Senses Places – Mixed Reality Participatory Performance Environment @interACT :: October 15, 2011; 11:00 am [EST] :: LEA Simulator, Second Life.

Senses Places is a playful mixed reality performance environment for audience participation. An ongoing dance-technology collaboration generating whole body multimodal interfacings keen to a somatic cross-cultural dance approach. Senses Places stresses the awareness and integration of simultaneous sensory-perceptions, local-remote embodied connections, a place where participants and environments meet and engage kinesthetic/ synesthetically. Continue reading

[The Post Reality Show by Randall Packer] ISEA Istanbul presents Interart|Intersensorium. On the Interrelation of Media and the Senses — Chair Per­sons: Dr. Anke Fin­ger, Dr. Chris­tiane Heibach; Pre­sen­ters: Chris­tiane Heibach, Ran­dall Packer, Cre­tien van Campen, Semir Zeki, Bir­git Mers­mann :: Sep­tem­ber 20, 2011; Session 1: 9:00 – 10:30 am Session 2: 1:00 -2:30 pm :: Sa­banci Cen­ter Room 3, Sa­banci Cen­ter, Lev­ent.

This panel, then, seeks to push this area fur­ther, par­tic­u­larly em­pha­siz­ing the role of media and me­di­al­iza­tion: Brian Mas­sumi’s and Mark Hansen’s work, for ex­am­ple, de­spite its sig­nif­i­cance, con­tin­ues to em­ploy an un­dif­fer­en­ti­ated no­tion of “em­bod­i­ment“ to de­scribe in­ter­sen­so­r­ial per­cep­tion. Continue reading

Senses Places – Dance-Technology Workshop 3: organized by Pei-Jung Lee, Isabel Valverde, Todd Cochrane :: July 30, 2011; 1:00 – 5:00 pm :: Dance Studio, The Kenneth Myers Center, 74 Shortland Street, Auckland Central, New Zealand + in Second Life.

Senses Places is a dance-technology collaborative project creating a playful mixed reality performance environment for audience participation. The project stresses an integration of simultaneous local and remote connections, where participants and environments meet to generate a kinesthetic/ synesthetic engagement. Continue reading

The Root of The Root — Generative Art by Marius Watz, Paul Prudence and Aaron Meyers :: October 18 – November 21, 2010 :: Opening: October 22; 6:00 pm :: Processing Workshop by Marius Watz — October 18-26 :: Devotion Gallery, 54 Maujer Street, Brooklyn, NY.

This exhibition showcases three artists working with generative code to create abstract and reactive works. Marius Watz and Paul Prudence have been contributing to the dialogue for computational art since
2005 with seminal essays, some of the foremost blogs and ground-breaking software. As a seminal member of the processing community, Marius Watz has, in many ways, defined part of the aesthetic associated with code-based art. Continue reading

Works & Process at the Guggenheim presents Levels of Nothingness — a performance-installation by Rafael Lozano-Hemmer, featuring Isabella Rossellini :: September 17, 19, 20, 21, 2009; 7:30 pm :: Peter B. Lewis Theater, Solomon R. Guggenheim Museum, 1071 Fifth Avenue, New York City.

Levels of Nothingness, co-written by philosopher Brian Massumi, is inspired by Vasily Kandinsky’s explorations of synaesthesia, most notably in his Yellow Sound (1912), a composition in which he proposes linking the senses using levels of abstraction. Lozano-Hemmer employs a computerized microphone to analyze live voice in real time and extract physical and linguistic data that, in turn, controls a full rig of rock-and-roll concert lights, creating a color show that surrounds the theater. Continue reading

DataGolem Lab :: July 30, 2009; 4:00 – 7:00 pm :: Space Gallery, Eldon Building, University of Portsmouth, Winston Churchill Avenue, Portsmouth, United Kingdom.

You are invited to see the work in progress of 14 participants who are working together over 5 days to develop a piece of responsive and adaptive software for artists. The participants are: Jacqui Banks, Fab The Detonators (Tiago Gambogi), Jeannie Driver, Simone Gumtau, Alain Renaud, Olu Taiwo, Jo Tyler, Adam Vanner, Wanda Zyborska with facilitation, participation and documentation from Tessa Eliott and Jonathan Jones Morris (SurgeryDar), Helen Sloan (SCAN) and Steve Lewis (OrangeAlert).

Drawing on the metaphors of artificial life, in computer science, literature and the arts, the title DataGolem compounds Data – “the qualities, characters, or symbols on which operations are performed by computers” with Golem – “a shapeless mass, a human figure of clay supernaturally brought to life, an automaton, a robot” to suggest a radical, generative live art performance system. Continue reading

Guto Nóbrega wrote: … I would like to introduce myself to this list and put some questions on this topic of synaesthesia, mainly motivated by the article of Sergio Basbaum (commented on this discussion).

… I am Brazilian artist, researcher and teacher doing Ph.D. at the Planetary Collegium program/ University of Plymouth – UK. My studies are pretty much focused on the interrelation of the observer, artist and the artwork (in a form of a technical object), which I consider as being a interconnection of organic nature.

In the course of my research I have developed the artwork Breathing, which involves a simple robotic system connected to a plant via electrodes. Continue reading

The Queensland Premier’s National New Media Art Award with Peter Alwast (winner), Julie Dowling, Anita Fontaine, David Haines and Joyce Hinterding, Natalie Jeremijenko, Adam Nash, Sam Smith, John Tonkin, Mari Velonaki :: curated by Jose de Silva and Nicholas Chambers :: until February 8, 2009 :: Gallery of Modern Art, Stanley Place, South Bank, Queensland, Australia.

The Award exhibition showcases new works by each artist that express challenging and innovative approaches to the use of media including video, digital animation and gaming, computer-based art, artificial intelligence, and other sound and communication new media technologies.

Beautifully demonstrating the diversity and maturity of these expansive new art practices’ is the visionary work Earthstar of David Haines and Joyce Hinterding – a monumental multi-sensory portrait of the sun. Continue reading

CHArt (Computers and the History of Art) 2008 Conference: Seeing… Vision and Perception in a Digital Culture :: November 6-7, 2008 :: The Clore Lecture Theatre, Clore Management Centre, Birkbeck, University of London, Torrington Square, London :: Places are limited so early booking is recommended. The booking form is available online. Bookings made before 1 October 2008 will be entitled to a discount. Conference fees (pounds sterling) – include coffee/tea breaks and lunch.

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

TECHNARTE :: April 24-25, 2008 :: Bilbao, Spain :: Call for Papers :: Papers can be sent by Internet through this web page or by e-mail to technarte [at] technarte.org before January 14, 2008.

TECHNARTE is an international conference on art and technology that seeks to become the most important event of its kind. The aims are to present technological developments that enhance a broader expression of modern art, and to provide a forum for debate and reflection on the convergence between technology and art. Modern art, stimulated and encouraged by new technologies and its own impetus for innovation, is advancing in a surprising manner. Continue reading