitris Charitos

Wednesday, February 20, 2008

YASMIN-messages Digest 20.02.2008.

YASMIN-messages Digest 20.02.2008.

YASMIN website: http://www.media.uoa.gr/yasmin/
YASMIN map: http://haystack.cerado.com/yasmin
To unsubscribe: http://www.media.uoa.gr/yasmin/unsubs.php?lid=1
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1. Re: Synesthesia

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From: vkorakidou@yahoo.gr
Subject: Re: Synesthesia
Date: Tue, 19 Feb 2008 16:08:14 +0200

Dear all,

Regarding the design of interactive environments, where visitors are engaged in synesthesia-like experiences, I received an e-mail from the Italian designer Irene Schlacht, currently a PhD student in the TU-Berlin university.

IRENE LIA SCHLACHT
M.Sc. Communication Design
Cand.PhD TU-Berlin: Habitability in Extreme Environment
(Visual Design for the Habitability in Outer Space)
BERLIN 0049.(0)162.1869681
MILAN 0039.320.3168723
sirene@inwind.it

www.Extreme-Design.eu

I find it very interesting how her PhD theme is about extreme and isolated environments as spacecraft and cave for scientist,
where one of the main problems is sense deprivation.

This reminds me very vividly some of the work done by Takis during the 90s, where artworks by children deprived of one or the other sense, were produced and exhibited in Greece and France (i.e. blind children - by birth - producing sculptures and deaf children painting - what the imagine - sounds look like).

These were some of the most incredible pieces of artwork that I have ever seen !!!

Does anyone know of similar projects ?


Best
Veroniki

Tuesday, February 19, 2008

YASMIN-messages Digest 19.02.2008.

YASMIN-messages Digest 19.02.2008.

YASMIN website: http://www.media.uoa.gr/yasmin/
YASMIN map: http://haystack.cerado.com/yasmin
To unsubscribe: http://www.media.uoa.gr/yasmin/unsubs.php?lid=1
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1. Fwd: UNESCO Education News Alert
2. Confernece in Satained glass windows Science/Art interaction (Valencia)

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From: czegledy@interlog.com
Subject: Fwd: UNESCO Education News Alert
Date: Tue, 19 Feb 2008 09:25:38 +0200

UNESCO Education News Alert 18 February 2008
<http://lists.unesco.org/12all/lt/t_go.php?i=168&e=Nzg3MzQ=&l=http://www.unesco.org/education>www.unesco.org/education

<http://lists.unesco.org/12all/lt/t_go.php?i=168&e=Nzg3MzQ=&l=http://portal.unesco.org/education/en/ev.php-URL_ID--E-55955--A-URL_DO--E-DO_TOPIC--A-URL_SECTION--E-201.html>ENGLISH | <http://lists.unesco.org/12all/lt/t_go.php?i=168&e=Nzg3MzQ=&l=http://portal.unesco.org/education/fr/ev.php-URL_ID--E-55955--A-URL_DO--E-DO_TOPIC--A-URL_SECTION--E-201.html>FRANÇAIS|
<http://lists.unesco.org/12all/lt/t_go.php?i=168&e=Nzg3MzQ=&l=http://portal.unesco.org/education/es/ev.php-URL_ID--E-55955--A-URL_DO--E-DO_TOPIC--A-URL_SECTION--E-201.html>ESPAÑOL

In Focus
Translating findings into action: "Education for All" regional policy reviews


Have existing policies been effective in realizing Education for All?
What policies and strategies are needed to ensure the right to
education for the un-reached?

Two policy review conferences are taking place this month to identify
policy gaps and develop strategies to meet the Education for All goals
by 2015
<http://lists.unesco.org/12all/lt/t_go.php?i=168&e=Nzg3MzQ=&l=http://portal.unesco.org/education/en/ev.php-URL_ID--E-55944--A-URL_DO--E-DO_TOPIC--A-URL_SECTION--E-201.html>More

ï¿? UNESCO/Tang C., Sothy
Cambodian students going to school at Srah Strang Village

News

Japan grants US$13 million to improve literacy in Afghanistan
<http://lists.unesco.org/12all/lt/t_go.php?i=168&e=Nzg3MzQ=&l=http://portal.unesco.org/education/en/ev.php-URL_ID--E-55886--A-URL_DO--E-DO_TOPIC--A-URL_SECTION--E-201.html>More

Meeting the needs of every learner ..............................
<http://lists.unesco.org/12all/lt/t_go.php?i=168&e=Nzg3MzQ=&l=http://portal.unesco.org/education/en/ev.php-URL_ID--E-55897--A-URL_DO--E-DO_TOPIC--A-URL_SECTION--E-201.html>More


Features

Just published

Comparative study on distant learning in French Sub-Saharan Africa (in
French only)
<http://lists.unesco.org/12all/lt/t_go.php?i=168&e=Nzg3MzQ=&l=http://unesdoc.unesco.org/images/0015/001567/156795f.pdf>More

unesco.org/education

------------------------------------------------------------------------
From: piratas.de.la.ciencia@gmail.com
Subject: Confernece in Satained glass windows Science/Art interaction (Valencia)
Date: Tue, 19 Feb 2008 13:53:13 +0200


I would like to annuce the oppening of Stained Glass windows conference at Valencia (Spain) during 5, 6 and 7 of March. On this event a groups of artist and science researchers would discusse topic, methodologies and applications in glass of their common studies.

You can visit the web page at:

www.uv.es/glassac

Piratas de la Ciencia

Monday, February 18, 2008

YASMIN-messages Digest 18.02.2008.

YASMIN-messages Digest 18.02.2008.

YASMIN website: http://www.media.uoa.gr/yasmin/
YASMIN map: http://haystack.cerado.com/yasmin
To unsubscribe: http://www.media.uoa.gr/yasmin/unsubs.php?lid=1
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1. Re: artists and scientists in times of war

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From: rmalina@prontomail.com
Subject: Re: artists and scientists in times of war
Date: Mon, 18 Feb 2008 00:57:46 +0200

DICTIONARY OF WAR IN NOVI SAD: Video recordings ready for downloading

A week after the fifth edition of DICTIONARY OF WAR, held on January 25. and 26. 2008 in Novi Sad, video recordings of all 25 concepts are available for download at: http://dictionaryofwar.org/en-dict/v2v

25 new concepts on the issue of a war presented in alphabet order during two days event in Novi Sad are now available to the bigger audience. Video recordings from the fifth DICTIONARY OF WAR have joined already existing, unique topic-based multimedia archive of 100 concepts, which have been presented during four previous events by artists, filmmakers, scientists and researchers. Loosely based on the slogan: "At least, when we create concepts, we are doing something" DICTIONARY OF WAR is a collaborative platform for creating concepts.

The entire video documentation is realized on the basis of Open Source technology and open content distribution. This is to guarantee true cross platform compatibility and a maximum of sustainability and accessibility rather than promoting proprietary video formats that run only on certain operating systems and are designed in order to exclude those who use competitive products let alone Free and Open Source software. Video files of the DICTIONARY OF WAR are shared by thousands of users worldwide who download the material for educational or research purposes and remix it in various new contexts.

Detailed instructions for download of the files with screenshots for various operating systems you can find on: http://dictionaryofwar.org/en-dict/videohowto


Distribution network V2V (http://v2v.cc), which has been setting up over the past four years turns out as a stable and reliable environment for syndicating huge amounts of data which makes important difference to use of corporate, proprietary technology and a centralized distribution mode.

More informations at: http://dictionaryofwar.org or info[at]dictionaryofwar.org and office[at]kuda.org

DICTIONARY OF WAR is project by Multitude e.V. Berlin and Unfriendly Takeover Frankfurt am Main, and it is locally organized by New Media Center_kuda.org Novi Sad (www.kuda.org) in collaboration with “Zavod za kulturu Vojvodine” and Radio Novi Sad. The project in Serbia is supported by Ministry of Culture and Education of Province Vojvodina, Fond for Open Society, Goethe Institute Belgrad, Austrian Cultural Forum Belgrade and The Royal Netherlands Embassy in Belgrade.


----

Thursday, February 14, 2008

YASMIN-messages Digest 14.02.2008.

YASMIN-messages Digest 14.02.2008.

YASMIN website: http://www.media.uoa.gr/yasmin/
YASMIN map: http://haystack.cerado.com/yasmin
To unsubscribe: http://www.media.uoa.gr/yasmin/unsubs.php?lid=1
------------------------------------------------------------------------

1. Re: Synesthesia

------------------------------------------------------------------------
From: syn.nl@synesthesie.nl
Subject: Re: Synesthesia
Date: Wed, 13 Feb 2008 16:18:23 +0200

Paul,

Thanks for clarifying the discussion on synesthesia and the arts. Your list of definitions of neurological synesthesia and other types of multisensory, intersensory and cross-modal perceptions gives more context to the somewhat isolated phenomenon of synesthesia. I agree with you that neurological synesthesia (or synesthesia as defined by neuroscientists) needs to be understood in relation to multisensory perception. In several places in my book “The Hidden Sense” (MIT Press, 2007, cf. pages 146-149) and a forthcoming publication I have elaborated on that relationship. One of the points is that artists have used meanings of synesthesia in the last centuries that are very different than the definition given by neuroscientists in the last decades.

I would not suggest to restrict the Yasmin discussion to the neurological definition of synesthesia. First, neuroscientists do not agree on that definition. Second, there is a variety of types of synesthesias and only a few have been tested in neuroscientific studies. Third, limiting the discussion to what neuroscientists have isolated as a condition in the last decades would not do justice to the long history of artistic experiments with multimodal perception including synesthesia.

Roger,

You are right that both nature and nurture play a role in the development of synesthesia. Heredity and environment are both factors that explain synesthesia. Though, I am interested into the interaction of both. No person is born with neurological synesthesia (as defined by neuroscientists), but it is a condition, an ability I would say, that children develop in interaction with the environment. In this respect, it develops like any other forms of multisensory and intersensory perception. Some children develop synesthesia, and others do not. Like some children develop an ability in sports or in music.

This is the point where the environment and the school system becomes important. How do we recognize the synesthetic gifted children and how can we support them by providing the right sensory environment? (Besides social support to help them accept they perceive the world different.)

Veroniki,

In your last post, you make an interesting turn to the stimulation or elicitation of synesthesia by works of art. What do we know about the reception by individuals? Participants to this list have informed us about very interesting projects from the artist’s perspective. What is missing in this discussion and what I would like to know in respect to synesthesia and intersensory perception is: what are the responses of the young and older visitors? How do people respond to these kinds of multimodal art? Do they report it has opened their senses in a way? Have they become aware of any synesthetic , intersensory or cross-modal perceptions? These are developmental questions which could give us some direction in understanding the relationship between art and multisensory perception, including intersensory, cross-modal and synesthetic perception.

-- Cretien

http://www.synesthesie.nl

Wednesday, February 13, 2008

YASMIN-messages Digest 13.02.2008.

YASMIN-messages Digest 13.02.2008.

YASMIN website: http://www.media.uoa.gr/yasmin/

YASMIN map: http://haystack.cerado.com/yasmin

To unsubscribe: http://www.media.uoa.gr/yasmin/unsubs.php?lid=1

------------------------------------------------------------------------

1. The Influencers festival / Barcelona, February
2. Re: Nanotechnology and art


------------------------------------------------------------------------

From: paualsina@gmail.com
Subject: The Influencers festival / Barcelona, February
Date: Tue, 12 Feb 2008 13:13:12 +0200

 

Eva and Franco Mattes aka 0100101110101101.ORG and Bani present:

 

THE INFLUENCERS

Festival of media action and radical entertainment

--------------------------------------------------

*February 28-29-1 March 2008*

Center of Contemporary Culture Barcelona

--------------------------------------------------

with ALAN ABEL, ALTERAZIONI VIDEO, SANTI CIRUGEDA, BRODY CONDON,

LAIBACH, MONOCHROM, TREVOR PAGLEN

--------------------------------------------------

program:

http://www.theinfluencers.org

--------------------------------------------------

 

Welcome to 4th edition of The Influencers, the talk show you won't see

on TV!

The Influencers explores controversial forms of art and communication

guerrilla, presenting independent projects that play with global

popular culture, infiltrate the mass media, and transform fashions,

consumption and technological fetishism.

The key to The Influencers is found in its guests and stories:

impostors, pseudo-totalitarian musicians, conceptual hackers, deviant

geographers, anarchitects and actors from invisible theatre. In these

three days they are going to present their work, show known and less

known material and speak with the public about challenges, goals and

strategies.

With The Influencers, the border between disciplines is erased (since

the message really is the message, and the medium is just a tactic),

links between apparently distant projects are found, and bold

genealogies are drawn between different countries and generations.

Ambiguities are also explored and contradictions are discussed. In the

manipulation of everyday symbols, as well as within what is excessive

and politically incorrect, we will possibly find inspiration for

changing the present and imagining the future.

See you all in Barcelona!

 

--------------------------------------------------

For more information please contact Irene Ruiz of the press office: iruiz @ cccb.org / +34 933064100

 

 



------------------------------------------------------------------------

From: rmalina@prontomail.com
Subject: Re: Nanotechnology and art
Date: Tue, 12 Feb 2008 17:35:10 +0200

relayed from the NISE list  roger A new interactive piece led by the New York Hall of Science as part of the Viz Lab strand of the NSF NISE project (got that?) will be featured at MRS in San Francisco in the last week of March.  It's been up at the Hall for more than a month as part of the Sound and Light Lab project, and is working beautifully.  Some of you may have seen the prototype at the NISE meeting last year, and you can see a short video of it here   http://www.youtube.com/watch?v=3Xj6_GlqEI8.  Diffusion was created through a great collaboration among Zack Simpson (artist/molecular biologist), David Goodsell (artist/ molecular biologist), Carl Batt (biologist who has created two major NSF-funded nano traveling exhibits), and the Hall of Science, a working partner in NISE.   This kind of collaboration is exactly what I hoped that the NISE net, and Viz Lab in particular, would foster. The Hall has learned a huge amount from working with these brilliant polymaths, the kind of opportunity that NISE net has made possible.   The results are experimental, again an outcome that we had hoped for from NISE.  Eric Marshall from the Hall of Science will be at MRS most of the time, if you can touch base with him there, we would be grateful for your feedback on the piece.  We are doing a second round of audience evaluations in Feb.  This piece and Crystals, also created through Viz Lab with Zack Simpson, will be at the Hall of Science on a Nano Day in late March, along with a bunch of nano-demos that we have created with Columbia's MRSEC  Thanks to Richard Souza and MRS for making this showing of Diffusion possible.  A short description is below:  =========================== Diffusion By Zack Simpson of Mine Control in collaboration with Carl Batt of Cornell University, David Goodsell of the Scripps Research Institute, and Eric Siegel of the New York Hall of Science  This interactive exhibit allows visitors to experiment with control of chemical reactions at the nanoscale.  In this projected simulation of the interaction of molecules, visitors can use their shadow to "corral" molecules coming from two point sources, thereby controlling reactions with nanoscale precision, subject only to short-range diffusion kinetics. In this case, the reaction of diazonium salt with dimethylaniline to form methyl orange is modeled.  Diffusion was created through the Viz Lab strand of the the Nano Informal Science Education Network with funding from the National Science Foundation. ==================== Please pardon any duplicates you receive of this email, and I hope you are all well.  Eric Siegel Director and Chief Content Officer New York Hall of Science www.nyscience.org (718) 699-0005 x 317 esiegel at nyscience dot org

Tuesday, February 12, 2008

YASMIN-messages Digest 12.02.2008.

YASMIN-messages Digest 12.02.2008.

YASMIN website: http://www.media.uoa.gr/yasmin/

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1. Reminder: Computer Arts Society February Meeting: Alan Sutcliffe
2. Marseille
3. Re: Invisible Dynamics: Mediterranean Diasporas, Networks, Processes
4. ART TECH MEDIA - Presentation at ARCO 08. International Contemporary Art Fair. Madrid.
5. The e-MobiLArt project: announcing call for participants


------------------------------------------------------------------------

From: paul@paul-brown.com
Subject: Reminder: Computer Arts Society February Meeting: Alan Sutcliffe
Date: Mon, 11 Feb 2008 04:08:56 +0200

Non-members are welcome to attend so please pass this notice on to anyone who may be interested.  Like most CAS meetings there is no charge for admission.  The CAS is pleased to announce it's first meeting of the New Year which will be given by the CAS founder and editor of PAGE:  Alan Sutcliffe  Recent Graphics and Animations using some Maths  Tuesday, 19 February 2008  (note 3rd Tuesday) 6:60 for 7:00; System Simulation Ltd Bedford Chambers, The Piazza Covent Garden London WC2E 8HA, England http://www.ssl.co.uk/content/map.html  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.  http://www.computer-arts-society.org/  To join CAS - go to http://www.jiscmail.ac.uk and open an account Then join list CAS We also moderate the Digital ArtS Histories list:  DASH - as above  ==== 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 ====


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From: rmalina@prontomail.com
Subject: Marseille
Date: Mon, 11 Feb 2008 10:22:59 +0200

Visual artist MICHALOU(di)S invites you @ Palais des Arts, Cours Julien, Marseille, France, EU where he will present three of his aer( )sculptures during the exhibition «Trilogie Méditerranéenne d’Art contemporain, de Culture et de Voyage de Grèce, France et Egypte » see attached invitation and http://www.regards-de-provence.org/spip.php?rubrique5  Live performance by the cellist Mariliza Papadouri during the opening, Wednesday February 13, 2008  Exhibition: February 14 to April 20, 2008, 10h00 to 18h00 Palais des Arts : 1 place Carli, Marseille, 1er, France, EU  Tél. : 04 91 42 51 50 Fax : 04 91 42 04 89


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From: rmalina@prontomail.com
Subject: Re: Invisible Dynamics: Mediterranean Diasporas, Networks, Processes
Date: Mon, 11 Feb 2008 10:25:26 +0200

 From:    Matthias Krüger <matthias.krueger@kunstgeschichte.uni-hamburg.de> Date:    08 Feb 2008 Subject: CFP: Warburgkolleg   Der Künstler in der Fremde Wanderschaft - Migration - Exil  Internationales Warburg-Kolleg 2008/9   The International Warburg Seminar 2008/9 (July 14-18 2008 and February 9-13 2009) will deal with the impact that a voluntary or forced stay in a foreign country has on the production and the reception of works of art. Possible topics might include artistic formation during the years of travel, academies as centres of international exchange, political or religious exiles, the artist as tourist, exoticism, migration as a stigma or as an artistic strategy, nationalistic exclusion or inclusion of certain artistic tendencies, art as a transnational and universal language. Individual case studies shedding light on the general topic discussed in the seminar would be desirable.  PhD candidates or younger PhDs of art history may apply for this international course by submitting a short abstract of the project they want to present during the Warburg Seminar 2008/9. A publication of the contributions is intended. Participants are expected to present their topics during the first session in July. Based on discussions during the first part of the seminar, participants are expected to have refined and expanded their projects by winter 2009. Travel expenses and accommodation will be covered by the Warburg Foundation, Hamburg. Foreign applications are most welcome. The seminar will be held in German and English. Applications have to include a draft of the project (no longer than two pages), a curriculum vitae, a list of publications and a letter of recommendation by a university teacher. Completed dossiers should be submitted by March 31, 2008, to Prof. Dr. Uwe Fleckner, Kunstgeschichtliches Seminar, Universität Hamburg, Edmund-Siemers-Allee 1, D-20146 Hamburg.  


------------------------------------------------------------------------

From: paualsina@gmail.com
Subject: ART TECH MEDIA - Presentation at ARCO 08. International Contemporary Art Fair. Madrid.
Date: Mon, 11 Feb 2008 12:14:08 +0200


 ART TECH MEDIA - Presentation at ARCO 08. International Contemporary Art Fair. Madrid.


Presentation at ARCO 08. International Contemporary Art Fair. Madrid

1st International Congress Art Tech Media

14 th february, 17,oo h

Pabellón 12, entreplanta Sala 12.1

ART TECH MEDIA is a Meeting Platform for all sectors linked to art and
new media for reflecting upon, analysing and debating across
disciplines for the preparation of proposals related to cultural
policy, coordination and optimisation of resources, artistic
production and research and their promotion at a global level.

We shall be presenting a book with a transcript of the debates that
took place at the 1st International Congress ART TECH MEDIA and the
proposed Strategic Plan for the Development of the Arts and Digital
Culture that establishes, among other issues, the creation of the
Institute of Arts and Digital Culture. This Strategic Plan has been
written as a result of the Conclusions of the 1st International ART
TECH MEDIA Congress.

Founders and directors: Montse Arbelo y Joseba Franco.

artechmedia@montsearbelojosebafranco.com

www.artechmedia.net

http://www.ifema.es/ferias/arco/default.html

1st International Congress Art Tech Media

www.artechmedia.net

Headquaters and Collaborating Institutions, may 2007: Ministerio de
Cultura, Instituto Cervantes y Casa de América (Madrid)

Collaborating: Seacex; AECI; Casa Asia; Dirección General para el
Desarrollo de Sociedad de la Información del Ministerio de Industria;
Fundación Española para la Ciencia y la Tecnología [FECYT], Ministerio
de Educación; Dirección General de Innovación Tecnológica, Comunidad
de Madrid; Canarias Crea, Gobierno de Canarias; Dirección General de
Museos de la Consejería de Cultura, Junta de Andalucía; Ayuntamiento
de Zaragoza, Milla Digital; LG; Universidad Europea de Madrid [UEM].

Participants: TESLA, Berlín; Transmediale, Berlín; V2, Róterdam;
MAXXI, Roma; Ars Electronica, Linz; CIANT, Praga; Arts Council, Gran
Bretaña; Rhizome, New Museum New York; PAN, Nápoles; UCLA Design -
Media Arts MIT, Los Angeles - Massachusetts; MADC, Costa Rica; CENART,
México; Museo de Arte Moderno de Buenos Aires; Centro Cultural San
Martín, Buenos Aires; Museo Rufino Tamayo de Arte Contemporáneo,
México; ATA, Alta Tecnología Andina, Perú; Bienal de vídeo y Nuevos
Medios Chile; Universidad de Santiago de Chile; Chelsea Art Museum,
New York; The Art Institute of Chicago, EEUU; Hangar, Barcelona;
Fundación OI, Río de Janeiro; Museo Artes Visuales de Uruguay;
MediaLab Prado, Madrid; Laboral, Gijón… y participantes en Art Tech
Media 06.

ART TECH MEDIA 06 debates 2006, art and new technology:

Museo Nacional Centro de Arte Reina Sofía | Museo de A. C. Unión
Fenosa | Presidencia Gobierno de Canarias | DA2 Salamanca |
Centro-Museo Vasco de Arte Contemporáneo. Artium | BilbaoArte | Centro
Párraga | Museu d´art Contemporani i Modern. Es Baluard | Centro de
Cultura Contempòránea de Barcelona, CCCB.



------------------------------------------------------------------------

From: vedesign@otenet.gr
Subject: The e-MobiLArt project: announcing call for participants
Date: Tue, 12 Feb 2008 02:30:09 +0200

Dear YASMINers,  I would like to announce the call for participation regarding the e-MobilArt project.  Please read below for more information on the project and visit the web site:  http://www.media.uoa.gr/emobilart  for more details and for downloading the full call for participants.   Do not hesitate to contact us for any further questions.  Best wishes,  Dimitris Charitos   ************************************************* Dimitris Charitos Lecturer, Department of Communication and Media Studies  National and Kapodistrian University of Athens URL: www.media.uoa.gr/~charitos   e-MobiLArt: European Mobile Lab for Interactive Artists **********************************************   Call for artists and scientists  European Mobile Lab for Interactive Media Artists (e-MobiLArt) is a project tailored around the process of creating collaborative interactive installation artworks. Such interactive mediated environments may involve the use of multimodal interfaces, ubiquitous computing and mobile or locative media technologies.  The e-MobiLArt project aims to provide selected participants with an ideal context, that will allow them to travel, collaborate and exhibit their work. During this project, artists and scientists who are active in creating interactive media art or pursuing innovative interdisciplinary research will have the opportunity to:  - create interactive installation artworks  - collaborate with other artists and scientists from different countries - get technical support and tuition from experts on using innovative technologies for     creating interactive art - meet, discuss and collaborate with curators and museum organizers  - exhibit their work in at least two different European countries - document their work in a special issue of Leonardo Electronic Almanac and the  exhibition catalogue - participate in an international network of artists, researchers, academics and theorists    Eligibility / requirements:  Artists from all disciplines are encouraged to apply to e-MobiLArt: interactive installation artists, video artists, visual artists, net artists, as well as musicians, choreographers, performance artists and others who wish to experiment with the use of the interactive technologies.   Individuals with a scientific background and the willingness to experiment in a collaborative artistic project, as described above, are also eligible.   Selected participants will attend three (3) workshops. During (and in between) the workshops, participants will work in groups in order to develop their projects by:  - Following an open process of artistic creation and experimentation - Getting support on technical and theoretical issues  - Complementing each other's skills within a interdisciplinary collaborative creative process by  - Enhancing their technical skills through hands-on creative activity          - Creating artworks that will reflect the process of intercultural dialogue - Participating in an on-line network of communication   Dates of the workshops: (precise dates will be announced till the end of February) - 1st Workshop: Athens June 2008 - 2nd Workshop: Rovaniemi August 2008 - 3rd Workshops: Vienna February 2009   Exhibitions:  After the workshops, the resulting interactive installation artworks will be exhibited in at least two museum / gallery spaces: the State Museum of Contemporary Art in Thessaloniki, Greece (possibly during the 2009 Biennale) and the Gallery of the Academy of Fine Arts in Katowice, Poland. These exhibitions will take place in autumn 2009.   Deadline for applications: Sunday, March 16th, 2008.   Project partners and sponsors:  The e-MobiLArt Project is under the support of the CULTURE 2007 Programme of the European Union.  It is co-coordinated by the University of Athens (Greece).  Co-organising partners are: the University of Applied Arts Vienna (Austria) and the University of Lapland (Finland).  Associate partners are: Leonardo/OLATS (France), Group Haute Ecole ICHEC Saint Louis (Belgium), State Museum of Contemporary Art â€" Thessaloniki (Greece), The Academy of Fine Arts - Katowice (Poland) and Cycling74 (U.S.A.).   More information and the full application form for participation can be found at: URL: http://www.media.uoa.gr/emobilart