19th International Congress of Aesthetics:

Aesthetics in Action

July 21-27, 2013
www.ica2013.pl

Jagiellonian University
Auditorium Maximum
Krupnicza 33
Kraków, Poland
www.kampus.uj.edu.pl/auditorium.htm

The First International Congress of Aesthetics (ICA) was organized by Max
Dessoir in Berlin in 1913. A second congress took place in Paris in 1937.
Interrupted by the Second World War, the congresses resumed in 1956, when
the third congress was held in Venice. Until 2000 all congresses were held
in Europe. An increasing interest in aesthetics and a greater concern for
international communication has enlarged the geographical scope to include a
global perspective. The 19th Jubilee Congress will take place exactly one
hundred years after the first congress in Berlin 1913.

Bioart Panel I:
Towards a New Transaesthetics: Aesthetics and Ontology in Current Bio Art
Practices

Chair: Dr. Ingeborg Reichle (Humboldt-University, Berlin, Germany)
Speakers:
Dr. Ingeborg Reichle (Humboldt-University, Berlin, Germany)
Prof. Dr. Nicole C. Karafyllis (Technische Universitaet Braunschweig,
Germany)
Prof. Suzanne Anker (School of Visual Arts, New York, United States)
Prof. Dr. Jos de Mul (Erasmus University Rotterdam, The Netherlands)

Bioart Panel II:
Aesthetics and Politics of Biotechnological Art

Chair: Doc. Dr. Polona Tratnik (University of Primorska, Koper, Slovenia)
Speakers:
Prof. Dr. María Antonia González Valerio (National Autonomous University
of Mexico, Mexico City, Mexico)
Prof. Dr. Miško Šuvaković (Faculty of Music, Belgrade, Serbia)
Doc. Dr. Polona Tratnik (University of Primorska, Koper, Slovenia)
Dr. Melentie Pandilovski (Video Pool Media Arts Centre in Winnipeg,
Manitoba, Canada)

–
The Cultured Cell: Reframing Life
Prof. Suzanne Anker (School of Visual Arts, New York, United States)

Revisioning life through technological intervention continues to create
living matter in novel and sometimes controversial ways. From frozen embryos
and stem cells to purple and orange cauliflower to bio-printed organs, the
cultured cell is a living technological entity. Coming into existence
through means of biological mimicry and selective breeding, how can these
organisms be classified in Linnaean terms? Tissue culturing of plants can
create a million molecularly identical plants from a small amount of stock.
Plants can be made from stems and leaves, assigning a new status to seeds.
In light of Walter Benjamin’s seminal essay, “The Work of Art in the Age of
Mechanical Reproduction,” we now turn our attention to mechanical
reproduction of living entities. This talk will address the expanding fields
of Bio Art and design and the ways in which they are being incorporated into
the social order.

Download complete abstracts and bios for the Bioart Panels

Call for Participation

Proposal deadline: July 20, 2013
Organizer: Adrienne Klein, The Graduate Center of the City University
of New York

In conjunction with the College Art Association 102nd Annual
Conference, to be held February 12-15, 2014 in Chicago, LEAF (Leonardo
Education and Art Forum) will present a panel titled “The Art/Science
Curriculum in the Classroom and in the Cloud.” If you have developed
or participated in instruction bringing together art and science, we
would like to give you the opportunity to share your experiences.

The Art/Science Curriculum in the Classroom and in the Cloud

This panel will present examples of instruction bringing art and
science together in the university classroom.   Each panelist will
have up to 20 minutes to describe his or her experiences, to be
followed by general discussion.

Art, science, and technology are linked in the minds of a small but
growing subset of faculty and administrators on campuses
internationally. The practice and potential benefit of interaction
between scientists, engineers, and visual and performing artists is
widely acknowledged, but what is the state of classroom instruction
that encourages art/science interdisciplinary work? Submissions are
invited that showcase best practices in the integration of
art/sci/tech. Panelists will address questions including:

• Are there courses in which students study and produce art informed
by science? How does this coursework fit into the curriculum?
• How much science do art students need to understand, in order to
make credible work?
• At what level is this coursework most appropriate; undergrad or graduate?
• Is the New Media curriculum the appropriate home for courses
encouraging the inclusion of science (even though science and
technology are not synonymous)?
• How can scheduling events outside of the classroom, such as
speakers, exhibitions and performances, promote cross-disciplinary
work?
The session will also shine a light on the on-going Cloud Curriculum
initiative of Leonardo/ISAST (The International Society for the Arts,
Sciences and Technology). This initiative aims to create a
clearinghouse, in the form of an open-source wiki, to disseminate
examples of successful courses and course modules, building on ideas
and methods that transcend disciplinary boundaries, to promote the
transformation of research and educational practices.
Please submit an abstract (up to 200 words) to Adrienne Klein,
aklein@gc.cuny.edu, LEAF Chair, no later than July 20, 2013. Include
a brief biographical statement with mailing address, email address,
and phone and fax numbers. Please include a cover note explaining your
interest and expertise in the topic.

All applicants will receive a reply. Selected proposals will be
acknowledged by August 31, 2010.

LEAF is an initiative of Leonardo/ISAST (The International Society for
the Arts, Sciences and Technology)

360 Conference: Time Around Space

ICCI and Faculty of Arts, Plymouth University, UK
21st and 22nd June 2013

Registration is now open for delegates to attend the inaugural 360
Conference: Time around Space

Keynote speakers include:
Oliver GRAU, Professor of Image Science and Head of the Department for
Image Science at the Danube University
Professor Ulrich NETHER: Chair of Product Design + Ergonomics,
Perception Lab, Detmold School of Architecture and Interior
Architecture, Hochschule Ostwestfalen- Lippe, University of Applied
Sciences.

With over twenty speakers, this conference seeks to explore
interdisciplinary questions around the creative potential of the 360
environment which may include; the environment as intelligent agent, as
a projection space, a performance space, a space of audience experience
and a space offering new possibilities of meaning, narrative and
interactive forms.

The conference will focus around the themes of: Moving Image, Sound &
Music, Interactivity and performance, combining theory and practice to
explore the parameters of time and space associated with 360°
environments and other immersive spaces.

The programme has been devised to include both theoretical and practice
elements and to involve delegate participation to explore the parameters
of time and space. There are currently thirteen academic paper
presentations that cover a range of topics including; editing film for
360 presentation, immersive perception, panorama and memory and
narrative journeys.
Workshops/practical demonstration contributions include interactive
projects and 360 video stitching.
A large variety of 360 films, animations, sound projects and
interactive events will be presented alongside static exhibitions and
gallery discussions.

Further information: www.plymouth.ac.uk/icci

To register at this free event, please email icci@plymouth.ac.uk
by Friday 14th June 2013.

Metabody Conference Series 1 – Metahuman/Metaformance Studies 2013:

Multiplicities in Motion:
Affects, Embodiment and the Reversal of Cybernetics.
3.000 Years of Posthuman History
26-31st July 2013 in Medialab Prado in Madrid Organised by: Universidad Autónoma de Madrid & Reverso Keynote by Dr. N. Katherine Hayles – Duke University http://www.metabody.eu/
DEADLINE: 10th June

GV Art Nature Reserves

26 July – 14 September 2013

We would like to invite you to send us a brief proposal of ideas for work (whether existing or yet to be realised) to be included in this exhibition, addressing the themes stated above. Please send us low res images (no more than 3MB) and no more than a side of A4. Links and PDFs are accepted, and we will call you if we need any more information. Any form of artwork is viable, from drawings to performances, sculptures and films, we would love to hear your responses and ideas (please do bear in mind we thus far have no budget, so any costly media or technology cannot be provided by GV Art.)

http://www.gvart.co.uk/call-to-artists-nature-reserves.html

Deadline for proposals – Friday 7 June 2013. Please email them to info@gvart.co.uk only

CALL FOR PAPERS

SLSA 2013
October 3-6, 2013
This year’s annual meeting of the Society for Literature, Science and the Arts, on the theme of the PostNatural, will be held at the University of Notre Dame, Indiana, from October 3-6, 2013.
We are currently calling for papers for a panel and/or roundtable on “Reconfiguring Sensation: Sensory Prostheses and the Postnatural Sensorium.”
We are interested in papers that consider questions such as:
-How are sensory prostheses and technologies of sensory substitution (e.g. TVSS) reconfiguring the sensorium?
-What can art-science collaborations, including digital installations, teach us about rewiring the senses or expanding our modalities?
-The rise of neuro-tech in public exhibitions and displays, is it only sensationalism or thrill-seeking, or are there more serious implications for the public understanding of the relation between cognition, perception and sensation?
-Given the availability of biometric data collection for everyday exercise (e.g. FitBit, Nike+, smartphone apps), what are the implications for somatosensation and our somatic imaginary?
-What is ‘natural’ about our sense modalities anyway? Do we, as Aristotle claimed, have only five senses?
-How have the senses been historically mediated through technologies that help us map our neurophysiological understanding of the body?
-What effective aesthetic examples are there of mashups, remixes, reconfigurations, of senses and affects?
-For those with sensory disability or impairment, how can technologies of sensory prosthesis make aesthetic experience available?
-What happens ‘after’ touchscreens? How do other aspects of the body me come implicated or addressed in the human-computer interface (HCI)?

Speakers interested in this roundtable/panel should contact (at the earliest possible opportunity):

Mark Paterson
Department of Communication
University of Pittsburgh
Email: paterson@pitt.edu

Elizabeth Stephens
Centre for the History of European Discourses University of Queensland
Email: e.stephens@uq.edu.au

Further general Information about SLSA 2013 can be found at http://www.litsci.org/slsa13/

FROM THE LABORATORY TO THE STUDIO:

INTERDISCIPLINARY PRACTICES IN BIO ART
May 21-June 21
4 undergraduate studio credits; $2400

From anatomical studies to landscape painting to the biomorphism of surrealism, the biological realm historically provided a significant resource for numerous artists. More recently, bio art has become a term referring to intersecting domains of the biological sciences and their incorporation into the plastic arts. Of particular importance in bio art is to summon awareness of the ways in which biomedical sciences alter social, ethical and cultural values in society.

Coming to the fore in the early 1990s, bio art is neither media specific nor locally bounded. It is an international movement with practitioners in such regions as Europe, the U.S., Russia, Asia, Australia and the Americas. Several sub-genres of bio art exist within this overarching term:

1) Artists who employ the iconography of the 20th- and 21st-century sciences, including molecular and cellular genetics, transgenically altered living matter, reproductive technologies and neurosciences. All traditional media, including painting, sculpture, printmaking and drawing are employed to convey novel ways of representing life forms.

2) Artists who utilize computer software, systems theory and simulations to investigate aspects of the biological sciences such as evolution, artificial life and robotics through digital sculpture and new media installations.

3) Artists employing biological matter itself as their medium, including processes such as tissue engineering, plant breeding, transgenics and ecological reclamation.

This interdisciplinary residency will take place in the new Fine Arts Nature and Technology Laboratory located in the heart of New York City’s Chelsea gallery district. Participants will have access to all of the facilities. Each student will be assigned an individual workstation. In addition, the Nature and Technology Lab houses microscopes for photo and video, skeleton collections, specimen collections, slide collections, an herbarium and aquarium as well as a library.

Demonstrations include microscopy, plant tissue engineering, molecular cuisine and the production of micro eco-systems. Field trips and visiting speakers will include artists, scientists and museum professionals. Students may work in any media, including the performing arts.

The Residency will be led by artist Suzanne Anker, Chair of the BFA Fine Arts Department at SVA, and Brandon Ballengée, bio-artist. In addition, visiting speakers will include artists, scientists and museum professionals including Mark Bridgen, Kathy High, James Walsh and Jennifer Willet.

NOTE: A portfolio is required for review and acceptance to this program. Residents who wish to borrow equipment from the Fine Arts Digital Lab are required to submit a $1,100 refundable security deposit. Participants will be held responsible for payment of any loss, theft or damage incurred to the equipment.

For further information or questions regarding SVA’s Summer Residencies contact:

Keren Moscovitch
Assistant Director, Special Programs
Division of Continuing Education
Tel: 212-592-2188

Art and biodiversity: sustainable art?

Interest in ecology and sustainable development is unprecedented, as is to the increasing concern overshadowing society’s well-being. With the news of massive deforestation and the scarcity of water resources, we are continually reminded of how animal and vegetable species are endangered. It’s clear that the need to respect the environment is shared by all but that natural resources are being exhausted through conflict of interest and contradictory action. As a result living and endangered organisms are affected by a kind of universal heritage value, as if representing the memory of an uncertain future.
http://www.cultura21.net/topics/arts/art-and-biodiversity-sustainable-art
Call deadline June 15 2013

INVITATION TO OPEN PREQUALIFICATION