{"id":75,"date":"2010-05-10T00:30:19","date_gmt":"2010-05-10T07:30:19","guid":{"rendered":"http:\/\/blogs.unsw.edu.au\/artsci\/?page_id=75"},"modified":"2012-11-01T01:58:23","modified_gmt":"2012-11-01T08:58:23","slug":"program","status":"publish","type":"page","link":"https:\/\/blogs.unsw.edu.au\/artsci\/about-2\/program\/","title":{"rendered":"Events"},"content":{"rendered":"
\n
\n

WORKSHOP: LEONARDO EDUCATIONAL ART FORUM ART SCIENCE CLOUD CURRICULUM WORKSHOP <\/strong> <\/h1>\n

\"Cloud\"<\/p>\n

Developing Cloud Curriculum in Art and Science<\/strong>
\n‘So what would a “Art Science Cloud Curriculum” be in the face of networked culture?’<\/p>\n

This Leonardo Educational Art Forum Art Science Cloud Curriculum workshop is to generate and build an internationally recognised and Leonardo endorsed art and science cloud curriculum course outline. The workshop outcome would be a curriculum that could become a benchmark of what we see as quintessentially important to engage in the world of research at the core of Art\/Science.<\/p>\n

This workshop is established in collaboration with the research being developed for the SEAD curriculum white paper and STEAM. The proposed workshop would be able to define and construct an actual sample curriculum that would be placed on the art sci cloud curriculum wiki under a creative commons license.<\/p>\n

The workshops would happen in real-time with invited collaborators at two significant events in 2012;<\/p>\n

1. The\u00a0Re-New The Interactive Media Arts Conference (IMAC)<\/a> is an annual interdisciplinary and international conference held in Copenhagen, Denmark. It provides the ideal framework for artists, curators, researchers, engineers and students to meet, present and discuss their findings in new media art. IMAC 2012 is held in parallel with the re-new 2012 digital arts festival, on November 19-24 2012 and for this year, IMAC 2012 wishes to take a fresh look at Cybernetics.<\/p>\n

2.\u00a0MutaMorphosis: Tribute to Uncertainty CIANT<\/a>– Prague CIANT from December 6, December 8, 2012. MutaMorphosis II should therefore be contextualised in a world undergoing a complete mutation, jolting at all its points of articulation, whether political, economic, diplomatic, geographic, ecological, technological or communicative.
\nThe workshop would encourage contemporary scholars, artists, scientists and theorist in the area of art and science to discuss, suggest and create the aims, attributes, readers and course work that should be undertaken to produce a fundamental set of considerations that would enable students to engage in the world of art and science.<\/p>\n

The workshop would utilize contemporary networked technologies to build the curriculum in real-time that would become the foundation of an art and science cloud curriculum wiki. The project aims to use the wiki to affect a shift in the perception of art and science students and staff toward an understanding of new paradigms of research and learning that challenge and transcend disciplinary boundaries. The curriculum will privilege metacognitive interrogation of content and (re)visioning of traditional disciplinary research methodologies using a syncretic integration of heuristic and practice-based inquiry..<\/p>\n

The workshops will build on the previous\u00a0Leonardo Education and Art Forum: Transdisciplinary Visual Arts, Science & Technology Renewal Post-New Media Assimilation workshop<\/a> held in 2011.<\/p>\n

‘Somehow the “Art-Science Cloud Curriculum” needs to respond to the new realities of the evolving organization of research and knowledge. It may be that universities are mal-adapted to evolve to the new situation; the whole diploma structure (BSc, MA, MFA, PhD) was designed for a world that no longer exists; even the new distance learning and on-line institutions such as the Kahn Academy are a premature response that will be overtaken by new systems. If a student really wants access to the best education that addresses the STEAM vision, that allows for multiple educational “pathways” through science, engineering, arts and humanities, maybe we need a ‘serious game’ environment that summons at the appropriate time the best teacher or mentor on the planet for the problem at hand, that mobilises collective group learning technologies of massive collaborative games, that matches budget to the best educational opportunities, that optimizes ‘blended learning” approaches to combine face to face time, on line collaboration time and access to distant learning resources’. Roger F Malina<\/p>\n

Paul Thomas<\/p>\n

College of Fine Arts, UNSW.
\nLeonardo Education and Art Forum: International affiliate.<\/p>\n

THE WORLD IS EVERYTHING THAT IS THE CASE<\/h1>\n<\/div>\n
\n
\n
\n
\n
\n
\n
DATES: 14.09.2011 – 07.10.2011 TIMES: 10:00 – 19:00 Istanbul Turkey<\/div>\n
From the portable mu\u00adseum to the make-shift stand of the street cor\u00adner trader, the mi\u00adgrant\u2019s bat\u00adtered suit\u00adcase tied with string acts as an echo of Wittgen\u00adstein: \u201cThe World is every\u00adthing that is the case\u201d. (In each case) The con\u00adtribut\u00ading artists ex\u00adplore the mi\u00adgra\u00adtory na\u00adture of artis\u00adtic prac\u00adtice; act\u00ading as a global me\u00addi\u00ada\u00adtion be\u00adtween the aes\u00adthet\u00adics of trade along the pere\u00adgrine, wan\u00adder\u00ading routes that lead to\u00adwards mean\u00ading.<\/div>\n<\/div>\n<\/div>\n
\n
\n
\n

\"\"<\/a><\/p>\n

1<\/a>2<\/a>3<\/a>4<\/a>5<\/a>6<\/a><\/div>\n<\/div>\n
\n

\"\"<\/a><\/p>\n

1<\/a>2<\/a>3<\/a>4<\/a>5<\/a>6<\/a><\/div>\n<\/div>\n
\n

\"\"<\/a><\/p>\n

1<\/a>2<\/a>3<\/a>4<\/a>5<\/a>6<\/a><\/div>\n<\/div>\n
\n

\"\"<\/a><\/p>\n

1<\/a>2<\/a>3<\/a>4<\/a>5<\/a>6<\/a><\/div>\n<\/div>\n
\n

\"\"<\/a><\/p>\n

1<\/a>2<\/a>3<\/a>4<\/a>5<\/a>6<\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n
\n
\n
\n
Curators<\/div>\n

Sean Cu\u00adbitt<\/a> Vince Dziekan<\/a> and\u00a0Paul Thomas<\/a><\/p>\n

 <\/p>\n

Artists<\/p>\n<\/div>\n

Karen Casey<\/a><\/div>\n
Mark Cypher<\/a><\/div>\n
Tina Gon\u00adsalves<\/a><\/div>\n
Mark Gugliel\u00admetti<\/a><\/div>\n
Nigel Helyer<\/a><\/div>\n
Mitchell Whitelaw<\/a><\/div>\n<\/div>\n<\/div>\n
\n
\n
\n
Lo\u00adca\u00adtion:<\/div>\n

Cumhuriyet Art Gallery\/ Mak\u00adsem<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n

Pub\u00adli\u00adca\u00adtion: UN\u00adCON\u00adTAIN\u00adABLE: The World Is Every\u00adthing That Is The Case<\/a><\/p>\n

\"\"<\/p>\n

UN\u00adCON\u00adTAIN\u00adABLE:<\/a> The World is Every\u00adthing That is The Case
\nAus\u00adtralian Rep\u00adre\u00adsen\u00adta\u00adtion at ISEA2011\/Is\u00adtan\u00adbul<\/p>\n

CU\u00adRA\u00adTO\u00adRI\u00adATE:
\nSean Cu\u00adbitt, Vince Dziekan & Paul Thomas<\/p>\n

CON\u00adTRIBUT\u00adING ARTISTS:
\nKaren Casey, Mark Cypher, Tina Gon\u00adsalves, Mark Gugliel\u00admetti, Nigel Helyer & Mitchell Whitelaw<\/p>\n

From the portable mu\u00adseum to the make-shift stand of the street cor\u00adner trader, the mi\u00adgrant\u2019s bat\u00adtered suit\u00adcase tied with string acts as an echo of Wittgen\u00adstein: \u201cThe World is every\u00adthing that is the case\u201d.<\/p>\n

The suit\u00adcase which is also the table where the three-card trick draws in the pun\u00adters, or where the gains get played away on end\u00adless trains across the count\u00adless bor\u00adders of Eu\u00adrope and Asia. The “boite-en-valise” of the im\u00adport-ex\u00adport man (the artist?), the smug\u00adgler (the cu\u00adra\u00adtor?) and his know\u00ading in\u00adno\u00adcence, the \u2018who me?\u2019 look, and the ready lie. Artist as itin\u00ader\u00adant trader; the art\u00adwork as mi\u00adgra\u00adtory, both ready to make their case given half a chance.<\/p>\n

In this case, the ex\u00adhi\u00adbi\u00adtion (as\u00adsum\u00ading the form and con\u00adceit of the port\u00adman\u00adteau) ex\u00adplores the mi\u00adgra\u00adtory na\u00adture of artis\u00adtic prac\u00adtice to act as a global me\u00addi\u00ada\u00adtion be\u00adtween the aes\u00adthet\u00adics of trade along the pere\u00adgrine, wan\u00adder\u00ading routes that lead to\u00adwards mean\u00ading.<\/p>\n

The case (suit\u00adcase) is ex\u00adplored as a space that em\u00adbod\u00adies (con\u00adtains?) the trans\u00adfor\u00adma\u00adtion of cul\u00adtural prac\u00adtice under con\u00adtem\u00adpo\u00adrary aes\u00adthetic con\u00addi\u00adtions, oc\u00adcur\u00adring across states, bor\u00adders and de\u00admar\u00adca\u00adtion zones of con\u00adtin\u00adu\u00adous pro\u00adduc\u00adtion. The suit\u00adcase is self con\u00adtained and its con\u00adsign\u00adment com\u00adpressed (“zipped”); cu\u00adra\u00adtion op\u00ader\u00adates as CODEC. When un\u00adcom\u00adpressed, its con\u00adtents man\u00adi\u00adfest the spa\u00adtial sci\u00adence of the Mul\u00adti\u00adple.<\/p>\n

Each of the artists in\u00adcluded (in the case; in this case) have been ap\u00adproached to con\u00adtribute a work de\u00adsigned to tog\u00adgle be\u00adtween ma\u00adte\u00adri\u00adal\u00adi\u00adties and modes of dis\u00adplay (the “ma\u00adte\u00adr\u00adial man\u00adi\u00adfest”, the pixel-as-con\u00adtainer). So demon\u00adstrated, the cu\u00adra\u00adto\u00adr\u00adial pro\u00adject is pred\u00adi\u00adcated upon “un\u00adpack\u00ading” the ten\u00adsions that are brought into ex\u00adis\u00adtence and am\u00adpli\u00adfied be\u00adtween:
\n– con\u00adtain\u00adment and the un\u00adcon\u00adtain\u00adable (con\u00adtents con\u00adtained in\u00adside other con\u00adtain\u00aders, in\u00adside other con\u00adtain\u00aders, in\u00adside\u2026 other\u2026)
\n– the sited (placed, in tran\u00adsit, hold\u00ading areas) and un\u00adsighted (in\u00advis\u00adi\u00adble, un\u00adfore\u00adseen, non-vi\u00adsual)
\n– the rev\u00ade\u00adla\u00adtion of the deep focus X-ray scan of carry-on lug\u00adgage (in\u00adspec\u00adtion, ma\u00adte\u00adri\u00adals dis\u00adcrim\u00adi\u00adna\u00adtion, de\u00adtec\u00adtion; scan\u00adning, op\u00adti\u00admiz\u00ading, vi\u00adsu\u00adal\u00adiz\u00ading). and the port\u00adman\u00adteau (the “un\u00adder-mean\u00ading” of the dou\u00adble en\u00adten\u00addre; de\u00adcep\u00adtive, in\u00adcon\u00adspic\u00adu\u00adous; what re\u00admains hid\u00adden, un\u00adde\u00adtected, lurk\u00ading in the shad\u00adows).<\/p>\n

Lan\u00adfranco Aceti, ISEA2011 Is\u00adtan\u00adbul Artis\u00adtic Di\u00adrec\u00adtor and \u00d6zden \u015eahin, Pro\u00adgram Di\u00adrec\u00adtor<\/p>\n

UN\u00adCON\u00adTAIN\u00adABLE:\u00a0The World is Every\u00adthing That is The Case at ISEA2011 Is\u00adtan\u00adbul is part of the Of\u00adfi\u00adcial Par\u00adal\u00adlel Pro\u00adgram of the 12th Is\u00adtan\u00adbul Bi\u00aden\u00adnial.<\/p>\n

 <\/p>\n

______________________________________________________________________________________________<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

Call for Papers:Experimental Arts Conference Double-Event<\/h1>\n<\/div>\n
\n
\n
\n
\n
\"\"<\/div>\n<\/div>\n<\/div>\n
\n
\n
“What a building desires” 2005 Excerpt from Richard Goodwin’s Porosity Research into Public space.<\/div>\n<\/div>\n<\/div>\n

Double conference:
\n19-20 August 2011\u00a0 Main Conference and Discussion Forum
\n17-18 August 2011 National Postgraduate Conference
\nLocation:\t Scientia Building, UNSW
\nDeadline for Abstracts: 27 April 2011 _______________________________________________________________________________________________ \u201cWe have entered the experimental age\u2026Experiments are no longer conducted just in the laboratory. They have become collective experiments that concern each and every one of us.\u201d Bruno Latour, 2004<\/p>\n

What is experimentation? What makes art \u2018experimental\u2019? What are the results of aesthetic experiments and why do we need them? Could artists invent new modes of experimentation with\/for science? What are the differences between experiments and inventions; experiments and failures; experiment and innovation? How do we set up ethico-scientific-aesthetic experiments?<\/p>\n

This conference will showcase and discuss innovative arts projects by leading practitioners, thinkers and research groups that model new forms of transdisciplinarity and offer new ways of addressing real-world issues. These include works that have successfully \u2018changed the world\u2019 as well as speculative initiatives that radically change the way we think. It will survey the results and potential of Experimental Arts, inviting leaders in the field to discuss how we can extend and support a platform for path-breaking experimentation.<\/p>\n

The main conference will be preceded by a two-day National Postgraduate Conference on Experimental Arts.<\/p>\n

Confirmed speakers include: James Crutchfield(Complexity Sciences Centre, University of California, Davis) and David Dunn (Art and Science Laboratory, Santa Fe); Adrian McKenzie (University of Lancaster); Geert Lovink (University of Amsterdam); Pia Ednie- Brown (RMIT); Joyce Hinterding (University of Sydney), Terry Smith (University of Pittsburgh); Richard Goodwin, Paul Thomas, Douglas Kahn, Anna Munster, Nigel Helyer, Jill Bennett (NIEA, UNSW); iCinema, Centre for Interactive Cinema, UNSW with on-site demonstrations of iCinema\u2019s immersive audio-visual environment.<\/p>\n

Abstracts of approximately 300 words and a short biography should be sent to:\u00a0niea@unsw.edu.au<\/a> for the Main Conference\u00a0t.gregory@unsw.edu.au<\/a> for the Postgraduate Conference. In the email subject title, please state: Abstract Submission (Main Conference) or Abstract Submission (Postgraduate Conference).<\/p>\n

Poster-presentations will also be considered for the Postgraduate Conference. Abstracts of approximately 300 words and a short biography should be sent to\u00a0t.gregory@unsw.edu.au<\/a> with the email title Abstract Submission (Poster Presentation).<\/p>\n

Deadline for Abstracts: 27 April 2011
\n_______________________________________________________________________________________________<\/p>\n<\/div>\n<\/div>\n

\"\"<\/a><\/p>\n

Dr Paul Thomas<\/strong><\/h3>\n

Examining Life at a Nano Level.<\/strong><\/p>\n

Stonehouse Lecture Theatre Portland Square.<\/strong>
\n<\/strong>University of Plymouth.<\/strong><\/p>\n

17.00-18.00 on Friday 3<\/strong>rd<\/sup><\/strong> December.<\/strong><\/p>\n

In this talk Paul Thomas will demonstrate via the nano art project \u2018Nanoessence\u2019, ideas on what constitutes the real and the artificial. The \u2018Nanoessence\u2019 project aimed to create a visual expression of life at a sub-cellular level, re-examining boundaries and materiality within the human context. A single engineered immortal skin cell was scanned in vitro with an Atomic Force Microscope (AFM) to create a visualisation of the space between, life and death at a nano level. The paper will explore how nanotechnological research is challenging humanistic ideas concerning life and what constitutes materiality.<\/p>\n

Paul Thomas: Dr Paul Thomas, is currently Head of Painting at the College of Fine Art, University of New South Wales. Paul chair numerous international conferences and is the co-chair of the Transdisciplinary Imaging Conference 2010. \u00a0In 2000 Paul instigated and was the founding Director of the Biennale of Electronic Arts Perth.<\/p>\n

Paul has been working in the area of electronic arts since 1981 when he co-founded the group Media-Space. Media-Space was part of the first global link up with artists connected to ARTEX. From 1981-1986 the group was involved in a number of collaborative exhibitions and was instrumental in the establishment a substantial body of research. Paul\u2019s current research project \u2018Nanoessence\u2019 explores the space between life and death at a nano level. The project is part of an ongoing collaboration with the Nanochemistry Research Institute, Curtin University of Technology and SymbioticA at the University of Western Australia. The previous project \u2018Midas\u2019 was researching at a nano level the transition phase between skin and gold. Paul has recently completed working on an intelligent architecture public art project for the Curtin Mineral and Chemistry Research Precinct.<\/p>\n

Professor Douglas Kahn<\/h3>\n
\n
\n
\n
\n
\"\"<\/div>\n<\/div>\n<\/div>\n

Professor Douglas Kahn, NIEA’s Media and Innovation Professor will be giving his inaugural lecture at COFA in the third week of November.<\/p>\n

When: 17th November 2010, 6.00pm<\/div>\n
Where: EG02 Lecture Theatre, COFA UNSW<\/div>\n
Cnr Oxford Street and Greens Road, Paddington<\/div>\n
Lecture Title:\u00a0Experimental Sound in the Arts and History<\/div>\n
Lecture Synopsis:<\/div>\n
About a decade ago “sound art” burst onto the official world stage and has since become widely accepted. This was concurrent with the rise of “sound studies” in history, anthropology, cultural studies, histories of the arts, science and technology studies and other disciplines. Now courses in “sound” are found across the curricula, symposia and events are regularly held across the world, fellowships, theses, performances, exhibitions\u2026 Experimental aesthetics once asked for “more new sounds”: what is it going to do now that it has them? How might they resonate with other disciplines in academe and other activities in society?<\/div>\n<\/div>\n<\/div>\n

___________________________________________________<\/h3>\n

\"\"<\/a><\/h3>\n

The first International Conference on Transdisciplinary Imaging at the Intersections between Art, Science and Culture.<\/strong><\/h3>\n

\u201cNew Imaging: transdisciplinary strategies for art beyond the new media\u201d<\/strong><\/p>\n

takes place at on 5th 6th November at Artspace, 43\/51 Cowper Wharf Rd, Sydney, NSW 2011.<\/p>\n

Deadline for Abstracts<\/strong>: June 25th 2010<\/p>\n

Conference partners<\/strong>:\u00a0College of Fine\u00a0Art, University of New South Wales; \u00a0University of Melbourne,\u00a0Faculty of the VCA and Music; Artspace<\/p>\n

A profound shift is occurring in our understanding of postmodern media culture. Since the turn of the millennium the emphasis on mediation as technology and as aesthetic idiom, as opportunity for creative initiatives and for critique, has become increasingly normative and doctrinaire. Mediation and the new media arts have in fact become the new medium of critical and pedagogical discourse: like water is for fish, like culture is for cultural studies, mediation is a concept that is taken for granted now because it is itself the medium in which we think and act, in which we swim.<\/p>\n

We need a concept that is amphibian, and that can leave its medium. The concept we propose is a remediated apprehension of the image: an active image and activity of imaging beyond the boundaries of disciplinary definition, but also altering the relations of intermedia aesthetics and interdisciplinary pedagogy. This concept will need to incorporate a vibrant materialism of the image\u2019s sensory and cognitive strata and an evanescent immaterialism of its affective qualities.<\/p>\n

Rather than locate our conference in the space of negotiation between disciplines or media (the \u201cinter-\u201c), we propose the opposition, transit and surpassing of the interdisciplinary by a \u201ctransdisciplinary aesthetics\u201d, and its conceptual and physical practice of a \u201ctransdisciplinary imaging.\u201d<\/p>\n

Conference chairs:<\/strong> Associate Professor Su Baker and Associate Professor Paul Thomas<\/p>\n

________________________________________________________________<\/p>\n

CRASH@COFA presents a lecture by\u00a0Oron Catts Director of SymbioticA: Substrate\u00a0as\u00a0context<\/strong><\/p>\n

Oron Catts Director of SymbioticA : The Centre of Excellence in Biological Arts, School of
\nAnatomy and Human Biology, The University of Western Australia.
\nVisiting Professor of Design Interaction, Royal College of Arts, London.
\nWhere: Room EG02, College of Fine Arts, University of New South Wales (cnr Greens Rd and
\nOxford St)
\nTime: 13th May \u2013 1pm \u2013 2pm
\nOron Catts is an artist, researcher and curator whose work with the Tissue Culture and Art
\nProject (which he founded in 1996) is part of the NY MoMA design collection and has been
\nexhibited and presented internationally. In 2000 he co-founded SymbioticA, an artistic research
\nlaboratory housed within the School of Anatomy and Human Biology, The University of Western
\nAustralia. Under Oron\u2019s leadership, SymbioticA has gone on to win the Prix Ars Electronica
\nGolden Nica in Hybrid Art (2007) and became a Centre for Excellence in 2008. In 2009 Oron
\nwas recognised by Thames & Hudson\u2019s 60 Innovators Shaping our Creative Future book as one
\nof five in the category \u201cBeyond Design\u201d, and by Icon Magazine (UK) as one of the top 20
\nDesigners, \u201cmaking the future and transforming the way we work\u201d.
\nOron was a Research Fellow in Harvard Medical School and a visiting Scholar at the
\nDepartment of Art and Art History, Stanford University.<\/p>\n","protected":false},"excerpt":{"rendered":"

WORKSHOP: LEONARDO EDUCATIONAL ART FORUM ART SCIENCE CLOUD CURRICULUM WORKSHOP   Developing Cloud Curriculum in Art and Science ‘So what would a “Art Science Cloud Curriculum” be in the face of networked culture?’ This Leonardo Educational Art Forum Art Science Cloud Curriculum workshop is to generate and build an internationally recognised and Leonardo endorsed art […]<\/p>\n","protected":false},"author":99,"featured_media":0,"parent":30,"menu_order":2,"comment_status":"closed","ping_status":"open","template":"","meta":{"footnotes":""},"class_list":["post-75","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/blogs.unsw.edu.au\/artsci\/wp-json\/wp\/v2\/pages\/75","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blogs.unsw.edu.au\/artsci\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/blogs.unsw.edu.au\/artsci\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.unsw.edu.au\/artsci\/wp-json\/wp\/v2\/users\/99"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.unsw.edu.au\/artsci\/wp-json\/wp\/v2\/comments?post=75"}],"version-history":[{"count":15,"href":"https:\/\/blogs.unsw.edu.au\/artsci\/wp-json\/wp\/v2\/pages\/75\/revisions"}],"predecessor-version":[{"id":117,"href":"https:\/\/blogs.unsw.edu.au\/artsci\/wp-json\/wp\/v2\/pages\/75\/revisions\/117"}],"up":[{"embeddable":true,"href":"https:\/\/blogs.unsw.edu.au\/artsci\/wp-json\/wp\/v2\/pages\/30"}],"wp:attachment":[{"href":"https:\/\/blogs.unsw.edu.au\/artsci\/wp-json\/wp\/v2\/media?parent=75"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}