PARTICIPANTS
Roy
Ascott (UK), artist and theoretician
Biography: Roy Ascott is the
founding director of the international transdisciplinary research center,
CAiiA-STAR (www.caiia-star.net). He is Research Professor at the University of
Wales, and at the University of Plymouth (UK), and is Adjunct Professor in
Design|Media Arts at the University of California Los Angeles
(www.design.ucla.edu/home.html). A pioneer of cybernetics and telematics in art,
he has shown at the Venice Biennale, Electra Paris, Ars Electronica Linz, V2
Holland, Milan Triennale, Biennale do Mercosul, Brazil, European Media Festival,
and gr2000az at Graz, Austria. He has been Dean of San Francisco Art Institute,
California, Professor for Communications Theory in the University of Applied
Arts, Vienna, and Principal of Ontario College of Art, Toronto. He is on the
editorial boards of Leonardo, Convergence, Digital
Creativity, and the Chinese language online journal Tom.Com. He
advises new media centres and festivals in North and South America, Europe,
Japan, Korea, and lectures widely around the world. His publications are
translated into many languages and include the books, Reframing
Consciousness (1999), Art Technology Consciousness (2000), Intellect
Books, Bristol; and Art & Telematics: toward the Construction of New
Aesthetics. (Japanese trans. E. Fujihara), NTT, Tokyo, 1998. In 2002,
University of California Press will publish his collected writings, Telematic
Embrace, edited by Edward Shanken.
Contribution: Navigating Consciousness : Art and
Transformative Technologies.
Abstract: Text of the proceedings : in english
Olivier Auber (France), artist
Biography: Olivier Auber develops
since the early 80s installations and exhibitions based on various technologies
in order to achieve a sort of mirors of behaviours. Among them, the Générateur
Poïétique (http://poietic-generator.net ) is a system allowing real time
collective interactions that he has experimented in different kinds of networks
since 1986. In 1997, he founded together with the architect and urbanist Bernd
Hoge the cultural laboratoty A+H (http://km2.net/aplush) that proposes interdisciplinary
projects between physical and digital territories. The Nibelungenmuseum, virtual
museum dedicated to a myth opened in 2001. Currently, he is working on the
projet @RBRE (http://km2.net/rubrique.php3?id_rubrique=127)
Contribution: The Aesthetic of the Digital
Perspective
Abstract: Text of the proceedings : in
french
Jean-Pierre Balpe (France), artist
Biography: Born in 1942 in Mende
(Lozère), Jean-Pierre Balpe is the Director of the Hypermedia Department and of
the Paragraphe Laboratory of the University of Paris VIII. He is also General
Secretary of the journal Action Poétique. Researcher, theoretician of
computer literature, author of various scientific and technological books,
writer, he is interested in the possibilities that computer science provided to
literature since 1975. In 1981, he co-founded ALAMO (Workshop for Computer and
Mathematic Assisted Literature) and as such became advisor to the Pompidou
Center for the exhibitions Les Immatériaux and Mémoires du Futur.
Since 1989, he creates software for computer literature used mainly during
exhibitions or public events among which Un roman inachevé for the booth
of the Ministry of Culture (MILIA, Cannes, 1995 and MIM in Montreal) ; ROMANS
(Roman) for the exhibition Artifices in 1996 ; Trois mythologies et un
poète aveugle for the IRCAM in 1997 ; Barbe Bleue that will be the
result of the combination of 3 generators : text, music (Alexandre Raskatov) and
staging (Michel Jaffrennou) generators ; TRAJECTOIRES, interactive and
generative novel for the Internet (www.trajectoires.com) ; he is involved in
various shows among which Encuentras essentiales for the museum MARCO in
Monterey (Mexico) together with Jacopo Baboni-Schilingi (music) and Miguel
Chevalier (interactive stage design).
Contribution: Toward a DiffractedLiterature
Abstract: The fact that literature, before being shut away in the book,
is now gone out from it, force it to confront to the reality of that medium
which is now completely its one: the screen. From that relation are emerging new
questions and sketching creative possibilities never perceived before. When the screen is also a digital screen of which the potential
is a fundamental technical component, literature, while keeping to be
literature, but coming close to something like a show, changes yet its
qualities: its texts diffracting into the space of their potentialities, are
inventing a new expression space.
Text of the proceedings : in
french
Roberto Barbanti (France/Italy), artist and theorician
Biography: Studied philosophy,
computer music and experimental music at the University and Academy
Cherubini of Florence (Italy). Ph.D in "Art and science of art" at the
University Paris I. Teacher at the University Paul Valéry, Montpellier III in
charge of the Multimedia section of the Performing Arts
Department. Founder and Chairman of the Center Pharos, Center for Study and
Research in Philosophy, Art and the Science, co-directed together with the
philosopher Luciano Boi (http://www.centrostudiricerche.org/). He has created several
multimedia works : peformances, environmental music, installations and
communication events. Among his last books :
- Francesco d'Assisi e
Marcel Duchamp. Rudimenti per un'est-etica / Francis of Assisi and Marcel
Duchamp. Rudiments for an aesth-ethic, Danilo Montanari Editore, 2001.
-
L'art au XXe siècle et l'utopie, L'Harmattan (collection arts8),
2000 (with Claire Fagnart).
Contribution: Ultramediality and Ethical Issue
Abstract:
To the question of presence, or in other words, What is it that is before me in space and in time, today one could respond as follows: a desire to truly go beyond, which seems to mean annihilating this same space and time and with them the object of perception itself. In other words, while presence is still presence to something and of something, this something tends to slip away and disappear.
We are living in the era of "ultramediality." An era in which space-time (from nanometers to gigahertz) and matter itself are "worked" in such a way as to place them beyond all possibility of sensory detection.
Spatio-temporal communication at a distance, which aims to suppress this distance, is one of the forms of ultramediality.
This situation, which on the one hand excludes the sensorium de facto and on the other poses the question of the irreversibility and the dangerousness of the processes into which we are locked, thrusts us into an ethical dynamic (as the ineluctability of a possible choice, consciousness of an absence and the perspective of a substantial alterity), a dynamic that assumes basic importance and puts artistic activity in the context of its responsibilities. (Translation, L-S Torgoff)
Text of the proceedings : in french
Stéphan Barron (France), artist
Biography: Born in 1961 in Caen,
Normandy. Grant from Villa Médicis in 1996 for Ozone.
" My work is based on a perceptual and imaginary research on distance.
In this research, I have realised since 1985 around twenty artworks using
telecommunication technology. Ozone in 1995 was one of the first artwork
using Internet. I have developped since 1995 the concepts of Technoromanticism
and of Earth Art. "
My works and concepts are described at http://www.technoromanticism.com/
Online artwork : http://www.com-post.org/
Cdrom : Earth Art, Ed. Rien de Special, 2000
Book : Technoromantisme, Ed. L'Harmattan, 2002
Contribution: Ozone, o-o-o-, Contact"…
Technoromantic Artworks Between Presence and Absence
Abstract: Text of the proceedings : in
french
Maurice Benayoun (France), artist
Biography: Maurice Benayoun has been
exploring the potential of 3D computer graphics' animation and Virtual Reality
for several years.
Since 1984, he has been a professor of "Video Art and New
Images " at the University of Paris 1 (Panthéon-Sorbonne) and has been an
invited artist at the Ecole Nationale Supérieure des Beaux Arts of Paris.
In
1987 he co-founded Z-A Production, now one of the two oldest companies in France
in the field of new medias, where he currently works as creation director.
Contribution:
Abstract:
Tina Cassani / Bruno Beusch (France), curators Biography: Tina Cassani and Bruno
Beusch are the directors of Paris-based new-media label TNC Network. Founded in
1995, TNC Network has produced ground-breaking events, new-style conferences and
shows for TV/radio, museums, festivals, and companies in Europe, the US and
Asia. Beusch/Cassani are curators at the Ars Electronica Festival in Linz, where
they are responsible for the Electrolobby - Showroom for Digital Culture &
Lifestyle. They are members of the jury of the Prix Ars Electronica. They
consult for different international institutions, for telecom and media
companies, as well as for European new-media research programs. Curators of two
upcoming shows dedicated to mobile/wireless games & lifestyle (autumn 2002,
Paris).
bc@tnc.net
tnc network: http://www.tnc.net/
Contribution: Games Unlimited
Abstract:
Samuel Bianchini (France), artist Biography:Samuel Bianchini studied
art through different approaches : Fine Arts, Applied Arts, Arts and Crafts
(Arts et Métiers), Decorative Arts (Arts décoratifs) and plastic arts. At the
age of 30, he mixed practice (exhibitions), theory (regular publications) and
teaching (University of Paris I, Art school of Nancy). Membre of different
research laboratories such as CRECA (Center for Research in the Aesthetics of
Cinema and Audiovisual Arts, University Paris I) and CEDRIC (Center for Research
in Computer Science of the Cnam), he is preparing a Ph.D on the reactualization
of the issues of montage raised by interactive media.
biank@dispotheque.org
http://www.dispotheque.org/
Contribution: Interactive Image: Manipulation
Strategies
Abstract:
Images and more generally the media condition and model our way of perceiving and organizing reality and, recursively, our way of reporting it and playing with it, and even our temptation to construct realities. With interactive media, our relationship to time and action, our ability to grasp things, are redefined, giving rise to an art of operations and real time operators.
A number of projects completed or underway will be presented during this presentation. Many can be see on the Web site: http://www.dispotheque.org/. (Translation, L-S Torgoff)
Text of the proceedings : in french
Maurizio Bolognini (Italie), artist
Biography: Maurizio Bolognini has
worked with digital technologies since the late 1980s. His most well-known art
works are the 1992 Sealed Computers (over two hundred machines programmed
to produce a flow of endlessly different images, and left to work indefinitely)
and Museophagia (a 1999 world tour in which he took furniture and objects
from several international galleries and put together a travelling collection to
be consumed via digitization: <http://www.cavellini.org/performance/emtour.html>). He has
also been involved with teledemocracy and on line communication techniques (his
so-called Hyperdelphi method <http://www.hyperdelphi.net/>) about which he has recently
published the book Democrazia elettronica (Carocci, Rome 2001).
Contribution: "SMSMS (Short Message Service Mediated
Sublime)": Art and Technological Sublime in the Urban Environment
Abstract: Text of the proceedings : in
english
Andreas Broeckman (Allemagne), theoretician
Biography: Andreas Broeckmann
(*1964) lives and works in Berlin. Since the autumn of 2000 he has been the
Artistic Director of transmediale - international media art festival berlin.
Broeckmann studied art history, sociology and media studies and worked as a
project manager at V2_Organisation Rotterdam, Institute for the Unstable Media,
from 1995-2000. He is a member of the Berlin-based media association mikro, and
of the European Cultural Backbone, a network of media centres. In texts and
lectures he deals with post-medial practices and the possibilities for a
'machinic' aesthetics of media art. [http://www.transmediale.de/] et [http://www.v2.nl/abroeck]
Contribution: Reseau/Resonance - Connective Processes
and Artistic Practice
Abstract: Text of the proceedings : in
english
Annick Bureaud (France), new media art critic,
theoretician
Biography: Works in the field of art
related to technosciences. Director of Leonardo/Olats (http://www.olats.org/) ; founder
and editor of the International directory of Electronic Arts, IDEA online (http://nunc.com/). New media art
critic (column in Art Press). Teacher at the art school of Aix-en-Provence, the
Ensci, guest teacher at the School of the Art Intitute Chicago (SAIC, 1999) and
at the University of Quebec in Montreal (UQAM, 2001). Co-organizer of the
Symposium Artmedia VIII. Co-editor with Nathalie Magnan of the reader
Connexions : Art, Réseaux, Media published by the Ensba in May 2002.
Anne Cauquelin (France), philosopher
Biography: Ph.D., emeritus professor
of the Universities, director of the journal revue d'Esthétique.
Vice-president of the society of aesthetics.
Numerous books, among which : La ville, la nuit, PUF, 1977 ;
Cinévilles, 10/18, 1979 ; Essai de philosophie urbaine, PUF, 1982
; Court traité du fragment, Aubier, 1986 ; L'invention du paysage,
Plon, 1989, rééd. PUF, coll. Quadriges, 2000 ; Aristote, le langage, PUF,
1990 ; La mort des philosophes et autres contes, PUF, 1992 ;
Aristote, Le Seuil, 1994 ; Les animaux d'Aristote, La lettre
volée, Bruxelles, 1995 ; L'art contemporain, PUF, Que-Sais-Je ?, 1996,
6ème édition, 2000 ; Le voleur d'anges, l'Harmattan, 1997 ( sur la
peinture) ; Petit traité d'art contemporain, Le Seuil, 1996, réédition
1998 ; L'art du lieu commun, Le Seuil, 1999 ; Les théories de
l'art, PUF, Que-Sais-Je ?, 1999 ; Le site et le paysage, PUF, éd.
Quadriges, 2002.
She is currently working on a new book : Notes sur les jardins, Payot/
rivages.
She edited two issues of the journal revue d'esthétique dealing with
art and technology : "Les Technimages" (n° 32) et "Autres sites, nouveaux
paysages"( n°39).
Christophe Charles (Japan/France), artist
Biography: Christophe Charles (born
Marseille 1964), currently Associate Professor at Musashino Art University,
Tokyo), works with found sounds, and makes compositions using computer programs,
insisting on the autonomy of each sound and the absence of hierarchical
structure. These compositions have been released on the German label Mille
Plateaux / Ritornell ("undirected" series), and on several compilations (Mille
Plateaux, Ritornell, SubRosa, Code, Cirque, Cross, X-tract, CCI, ICC, etc.).
Group exhibitions: ICC "Sound Art" (Tokyo, 2000), V&A "Radical Fashion"
(London, 2001), etc. Permanent sound installations at Osaka Housing Information
Center (1999), Tokyo-Narita International Airport Central Atrium (2000). Web
site: http://kubric.musabi.ac.jp/~charles
Contribution: Practice of (de)(com)position
Abstract: Text of the proceedings : in
french
Daniel Charles (France), philosopher
Biography: Musician (student of
Olivier Messian at the Paris Conservatory : First Price, 1956) and philosopher
(agrégation, 1959 ; Ph.D. under the direction of Mikel Dufrenne, 1977), Daniel
Charles has founded and directed during 20 years (1969-1989) the Music
Department at the University of Paris VIII (Vincennes) ; head of the general
aesthetics faculty during 10 years (1970-1980) at the University of Paris IV
(Sorbonne) and during 9 years (1989-1999) at the University of Nice
Sophia-Antipolis. He published numerous articles and books among which 6 have
been translated into German and 2 in Japanese. His talks with John Cage (" Pour
les Oiseaux ", 1976) have just been republished (Paris, 2002) on the occasion of
the 10th anniversary of the death of the composer.
Contribution: About John Cage's "Imaginary
Landscapes"
Abstract:
The inaugural piece – in 1939 – opens to the electronic era in introducing for the first time periodical recurrent and diversely manipulated frequencies against instrumental sounds left "dry". The work develops according to a preestablished time pattern. But since there is no identifiable link between such an abstract rhythmic pattern and the effective evolution of sound, the architectonics can only get unnoticed. They nonetheless constitute much more than a simple safeguard : a regulating concept. The first Imaginary Landscape renews with a strategy of the "mise en abyme" – the age-old scheme of the microcosm's fitting onto the macrocosm - whose diverse avatars are well known since (at least) Guillaume de Machault (XIVth Century), but which, be it in the species of "fractal geometry" and thanks to the developments of electronic technology, has to be more and more reaffirmed as the XXth Century is growing old.
Text of the proceedings : in french
Grégory Chatonsky (France), artist
Biography: Studied Fine Arts and
philosophy, Master degree in Aesthetics at the University of Paris I on the
ontology of virtual realities and the deconstruction of narratives in
interactive structures. Hypermedia studies at the Fine Art School in Paris.
Co-founder in 1995 of Incident (http://www.incident.net/).
Between 1995 and 1998, Chatonsky designed and achieved the cdrom Mémoires
de la déportation which received the Mobius Award in 1999, he also designed
various cultural sites such as the web sites of the Pompidou Center and of the
Villa Medicis.
He created interactives installations and net installations such as :
Incident of the Last Century, Disoriented Frontiers, Sous Terre,
Revenances, La Vitesse du Silence, Nervures, .IO-N, etc.
In 2002, Chatonsky is artist-in-residence at the Abbaye de Fontevraud
(France) for the project "Dislocat.io-n" and at the Inclassables (Canada)
for the project "Translat.io-n".
He had works exhibited in many events in France and abroad.
He works on the issues of narratives, cinema, memory and language.
Contribution: Programmatic Fiction
Abstract:
The concept of programming broadens day by day as if the control and the harnessing of technology broadened its ambit. Nevertheless it is surprising to note that based on a logical-analytic machine language whose presuppositions are theoretically questionable, it is possible to produce the unanticipatable, the incalculable and the unpredictable, or in other words the perceptible. The fact that computer programming can enter into relation with aesthetics and logos casts doubt on the dominant ideology of the anthropological instrumentality of technologies and perhaps makes it possible to sketch out a new aesthetic project. (Translation, L-S Torgoff)
Text of the proceedings : in french
Mario Costa (Italy), philosopher
Biography: During the sixties and
the seventies, Mario Costa gave a philosophic interpretation of many artistic
avant-gardes. Later, about at the end of seventies, he put his attention on the
philosophic involvement of new technologies, of which, among other things, he
tried to outline the aesthetics.
His ideas are shown in around twenty books and in a great number of essays,
partly translated and published in Europe and America.
Mario Costa is professor of Aesthetics at the University of Salerno,
of Criticism's Methodology at the University of Napoli (IUO) and of
Ethics and Aesthetics of Communication at the University of Nice. FONT
<>
Contribution: "Communicating Bloc" and Flux
Aesthetics
Abstract: The "communicating bloc" induces unremarkably performative
attitudes that in fact constitute a flux of an anonymous machine energy that
substantially responds simply to the need of the media themselves to
communicate. Thus the point for art and artists will be to extract
communications technology from the logic of the "bloc" and activate an entirely
different flux, which can only be done within the dimensions of a varied and
polymorphous communication aesthetic. (Translation, L-S Torgoff)
Text of the proceedings : in
french
Edmond Couchot (France), theoretician
Biography: Edmond Couchot has a
Ph.D. and is Emeritus Professor of the French Universities. He chaired the
programme Arts and Technologies of Images at the Paris 8 University for 20 years
and is still involved in the research programme of the Centre for Digital Images
and Virtual Reality. As a theoretician, he is interested in the relations
between art and technology. He published on the subject numerous articles and
two books : Images. De l'optique au numérique, Hermès, 1988, and La
Technologie dans l'art, J. Chambon, 1998. Originally an artist, he created
since the mid-sixties interactive cybernetics systems involving the
participation of the spectator. For some years, "real time" technics allowed him
to further his researches.
Contribution: From Communication to Commutation
Abstract: Text of the proceedings : in
french
Luc Courchesne (Canada), artist
Biography: Luc Courchesne est né à
Nicolet (Québec) en 1952. En 1974, il a reçu un baccalauréat en Communication
Design du Nova Scotia College of Art and Design (Halifax) et en 1984, un Master
of Science in Visual Studies, du MIT (Cambridge). En 1984 alors qu'il réalise,
avec un collectif du MIT, Elastic Movies, une des premières oeuvres
interactive utilisant la vidéo.
Il a créé depuis plusieurs installations dont Encyclopédie
clair-obscure (1987), Portrait no.1 (1990), Portrait de
famille (1993), Salon des ombres (1996), Paysage no. 1 (1997),
Passages (1998), Rendez-vous (avec un collectif de la SAT, 1999)
et The Visitor: Living by Number (2001).
Son travail a été présenté dans une douzaine de pays en Amérique du Nord, en
Europe, en Asie et en Océanie. Il a notamment fait l'objet d'une exposition
personnelle au Museum of Modern Art de New York. Ses installations font partie
notamment des collections du Musée des beaux-arts du Canada (Ottawa), du
Medienmuseum du ZKM (Karlsruhe, Allemagne), du NTT Intercommunication Center
(Tokyo) et du Musée de la communication (Berne).
Luc Courchesne est président de la Société des arts technologiques et, depuis
1989, professeur à l'Ecole de design industriel de l'Université de Montréal.
Contribution: The Discovery of the Horizon
Abstract: Text of the proceedings : in
french
Vincenzo Cuomo (Italy), theoretician
Biography: Vincenzo Cuomo (Torre
Annunziata, 1955) is a teacher of philosophy in Italian State Grammar Schools.
Since 1986 he has been cooperating with the research laboratory Artmedia, under
the direction of Mario Costa of the University of Salerno, and has written
numerous articles and essays on philosophy of technics and media aesthetics. In
1998 he published the book "Le parole della voce. Lineamenti di una filosofia
della phoné" (published in Salerno by Edisud) and has recently edited a volume
of writings by Th.W.Adorno about the connections between the music and media
(published in Naples by Tempo Lungo Edizioni, 2002). He is co-editorial director
of the magazine "Kainos. Rivista telematica di critica filosofica" (http://www.kainos.it/).
Contribution: Tele-cum-Being-Here. Topology of
Impersonality.
Abstract:
Nevertheless, as long as we stay within those confines we are liable to be unable to answer a basic question: who is present in presence at a distance? One possible response to such a question would be to take it up from a topological point of view. What is manifesting itself in this way is an impersonal subject, singularly plural and out of whack. A subject with no voice and no negativity.
Based on the topology of impersonality, it may be possible to understand the theoretical efforts of some forces in contemporary philosophy to develop an ontology of the human that would shed light on the times in which we live. (Translation, L-S Torgoff)
Text of the proceedings : in french
Matteo D'Ambrosio (Italy), theoretician
Biography: Professor of History of
critic of literature (university of Napoli "Federico II") and professor of
methodology and history of critic of literature and history of Italian at the
Istituto Universitario S. Orsola Benincasa, Napoli ; Visiting professor at the
P.U.C. of São Paulo ; Visiting scholar at the Getty Research Institute, Los
Angeles. Semiologist, historian of the avant-gardes, specialist in concrete
poetry ("Sémiotique de la poésie concrète", Canadian Journal of Research in
Semiotics, VII, n. 1, 1979) and visual poetry ("Collage et poesia visiva :
problèmes de définition, lecture et analyse rhétorique", Revue
d'Esthétique, n. 3/4, 1978), he wrote about videopoetry (1984) and computer
poetry (1986). Among his last publications : Le "Commemorazioni in avanti" di
F. T. Marinetti. Futurismo e critica letteraria (1999); Futurismo e altre
avanguardie (1999); Il testo, l’analisi, l’interpretazione II (2002).
Contribution: A Semiotic Approach to Cyberpoetry
Abstract: Text of the proceedings : in
french
Steve Dietz (USA), curator
Biography: Curator of New Media at
the Walker Art Center in Minneapolis, Minnesota, USA, where he founded the New
Media Initiatives department in 1996. He is responsible for programming the
online Gallery 9, including more than 20 artist commissions and one of the
earliest archive-collections of net art, the Walker's Digital Arts Study
Collection.
He has organized and curated new media exhibitions, including
"Beyond Interface: net art and Art on the Net" (1988), "Shock of the View:
Artists, Audiences, and Museums in the Digital Age" (1999), "Digital
Documentary: The Need to Know and the Urge to Show" (1999), "Cybermuseology" for
the Museo de Monterrey (1999), "Art Entertainment Network" (2000), "Outsourcing
Control? The Audience As Artist," for the Open Source Lounge" at Medi@terra
(2000), "Telematic Connections: The Virtual Embrace" (2001-02), a nationally
traveling exhibition, and, with Jenny Marketou, Open_Source_Art_Hack, opening at
the New Museum in New York in May 2002. In 2003, "Translocations" will open at
the Walker Art Center.
He speaks and writes extensively about new media, and
his interviews and writings have appeared in Parkett, Artforum, Flash Art,
Design Quarterly, Spectra, Afterimage, Art in America, and Museum News.
http://www.walkerart.org/ -
http://www.artsconnected.org/ - http://www.mnartists.org/
Contribution: Translocations and How Latitudes Become
Forms
Abstract:
Net Art in its best models of production and expression, has found a place and a genuine aesthetic legitimacy. These products of the mind require the same type of aesthetic attitude which had previously been reserved for the arts. This poses a whole series of questions which must be answered.
How should these products be treated in institutions devoted to the arts? How will the museums, already subject to change (networked museums, virtual theatres etc.), be expected to evolve? Will it be necessary to find new channels or strategies of distribution? What's happening to copyright laws ? What forms of economic transaction do these products give rise to? How can net art be preserved (collection, archive)? Will the net be the only form of presence of these products? How are the authorities being called to intervene with regard to this type of production?
Reynald Drouhin & Jean-Paul Fourmentraux (France), artist /
sociologist
Biography: Both net and video
artist, Reynald Drouhin has presented his work in Montreal at the Biennale de
Montreal and at the festival Champ Libre manifestation internationale vidéo et
art électronique in 1999. He has also participated in ISEA 97 Chicago, Imagina à
Monaco (1998) and the Web Art Festival " Web bar " (1999) in Paris. Drouhin has
received the Grand Prix at the Cyberfestival in Rueil-Malmaison in 1999 and the
Multimedia price at DRAC Auvergne/Vidéoformes in Clermont-Ferrand in 1997. Since
1990, Reynald Drouhin works on many Web art sites and digital projects.
Artist-teacher in Fine Art at Rennes in France since 2000.
J.P. Fourmentraux est attaché d'enseignement en sociologie et arts plastiques
(DESS de Création Multimédia, université de Toulouse II). Chercheur au Centre
d'Étude des Rationalités et des Savoirs (CERS - CNRS, UMR 5117). Co-auteur de
deux rapports de recherche commandités par la Délégation aux arts plastiques du
ministère de la Culture : " Culture visuelle et art collectif sur le web "
(1999), " Entre l'artiste et l'informaticien : un espace de médiation,
traduction, négociation " (2001). Auteur de divers articles sur le Net.Art pour
les revues " Sociologie de l'art ", " Solaris ", " Archée ", " Chair et Métal -
(Veille planétaire d'art en réseau) ".
Contribution: Backstage in the Making of the Net.Art
Piece Des_Frags Process
Abstract: Text of the proceedings : in
french
Mariapaola Fimiani (Italy), philosopher
Biography: Teacher of Moral
Philosophy at the university of Salerno. Former director the Philosophy
Department of this University (1993-2001), she is currently its vice-dean. Her
research was about English empirism and more specifically about the theory of
meaning and the theme of nature as a "visual language" after Georges Berkeley.
Since the beginning of the '80s she focused on the issues of the archaïc, the
magic, the myth, the symbolic, the sacred (Marcel Mauss e il pensiero
dell’origine, Napoli, 1984 ; Lévi-Bruhl. La différence et
l’archaïque, Paris, L’Harmattan, 2000). To her thinking about the
relationships between truth, power and ethic are linked her research on Michel
Foucault (Foucault et Kant. Critique Clinique Éthique, Paris,
L’Harmattan, 1998 ; L’arcaico e l’attuale, Torino, 2000).
Contribution: Aesthetics and Ethics: the Force of
Things
Abstract: Text of the proceedings : in
french
Monika Fleischman et Wolfgang Strauss (Allemagne), artists
Biography: Monika
Fleischmann, 51, German research artist. Studied visual arts, theater and
computer graphics. Since 1992 artistic director of the institute for media
communication; since 1997 head of the MARS exploratory media lab at the
Fraunhofer Institute for Media Communication in Sankt Augustin, outside Bonn.
Her work - always produced with her partner Wolfgang Strauss - was exhibited
e.g. at the Centre Pompidou, Paris, Museum for Design, Zurich, presented at
MoMA, New York and Festivals like Siggraph, Imagina, Art Futura, ISEA and Ars
Electronica. 1992 "Home of the Brain" was awarded with the Golden Nica for
interactive art at Ars Electronica in Linz. "Liquid Views" was part of the
opening exhibition of the ZKM Media Museum in Karlsruhe.
Her main research topics are intelligent information interfaces combined with
interactive virtual environments on the base of perceptive processes. Knowledge
discovery and mixed realities are important issues of her actual work. http://imk.fhg.de/mars
Biography: Wolfgang Strauss,
50, is architect and visiting professor in interactive media. Strauss studied
Architecture at the Academie of Fine Arts Berlin and has held teaching positions
in Visual Communication at the HDK Berlin, at the KHM Media Art School Cologne,
at the School of Fine Arts Saarbrücken and the Kunsthochschule in Kassel.
Together with Monika Fleischmann he was a co-founder of Art + Com, Berlin in
1988. His artistic work has been included in exhibitions and festivals of new
media art worldwide. As an architect his main interest is to develop methods for
intermedia representation in Mixed Realities. Currently he is co-director of the
MARS.
His recent work is about intuitive interface environments related to the
human body and digital media space. http://imk.fhg.de/mars
mailto:monika.fleischmann@imk.fhg.de@imk.fhg.de
wolfgang.strauss@imk.fhg.de
Contribution: Metaphors of Online Navigation :
netzspannung.org – a Collaborative Knowledge Space for Art and Technology, a
Community-based Internet Platform
Abstract:
The networked space defines a dynamic and collaborative context for presenting art. The roles of artists, curators and the public are redefined. The virtual exhibition is not conceived as a closed structure, but rather as a permanent process of art presentation, production and communication.
In tandem with these strategies, the web interface largely defines how navigation through hyper structures becomes an experience of art. The navigational structure and the visual form are shaped by organization of information in alphabetical, semantic, spatial or time structures and by the links between them.
Text of the proceedings : in english
Fred Forest (France), artist and theoretician
Biography: Artist, emeritus
professor of the University of Nice, co-founder of the Group of Sociological Art
(1974), co-founder with Mario Costa of the International Movement of the
Aesthetics of Communication (1983), director of the programme in aesthetics of
communication at the MAMAC, Communication award at the XII São Paulo Biennale in
1973, participated in the Venise Biennale in 1976, the Documenta 6 in 1977,
Award of the City of Locarno, Festival des Arts Electroniques in 1995, founder
of the www.webnetmuseum.org. Books : L'art sociologique, 10/18 UGE Paris
1977, "Pour un manifeste de l'esthétique de la communication", + - 0,
Bruxelles 1985, Pour un art actuel : l'art à l'heure d'Internet,
l'Harmattan, Paris 1998, Fonctionnement et dysfonctionnements de l'art
contemporain, l'Harmattan, Paris 2000. Web site : http://www.fredforest.org/
Contribution: Small journey in the past: by going back
from the Net art to the historic foundations of the aesthetics of the
communication
Abstract:
One of them it is, exactly, the recurrence of a thematisation of the notion of space-time in a certain number of representative artistic practices, today, of the art on Internet. The reflection which we propose will have for object to put in evidence, from some concrete examples, how the aesthetics of the communication has already anticipated this problem from the 80s, while Internet did not still exist as media of creation. The fundamental notions which deal with space-time, with presence at distance, with action at distance, with ubiquity, with interactivity, with intersubjectivity, with combinatorial, of location/relocation, of relational, social and interpersonal nearness, are already in the depths oh the practices and theories developed by the artists and the theorists of the aesthetics of the communication.
To understand the present, it is always useful to know how this present anchors in a specific way in a more global art history, to distinguish better, in the new forms which appear, their own innovative and original contributions.
Text of the proceedings : in french
Eduardo Kac (Brazil/USA), artist and theoretician
Biography: Eduardo Kac is
internationally recognized for his interactive net installations and his bio
art. A pioneer of telecommunications art in the pre-Web '80s, Eduardo Kac
(pronounced "Katz") emerged in the early '90s with his radical telepresence and
biotelematic works. At the dawn of the twenty-first century Kac shocked the
world with his "transgenic art"--first with a groundbreaking net installation
entitled Genesis (1999), and then with his fluorescent rabbit called
Alba (2000). Eduardo Kac is represented by Julia Friedman Gallery,
Chicago. His work is documented at <http://www.ekac.org/>.
Contribution: Telepresence, Biotelematics, Transgenic
Art
Abstract: Text of the proceedings : in
french
Natan Karczmar (France/Canada/Israel), artist and curator
Biography: Born in Paris in 1933.
Organized in 1954 a festival of film on Art in Tel Aviv, Jerusalem, and Haifa.
Founder and Director from 1957 to 1964 of the theater Centre Canadien d'Essai as
well as of the Salon de la Jeune Peinture in Montréal. In 1989, he created "Art
Planète", a bi-monthly video magazine presenting museum exhibitions around the
world as well as inter-museums communication events in real time named "The
Interactive Museum". From 1992 until 1994, he directed the seminar
"Art/Communication/Nouvelles Technologies" at the Université Européenne de la
Recherche in Paris. In 1996, he founded the Internet art magazine ArtMag (http://www.artmag.com/).
Non-objective painter, he has had exhibitions in Europe, Canada, the US, and
Israel.
Contribution: The Vidéocollectif
Abstract: The second CollectiveVideo was made as part of the first
Artmedia Costa organized. Then other video events were organized around diverse
themes in Paris, Metz and Cergy. A CollectiveVideo sister cities project
involving 60 videomakers was organized in Cologne, Lille, Liège,
Esch-sur-Alzette and Grenoble. A "Vive La Tour" CollectiveVideo was made on the
occasion of the centenary of the Eiffel Tower, and recently an Environment
CollectiveVideo was organized with the Vidéoformes festival in Clermont-Ferrand.
(Translation, L-S Torgoff)
Text of the proceedings : in
french
Derrick de Kerckhove (Canada), theoretician
Biography: Director of the McLuhan
Program in Culture & Technology and Professor in the Department of French at
the University of Toronto. He co-edited with Charles Lumsden The Alphabet and
the Brain (Springer Verlag, 1988), a book which scientifically assesses the
impact of the Western alphabet on the physiology and the psychology of human
cognition. Brainframes: Technology, Mind and Business (Bosch&Keuning,
1991) addresses the differences between the effects of television, computers and
hypermedia on corporate culture, business practices and economic markets.
Connected Intelligence (Somerville, 1997) introduced his research on new
media and cognition. He has contributed to the architecture of
Hypersession, a collaborative software now being developed by Emitting
Media. This work inspired his latest book The architecture of
intelligence (see http://www.architecture.openflows.org/)
first issued in Dutch in December 2000. He is presently a member of the Vivendi
Institut de prospective where he is in charge of investigating the future
technological and business development of the new technologies. He has been a
member of the Club of Rome since 1995.
Contribution: The Digital Arts as External Mental
Objects
Abstract:
What does the theory of external mental objects teach us about art?
1 - That the objective of the art object, no matter what it may be, is always to create first of all an emotion and a mental image.
2 - That in classical art, thinking and emotion require a material mediation, whereas in digital art they can be given more or less as they come, as mental objects.
3 - That hypermedia, virtual reality and interactivity let us revisit our sensory experiences so that we can play them back indirectly, outside of our heads.
4 - That depending on the support or the medium used, digital art can recreate the proportions of verbal (conceptual), sensory (direct perception, including of music and tactility) and iconic content.
5 - That there is a kind of art that corresponds to digital mental objects, involving links, connections and networks, a vein in contemporary and future art barely mentioned and even less explored. (Translation, L-S Torgoff)
Sophie Lavaud (France), artist
Biography: Artist, creating
installations where the bodies and gestures of the audience are staged in
interactive fictions she calls " hyperpaintings ". She is actually
preparing a thesis in Art and Technology at Paris 1 university. Lives and works
in Paris. Exhibitions in France, abroad and in the cyberspace :
Art-Jonction (Nice), Village ISEA 2000, Paris, " Generative
Art", on ligne : http://www.webnetmuseum.org/, Festival
@rt-Outsiders, Paris, " Techno-Wedding " with Fred
Forest in Issy-les-Moulineaux, "Virtual Art", curator : Franck
Popper, Boulogne-Billancourt.
She gives lectures on the use of new
technologies in artistic works.
Winner of international competition Noos
2001 in multimedia-art category : http://www.noos.fr/animation/laureat/50/art_3000.swf
Researcher in the laboratory " Action on the picture ", Paris 8
university, Hypermedia department.
On line publications + article to be
published in L’harmattan, about the self-sufficiency of pictures as digital
systems.
Contribution: The Involvement of the Body in Interactive
Scenographies
Abstract:
We find ourselves in the presence of two bodies, the human body modeled by sensory experience via the technological act (what Edmond Couchot calls "techno-aesthetic experience") and that of the artifact, which as an image/system is endowed with a "biosensorial" experience. Their interaction leads us to modify our way of being, our mode of presence to ourselves and to others and our daily interactions with our environment, going from a recognition of the obsolescence of the "biological" body (see Stelarc’s concept of "post-human" and Roy Ascott’s "post-biological") to the emergence of a new "body" and a new "being" in full mutation. (Translation, L-S Torgoff)
Text of the proceedings : in french
Dominique Lestel (France), theoretician
Biography: Teacher in the Department
of Cognitive Studies at the Ecole normale supérieure de Paris, and researcher at
the Laboratory of Eco-anthropology of the National Museum of Natural History of
Paris (CNRS/MNHN). Philosopher and ethologist, his researches focus on the
phylogenesis of meaning, the aesthetics of the living, compared ecology of
rationality, communications human being/animal and the specific identity of the
human. Disciple of Louis Bec, he has been researcher-in-residence at the Art
School of Aix-en-Provence within CYPRES in 1992. He has published many articles
and three books : Paroles de singe : l’impossible dialogue
homme/primate (La Découverte, 1995), L’animalité : Essai sur le
statut de l’humain (Hatier, 1996) et Les origines animales de la
culture (Flammarion, 2001).
Contribution: Elements of a Phylogenesis of
NetworkAesthetics: Expressive Rationality and Creative Regression
Abstract: Text of the proceedings : in
french
Louis-Josè Lestocart (France), theoretician
Biography: Studied history and
archeology. Master in ancien history. Archeologist. DEA in proto-history
archeology at the Art and Archeology Institute in Paris. Excavations in France
and abroad until 1990. Then literature critic (Europe, Lettres Françaises), art
and film critic (Art press, Positif, NRF, Cinémathèque) and exbibition curator
for the the Ministry of Foreign Affairs ("Agora", online exhibition about net
art).
Contribution: Emergence - Art in Shared Space
Abstract: Text of the proceedings : in
french
Pierre Lévy (Canada/France), theoretician
Biography: Philosopher of
cyberculture and collective intelligence.
Born in 1956 in Tunis. Studies and beginning of his career in France. Lives
in Canada. Professor at the University of Ottava. Author of many books about the
cultural implications of new technologies and the emerging global civilization.
His books have been translated into more than 15 languages and most of them have
been republished in pocket book collections. Among his last books :
Cyberdémocratie, Odile Jacob, 2002 ; World Philosophie, Odile
Jacob, 2000 ; Le Feu libérateur, Arléa, Paris, 1999 ;
Cyberculture, Odile Jacob, Paris, 1997 ; Qu'est-ce que le virtuel
?, La Découverte, Paris 1995 ; L'Intelligence collective, La
Découverte, Paris, 1994
Contribution: Cultural Design, a New Form of Conceptual
Art: The Project of Collective Intelligence
Abstract:
The meta-cultural project of collective intelligence seeks to establish optimum conditions for dialogue and communications between a multitude of values, programs, traditions and genres of knowledge which from now on will relate to each other virtually in competitive cooperation. Taking the best possible advantage of the advent of cyberspace, a culture of collective intelligence would create the conditions for the optimum development of the latent powers of the human mind. (Translation, L-S Torgoff)
Text of the proceedings : in french
Jean-Paul Longavesne (France), artist Biography:Jean-Paul Longavesne was
born in France and lives in France and Québec. He is currently working as
Professor at the University Paris XI and at the National School of Decoratives
Art (ENSAD) where he is responsible for the Fashion and Clothing Department,
Director of the Painting datas Research Group (GRIP) and Board Member of the
International Colour Association (AIC).
As an installation and performance artist, he has pioneered the development
and creative use of an artist's personal painting machine on the net and has
exhibited artworks at a number of shows in Canada, Europe and USA. His latest
electronic publication "The Aesthetics and Rhetoric of the Technological Arts
Interface Machines" (see http://crossings.tcd.ie/issues/1.2/Longavesne/ ).
grip@cnam.fr
http://perso.ensad.fr/~longa/
Contribution: Aesthetics and Rethorics of Technological
Arts : The Art of the Machines
Abstract: Interfaces' Space and Time "Ni la matière, ni l’espace ni le temps ne sont depuis vingt
ans ce qu'ils étaient depuis toujours. Il faut s’attendre à ce que de si grandes
nouveautés transforment toute la technique des arts, agissent par là sur
l’invention elle même, aillent peut-être jusqu’à modifier merveilleusement la
notion même de l’art." - Paul Valéry. From automatic production to mechanical reproductibility, art
history shows us that during Antiquity, art and technics are not dissociated,
that, gradually, the hand, then the tool become a machine. If, in the Ars', the
main means to a transformative activity is the tool that enhance the gesture,
making it more efficient, in the technics and the technology, the machine is
defined as the source of the transformative process, enfeoffing the gesture to a
project often outside of the body ; the machinic short-circuit revealing the
importance of communication. In other words, the technics, followed by the
technology amplifie the communication processes needed in the artistic
production, mainly in the field of technological arts where the virtual takes a
more and more important place. This artistic creation, therefore, developps new
methods in relationships with its new tools. It is no longer the mimesis that is
in the forefront, but what allows the apparition, the process, the tool-based
activity that organizes it through the machine. If art recalls the necessity of
senses and gestures that inhabit it, the technology takes them away by the
detachment of its procedure. The interface plays then this role of mediation,
defining a new body of artistic practices. Text of the proceedings : in
french
Roger Malina (France/USA), theoretician
Biography: Roger Malina is an
astronomer and editor. He is the Director of the Laboratoire d'Astrophysique de
Marseille and former Director of the NASA EUVE Observatory. He is a member of
the International Academy of Astronautics. He is Chairman of the Board of
Leonardo/The International Society for the Arts, Sciences and Technolgy and
Executive Editor of the peer reviewed scholarly journal Leonardo
published with MIT Press.
Mit Mitropoulos (Greece), artist and theoretician
Biography: Researcher in
communications with and without technology. His Ph.D. (Edinburgh University,
1974) is on Space Networks--the concept of space as a network,rather than as
place.
Has been consultant to organisations and institutions (including UNESCO; EVR
of MIT, USA; CIC,Paris; Greek Ministries of Culture, and of Research+Technology)
on issues connecting technology to policy and legislation.
As an environmental artist, he has been active with Geopolitical Art projects
,as well as with 2-way interactive video installations.
Contribution: Articulation of Electronic Spaces, and
Behaviour in them --as compared to Semi-private/public Spaces and Minimal Design
for Remote Sites
Abstract: Text of the proceedings : in
french
Pierre Mœglin (France), theoretician
Biography: Teacher at the university
of Paris 13 where he runs the DEA and the Ph.D programme in "Sciences of
communication", and also the Laboratory of Information and Communication
Sciences (LabSic). He runs also the Maison des Sciences de l’Homme " Paris
Nord – UMR CNRS " that he founded in 2001 under a request of the
ministries of Education and of Research. His fields of research and expertise
are the socio-economical analyse of the industries of culture. He is the author
and co-author of more than a dozen of books on the industrialisation of
teaching, the convergence of the audiovisual, computer and telecommunications
fields, the development of new media. He has collaborated in several actions
created by Fred Forest.
Enrico Nuzzo (Italy), philosopher
Biography: Enrico Nuzzo is
Professore Ordinario in History of Philosophy at the University of Salerno. He
is mainly interested in philosophical, political, historical modern thought
(particularly in the fields of Italian, French, and English cultures). He
published many volumes and essays on Vico (he is working at the critical edition
of Scienza nuova prima), on the "Southern Italian philosophical
tradition", on Cartesianism in Naples in the XVII and XVIII centuries (Leonardo
Di Capua, Caloprese, Doria, etc.), on Croce, on French moralists
(Saint-Evremond, etc.), on Condillac, on the English Republican Tradition. His
other writings concern questions in historiography, methodological and
theoretical problems such as Political Aristotelianism, the Reason of State, the
foundation of the modern genre of ancient history, the relation between
philosophy and literature, the epistemical status of image and the
"metaphorology".
Louise Poissant (Canada), theorician
Biography: Louise Poissant has a
Ph.D in philosophy. She is professor at the School of visual and media arts at
the UQAM since 1989. She is the director of the Research Group in Media Arts
since 1989 and the interdisciplinary Ph.D programme in Studies and practices of
arts since 1997. She has written numerous articles and books in the field of
media arts published in various magazines and journals in Canada, France and the
United States. She has directed the Dictionnary of Media Arts published in
French at the PUQ and online in English by the journal Leonardo. She is the
co-writter of a TV serie about media arts produced in collaboration by TV
Ontaria and TELUQ. She collaborates with the Contemporary Art Museum in Montreal
to a series of video portrait of artists. Her current researches deal with the
links between interfaces and sensoriality.
Contribution: The Media Arts Dictionnary
Abstract:
In addition to definitions, the dictionary contains historical entries, technical illustrations, excerpts of artworks, interviews, commentaries, etc.
The presentation of the site, which can be consulted dynamically (XML display), is meant to encourage comments and suggestions. (Translation, L-S Torgoff)
Text of the proceedings : in french
Karen O'Rourke & Sharon Daniel (France/USA), artist /
Assistant Professor
Biography: Karen O'Rourke is
an artist who works with databases, networks and storytelling systems. Her work
has been presented in Europe, the United States and South America. In 1997 she
received the Leonardo Award for Excellence. Recent projects include a CD-Rom
Paris Réseau, published by the Editions du CERAP in 2000, and "Archiving
as Art", a collective exhibition/website which was part of the interdisciplinary
CNRS program "Archives de la Création". She is Maître de conférences in art and
communication at the Université de Paris 1.
Biography: Sharon Daniel is an Assistant Professor of Film and Digital Media at the University of California, Santa Cruz where she teaches classes in digital media theory and practice. Her research involves collaborations with local and on-line communities which exploit information and communications technologies as new sites for "public art."
Contribution: Mapping Databases: Online Representation
of Spatiotemporal Experience
Abstract: Text of the proceedings : in english
This paper presents a project I am developing with Sharon Daniel
Mapping the Database. One of our main goals is to bring to light cross-cultural
perspectives on the representation of spatiotemporal experience. How can these
representations be created and used by individuals and communities?
Our
collaboration examines the notion of an aesthetics of database within the
context of prototyping and testing interactive systems for the creation and
collection of maps. For our purpose mapping is seen as collaborative,
intersubjective, communication or information design and exchange. We are using
databases as instruments for investigating non-hierarchical information systems
through two developing project prototypes, Substract the Sky and A Map Larger
than the Territory.
Frank Popper (France), theoretician
Biography: Professor emeritus of
aesthetics at the University of Paris VIII, he is the author of Naissance de
l'art cinétique, 1967 ; Art - Action and Participation, 1975 ;
L'artist et la créativité aujourd'hui, 1980 ; Art of the Electronic
Age, 1993 ; Réflexions sur l'exil, l'art et l'Europe, 1998 and is at
present working on a study of Virtual Art. He was also organizer and author of
the catalogue of the exhibitions Kunst-Licht-Kunst, 1966 ; Lumière et
mouvement, 1967 ; Electra, 1983, and L'art virtuel, 1998.
Gilbertto Prado (Brésil), artist
Biography: Born in Santos/Brazil,
1954, multimedia artist, studied Engineering and Visual Arts at the State
University of Campinas, Brazil. In 1994 he obtained his doctoral degree in Arts
at the University of Paris I. He has participated in several art exhibitions in
his country and abroad. Currently he is Professor at the Department of Visual
Arts at the ECA/USP - Communication and Arts School at University of São Paulo.
http://wawrwt.iar.unicamp.br/gilbertto/gilbertto.htm
http://www.itaucultural.org.br/desertesejo
Contribution: Recent Experiments in Multiuser Virtual
Environments in Brazil
Abstract: Text of the proceedings : in english
Nicolas Reeves (Canada), artist
Biography: Teacher at the School of
Design of the UQAM (Montreal). Runs the NXI GESTATIO laboratory
(architecture/design/computer science) at the UQAM and the axis Artificial Life
and Robotics Art of the new institute Hexagram dedicated to the arts and media
technologies. His creative approach is reinforced by a theoretical research
which questions the basis of the notion of order, information and organisation.
In 1995, he exhibited the architectonic installation Morphologies
Surrationnelle which inscribes his work within the arts-science relation,
which has been strenghten by the project Harpe à Nuages ((1997-2002). He
created several technological art installations, sound-based and reacting to the
variations of natural phenomena: Le Jardin des Ovelyniers, La Chambre
Forcluse, Le Mascarillon, Sixième Diffractale.
Contribution: The Terrifying Trouble with Lucidity:
Essay on Pseudo-Infinite Worlds
Abstract:
We propose a variety of mechanisms so that DUs can become equivalent to infinite universes. To that end we envisage a number of methods that make it possible to increase the number of states accessible to a DU, and we will discuss the temporal thresholds based on which the behavior of the latter can allow it to escape finitude. Of course, we will not be talking about real infinities, only quasi- or even pseudo-infinities–the machine that generates them remains an automation whose states are finite and the argument that these infinities are illusions will always be difficult to counter. But as we will also see, by analogy with reality and using a few IT tools, this overly reasonable reasoning becomes sterile, and in quite a few cases the illusion is more fertile than the lucidity. (Translation, L-S Torgoff)
Text of the proceedings : in french
Jemima Rellie (UK), curator
Biography: Jemima Rellie is Tate's
Head of Digital Programmes, with responsibility for the strategy and
co-ordination of public-facing digital content. Prior to Tate, she worked in
interactive TV (EC1 Media), internet development (Saltmine Creative), and art
book publishing (Phaidon and Macmillans). She has an MA in The Social History of
Art (Leeds University).
Contribution: Intervention and subvention, collaboration
and communication - Net Art's contribution to the transformation of the
museum
Abstract:
The aesthetic and conceptual potential of Net Art has significant implications for the way these museums operate. Museums are cumbersome and slow moving, burdened by bureaucracy and competing demands for resources. As a result these implications have not, as yet been fully explored or realised. In this paper I will start by presenting Tate's net art commissions to date as well as the context in which these commissions were developed, and how that context continues to evolve. I will also describe why these projects are important to Tate by locating Net Art within Tate's broader online strategy and aligning it to Tate's core objectives.
Text of the proceedings : in english
Isabelle Rieusset-Lemarié (France), theoretician
Biography: Isabelle
Rieusset-Lemarié, theoretician and critic in art and new technologies, studied
F. Forest's Aesthetics of Communication (Epiphaneia n°2, 1997). In her synthetic
book "La Société des clones à lère de la reproduction multimedia" (Actes Sud,
1999) she analysed the grounds of virtual aesthetics in the light of W.
Benjamins insight into the outcome of the artwork in the age of multimedia
reproduction ("Web Museum 2000") and from her works about "Computer Assisted
Palaces of Memory" (Jasis n° 48, 1990) and about "Artificial Life".
Her current researches deal with aesthetic aspects of autonomous virtual
creatures (Festival @rt Outsiders, 2001).
Contribution: Artwork's Pathes beyond Utilisability
(Whitin Net Range: Which Kind of Proximity?)
Abstract: Text of the proceedings : in
french
Anolga Rodionoff (France), theoretician
Biography: Architect Anolga
Rodionoff is an associate professor at the University of Paris with a Ph. D. in
Political Science. Her research shows that the upheavel produced by the impact
of communication on architecture pre-dates the use of communication techniques
particulary this of the web by architects themselves. A University of Paris
researcher on communication media and personnel, she is also commentator and
curator for the architecture collection at Fred Forest's Web Net Museum. Her
latest publications include Architecture : from production to
communication, (MEI 14, l'Harmattan, Paris, 2001).
Contribution: Network Architectures, Architectures of
Interactivity?
Abstract: Text of the proceedings : in
english
Timothée Rolin (France), artist
Biography: In Paris, Timothée Rolin
studied at the Superior National School of Decorative Arts (ENSAD) and later he
designed the website for the school. His interest in systems related to
databases prompted him to start his own participative site in January 2002, http://www.adamproject.net/. This site records his daily life
and that of every one who is willing to participate in the project, in the form
of dated and timed photographs, commented on and described by key words, thus
creating an original collective memory that is permanently accessible. Some
tools, such as a semantic search engine, allow us to reach out to this network
of memories."
Contribution: Presentation of the ADaM project
Abstract: Text of the proceedings : in
french
Eric
Sadin (France), theoretician
Biography: Eric Sadin is a writer, a
multimedia author and a theoretician of the relations between arts, language and
new technologies. He is the founder and editor of the journal : éc/art S:.
He founded <world.wide.writings.Studio > agence_d'écriture™
éric.sadin & partnerS« , a new organization
dedicated to the production of textual systems based on collaborative work and
open to contemporary technologies. In 1997, he published
" : ", a text that incorporated different levels of
writtings (poetry, theory, fiction) (Pécuchette éditions). He has
published theoretical and poetic texts in more than 15 journals. He has a Ph.D.
in philosophy. He has been fellow of the Villa Kujoyama, Kyoto, Japan, in 2002.
Contribution: Urban Surfaces/Textual Territories
>Signs, Bits & the City
Abstract: Text of the proceedings : in
french
Bruno Samper (France), artist
Biography: Multimedia artist. En
1998 he initiated the online magazine http://www.panoplie.org/ which aim is to experiment the
langage of the web that is open, not pre-determined, not pre-categorized, a
powerful miw of influences in any expressive forms : multimedia magazine, video
games, webdesign, interactive series, online utopia, etc. In 2001, he is the
co-founder, with Rouanet, of the studio panoplie.prod (of which he is the
artistic director). The studio developps multimedia projects on and offline :
interactive fictions, documentaries, games and long term universes projects. The
project http://www.protoform.net/ is an example.
Contribution: Creators of Persistent Worlds: Artists as
Forces for Convergence
Abstract:
The presentation will show that these passageways are developing around three points:
1- The metaphysical question.
The quest for knowledge. Curiosity-driven. To see what’s behind something. The Platonic search for the "true, the beautiful and the good." "What is there beyond the next level?" is the equivalent of "What lies behind appearances?" The concept of exploration is the subtext in many games.
2 - The aesthetic question (interactivity in representation). The representation of perceptible forms (objective interactivity). The representation of interactivity systems and processes (subjective interactivity).
3 - The economic question.
Is art "entertainment"? - The question of universality linked to economic necessities.
The whole talk will be illustrated by two of our projects: the online community utopia project Protoform, and Society, a four-level online game done as part of a public commission. (Translation, L-S Torgoff)
Text of the proceedings : in french
François Soulages (France), theorician
Biography: Professor of University,
he is director of the DEA "arts of images and contemporary art" at the
University of Paris VIII. He is the director of the section "aesthetics, arts
and industries" at the Maison des Sciences de l'Homme Paris Nord. He has written
several books about image and contemporary art among which "Esthétique de la
photographie" (Paris, Nathan, 2002, 4°édition), he is curator of international
exhibitions and director of book collections. Currently he is researching on the
image from different perspectives : philosophical, aesthetical, psychoanalytic
and political. His two recent books "Dialogues sur l'art & la technologie,
autour d'Edmond Couchot" (2001) & "La couleur réfléchie" (2002) open to new
research fields and perspectives.
Angelo Trimarco (Italy), historian and art critic
Biography: Teacher of History of
art critic at the university of Salerno and Dean of the Humanities at the
same university. Since the early '70s, he developped researches on the Freudian
theory of art and on the social history of art. He studies themes and issues
dealing with the historical avant-gardes and the neo-avant-gardes. He wrote
several essays on the theories of surrealism. He is actively involved in the
discussion, both on a theoretical and critical level, on current state of the
art. His contributions —books, essays, critical articles— have been published in
major international journals. He curated several exhibitions of Italian artists.
In 1993, he was curator for the Venise Biennale.
Contribution: Criticism in the Age of the Virtual
Abstract: Text of the proceedings : in
french
Victoria Vesna (USA), artist
Biography: Victoria Vesna is an
artist, professor and Chair of the Department of Design | Media Arts at the UCLA
School of the Arts. Vesna's work can be defined as experimental research that
connects networked environments to physical public spaces. She explores how
communication technologies affect collective behavior, and the shifting
perceptions of identity in relation to scientific innovation. Most recently she
was building a 'community of people with no time' and is exploring the impact of
nanotech on culture and society. In 2000 she completed her Ph.D. at CAiiA,
University of Wales, entitled "Networked Public Spaces: An Investigation into
Virtual Embodiement".
Contribution: Mind Shifting and Future Bodies: from
Networks to Nanosystems
Abstract: Text of the proceedings : in english
Marie-Claude Vettraino-Soulard (France), theorician
Biography: Professor in sciences of
information and communication at the University of Paris 7 - Denis Diderot.
Founder and director of the national research seminar "Writing, Image, Orality
and New technologies (Ecrit, image, oral et nouvelles technologies) and author
of several books about the Internet. She is the president of "Carrefours
Télématiques".
Benjamin Weil (USA), curator of media arts, SFMOMA
Biography: Benjamin Weil is the
curator of media arts at the San Francisco Museum of Modern Art. He also serves
on the curatorial committee of Eyebeam, a non-profit organization based in New
York. At SFMOMA, Weil has started a policy of web commissioning, which has led
to the release of 7 artists projects and the ongoing crossfade, a
hypermedia journal about sound art and its relationship to the computer, and to
the network. Prior to that appointment, Weil served as director of New Media at
the ICA London.
Weil co-founded äda 'web, the renowned digital
foundry, which between 1994 and 1998 produced online projects with contemporary
artists, and reflected upon the way to contextualize this kind of work beyond
the usual categories of exhibitions, catalogues, documentary and theory. The
archives of the site, which are still online, were donated in 1998 to the Walker
Art Center in Minneapolis, and form the base of this institution's digital art
study collection. Weil has lectured extensively about art and the net, as well
as issues related to the evolving nature of curatorial practice brough by
process oriented art. He has also published writings in numerous international
art magazines, and served on the editorial committee of Atlantica.
Contribution: From Object to Process: the
Dematerialization of the Art Idea and its Effect on Curatorial and Conservation
Practices
Abstract:
With the increasing importance of digital tools and their presence in the palette of instruments used in an extended number of art practices, we are not only witnessing a blurring of boundaries between various art experiments (sound, live art, visual art, etc.), but also being confronted with the ephemerality of such practice, as computing constantly evolves and makes earlier experiments obsolete.
From the perspective of earlier experiments, to the more recent explorations brought by an ever more accessible technology, curating is being challenged by this formal instability, that forces a reflection on what we are actually trying to exhibit, disseminate, distibute. Furthermore, this state of things also question the role of the curator, which evolves from the position of selector and contextualizing force, to the possible one of producer.
My presentation will offer a perspective on those pressing issues that also affect collecting and conservation strategies, informed by my various experiences in the sphere of art and new media.
Related urls : http://www.eyebeam.org/ ; http://www.sfmoma.org/espace/espace_overview.html ; http://www.sfmoma.org/crossfade ; http://010101.sfmoma.org/start.html ; http://www.walkerart.org/gallery9/dasc/adaweb/index.html ; http://adaweb.walkerart.org/