“Recognizing the increasing significance of media art for our culture, this Conference on the Histories of Media Art will discuss for the first time the history of media art within the interdisciplinary and intercultural contexts of the histories of art. Banff New Media Institute, the Database for Virtual Art and Leonardo/ISAST are collaborating to produce the first international art history conference covering art and new media, art and technology, art-science interaction, and the history of media as pertinent to contemporary art.”
September 29 – October 1, Banff New Media Institute, Canada
Conference program with streaming times www.MediaArtHistory.org
Since we have only a few places left to attend the conference in Banff we are webstreaming live all keynotes, sessions and discussions from the site. Viewing the sessions in groups at Universities, Libraries, and Art Centers is encouraged, in order to facilitate local dialogue. Webstreaming is available in Quicktime and Windows Media. For optimal viewing on larger screens and for in-screen viewing of powerpoint presentations, prior download of Windows Media is recommended.
MEDIA ART HISTORIES
After photography, film, video, and the little known media art history of the 1960s-80s, today media artists are active in a wide range of digital areas (including interactive, genetic, and telematic art). Even in robotics and nanotechnology, artists design and conduct experiments. This dynamic process has triggered intense discussion about images in the disciplines of art history, media studies, and neighboring cultural disciplines. The Media Art History Project offers a basis for attempting an evolutionary history of the audiovisual media, from the laterna magica to the panorama, phantasmagoria, film, and the virtual art of recent decades. It is an evolution with breaks and detours; however, all its stages are distinguished by a close relationship between art, science, and technology.
Refresh! will discuss questions of historiography, methodology and the role of institutions of media art. The Conference will contain key debates about the function of inventions, artistic practice in collaborative networks, the prominent role of sound during the last decades and will emphasize the importance of intercultural and pop culture themes in the Histories of Media Art. Readings of new media art histories vary richly depending on cultural contexts. This event calls upon scholarship from a strongly international perspective.
Therefore Refresh! will represent and address the wide array of disciplines involved in the emerging field of Media Art. Beside Art History these include the Histories of Sciences and Technologies , Film-, Sound-, Media-, Visual and Theatre Studies, Architecture, Visual Psychology, just to name a few.
DOCUMENTATION – CURATING – COLLECTION
Although the popularity of media art exhibited at exhibitions and art festivals is growing among the public and increasingly influences theory debates, with few exceptions museums and galleries have neglected to systematically collect this present-day art, to preserve it and to demand appropriate conservatory measures. Thus, several decades of international media art is in danger of being lost to the history of collecting and to academic disciplines such as art history. This gap will have far-reaching consequences; therefore, the conference will also discuss the documentation, collection, archiving and preservation of media art. What kind of international networks must be created to advance appropriate policies for collection and conservation? What kind of new technologies do we need to optimize research efforts and information exchange?
For further information about the forthcoming conference please email to join:
Held at The Banff Centre, featuring lectures by invited speakers as well as others selected by a jury from a call for papers, the main event will be followed by a two-day summit meeting (October 2-3, 2005) for in-depth dialogues and international project initiation.
The first call for papers was in Fall 2004. In particular, young postgraduates in the research areas of: art history and new media, art and technology, the interaction of art and science, and media history, were encouraged to submit for the following panels:
MediaArtHistories: Times and Landscapes I
MediaArtHistories: Times and Landscapes II
Art as Research / Artists as Inventors
Image Science and ‘Representation’: From a Cognitive Point of View
Collaborative Practice/ Networking (history)
Collecting, preserving and archiving the media arts
Database/New Scientific Tools
Cross-Culture – Global Art
What can the History of New Media Learn from History of Science?
Rejuvenate: Film, sound and music in media arts history
High Art/Low Culture – the future of media art sciences?
History of Institutions
Cross-disciplinary research methods
Rudolf ARNHEIM; Frank POPPER; Jasia REICHARDT; Itsuo SAKANE, Walter ZANINI
Andreas BROECKMANN, Berlin; Paul BROWN, London/Cotton Tree; Karin BRUNS, Linz; Annick BUREAUD, Paris; Dieter DANIELS, Leipzig; Diana DOMINGUES, Caxias do Sul; Felice FRANKEL, Boston; Jean GAGNON, Montreal; Thomas GUNNING, Chicago; Linda D. HENDERSON, Austin; Manrai HSU, Taipei; Erkki HUHTAMO, Los Angeles; Douglas KAHN, Davis; Ángel KALENBERG, Montevideo; Ryszard KLUSZCZYNSKI, Lodz; Machiko KUSAHARA, Tokyo; W.J.T. MITCHELL, Chicago; Gunalan NADARAJAN, Singapore; Edward SHANKEN, Savannah; Barbara STAFFORD, Chicago; Christiane PAUL, New York; Louise POISSANT, Montreal; Jeffrey SHAW, Sydney; Tereza WAGNER, Paris; Peter WEIBEL, Karlsruhe; Steven WILSON, San Francisco
Susan KENNARD, Director & Executive Producer BNMI (local host)
Sara DIAMOND, President, Ontario College of Art and Design (summit chair)
Annick BUREAUD, Director Leonardo Pioneers and Pathbreakers Art History Project, Leonardo/OLATS
Chair: Roger F MALINA, Chair Leonardo/ISAST
CONFERENCE DIRECTOR & ORGANIZATION
Oliver GRAU, Director Immersive Art & Database of Virtual Art,
Anna WESTPHAL & Wendy COONES, Organization
Humboldt University Berlin
BANFF NEW MEDIA INSTITUTE, DATABASE OF VIRTUAL ART, LEONARDO, GOETHE-INSTITUT (Partner), DEUTSCHE FORSCHUNGSGEMEINSCHAFT, SSHRC, CANADA COUNCIL, LANGLOIS FOUNDATION, VILLA VIGONI, UNESCO DIGIARTS, INTEL, ITAU CULTURAL
Day Prior – Meet and Greet – 8pm
Wednesday, 28 September 2005
Thursday, 29 September 2005
8:30am – 9:20am Max Bell Aud.
London 3:30pm, Moscow 6:30pm, Tokyo 11:30pm
by Conf. Chair Oliver Grau (8:30am)
Address Sara Diamond/Susan Kennard – Roger Malina
Introduction: Ryszard Kluszczynski
Towards the Autonomous Image
Opening Plenary (9:20am -11:05am, Max Bell Aud.)
London 4:20pm, Moscow 7:20pm, Tokyo 12:20am
Session I: MediaArtHistories: Times & Landscapes 1
( Chairs: Oliver Grau and Gunalan Nadarajan )
After photography, film, video, and the little known media art history of the 1960s-80s, today media artists are active in a wide range of digital areas (including interactive, genetic, telematic and nanoart). Media Art History offers a basis for attempting an evolutionary history of the audiovisual media, from the Laterna Magica to the Panorama, Phantasmagoria, Film, and the Virtual Art of recent decades. This panel tries to clarify, if and how varieties of Media Art have been splitting up during the last decades. It examines also how far back Media Art reaches as a historical category within the history of Art, Science and Technology. This session will offer a first overview about the visible influence of media art on all fields of art.
GUNALAN NADARAJAN: Islamic Automation: A Reading of al-Jazari’s The Book of Knowledge of Ingenious Mechanical Devices (1206)
LOUISE POISSANT:From Material to Medium
OLIVER GRAU: REMEMBER THE PHANTASMAGORIA!
Virtual Art of the 19th century and its future
MARIO CARPO: The Demise of the Identicals Architectural Standardization in the Age of Digital Reproducibility
Plenary (11:20am – 1:10pm, Max Bell Aud.)
London 6:20pm, Moscow 9:20pm, (fri)Tokyo 2:20
Session II: Methodologies (Chairs: Mark Hansen and Erkki Huhtamo)
This session tries to give a critical overview of which methods art history has been using during the past to approach media art. Papers regarding media archaeological, anthropological, narrative and observer oriented approaches are welcome. Equally encouraged are proposals on iconological, semiotic and cyberfeministic methods.
MARK HANSEN: Between Media and Art, or Media Art with and against Art History
ERKKI HUHTAMO: Media Arts and Media Archaeology – Collision or Convergence
IRINA ARISTARKHOVA: Excavating Mother, Excavating Cyborg
ANDREAS BROECKMANN: Image, Process, Performance, Machine. Paradigms of Media Art Theory
1:10pm – 2:10pm
Plenary (2:10pm -4:10pm, Max Bell Aud.)
London 9:10pm, Moscow 12:10am, (fri)Tokyo 5:10
Session III: Image Science and ‘Representation’: From a Cognitive Point of View (Chair: Barbara Stafford)
Although much recent scholarship in the Humanities and Social Sciences has been “body-minded,” this research has yet to grapple with a major problem familiar to contemporary cognitive scientists and neuroscientists. How do we reconcile a top-down, functional view of cognition with a view of human beings as elements of a culturally shaped biological world? Current scientific investigations into autopoiesis, emotion, symbolization, mind-body relations, consciousness, “mental representations”, visual and perceptual systems … open up fresh ways of not only figuring the self but of approaching historical as well as elusive electronic media –again or anew–from the deeper vantage of an embodied and distributed brain. Papers that struggle concretely to relate and integrate aspects of the brain basis of cognition with any number of pattern-making media are solicited to stimulate debate.
BARBARA STAFFORD: Picturing Uncertainty: From Representation to Mental Representation
KRISTIN VEEL: Once Upon a Time There Was a Database… Database and Narrative from a Cognitive (…)
CHRISTINE ROSS: Slow Time in Contemporary Media Arts, (Canada)
PHILLIP THURTLE & CLAUDIA X. VALDES: Biofeedback and the Arts: Listening as Experimental Practice
CHRISTOPHER SALTER: The Performative Turn in New Media – A Critical History
TIM CLARK: Computation, Aesthetics, and Representation: A Critical Examination of the “The Thesis of Computational Sufficiency & Explanation” and the Incorporation of “The Argument from Human Creativity
4:10pm – 4:25pm
CONCURRENT SESSION 1 (4:25pm – 6:25pm)
London 11:25pm, (fri)Moscow 2:25, (fri)Tokyo 7am
Session IV: Art as Research / Artists as Inventors
(Chair: Dieter Daniels)
Do “innovations” and “inventions” in the field of art differ from those in the field of technology and science? Do artists still contribute anything “new” to those fields of research – and did they ever in history? Which inventions changed the arts as well as technology and the media? These questions will be discussed in a frame from the 19th century until today, special foci of interest are:
– modernism and the birth of media technology 1840 – 1880
– the utopia of merging art and technology in the 1920s and 1960s
– the crisis of the “new” vs. digital media art innovations since the 1980s
DIETER DANIELS: Art as Research / Artists as Inventors
CHRIS MEIGH-ANDREWS: Richard Monkhouse & Peter Donebauer, and Development of the EMS Spectron and the Videokalos Image Processor
FRED TURNER: Where Cybernetics Met The Counterculture: The Us Company
SIMON PENNY: Bridging Two Cultures: Towards an Interdisciplinary History of the Artist-Inventor and the Machine Artwork
CORNELIUS BORCK: Going Beyond the Body’s Limits: Raoul Hausmann’s Art of Prosthetic Perception
CONCURRENT SESSION 2 (4:25pm-6:25pm, Max Bell Aud.)
London 11:25pm, (fri)Moscow 2:25, (fri)Tokyo 7am
Session V: MediaArtHistories: Times and Landscapes 2
(Chairs: Edward Shanken and Charlie Gere)
Although there has been important scholar-ship on intersections between art and tech-nology, there is no comprehensive techno-logical history of art (as there are feminist and Marxist histories of art, for example.) Canonical histories of art fail to sufficiently address the inter-relatedness of develop-ments in science, technology, and art. What similarities and differences, continuities and discontinuities, can be mapped onto artistic uses of technology and the role of artists in shaping technology throughout the history of art? This panel seeks to take account of extant literature on this history in order to establish foundations for further research and to gain perspective on its place with respect to larger historiographical concerns.
EDWARD SHANKEN: Towards a Comprehensive Technological History of Art?
CHARLIE GERE: Early British Computer Art: the Findings of the CACHe Project
GRANT TAYLOR: How Anti-Computer Sentiment Shaped Early Computer Art
DARKO FRITZ & MARGIT ROSEN: Between Form and Concept – The Positioning of Computer-Based Arts in the Late 1960s
SYLVIE LACERTE: Experiments in Art and Technology: a Gap to Fill in Art History’s Recent Chronicles
ANNE COLLINS GOODYEAR: Technophilia, Vietnam, and the Rise and Fall of ‘Art and Technology’ in the United States, 1965-1971
CAROLINE LANGILL: Hey, Look at Me! Thoughts on the Canonical Exclusion of Early Electronic Art
MARIA FERNANDEZ: Gordon Pask – Cybernetic Polymath
Exhibition Opening (8:30pm, Reception at the Walter Phillips Gallery)
Sara Cook/Steve Dietz
Sara Diamond: Introduction
Anthony Kiendl: Greeting
The Art Formerly Known As New Media
“The Art Formerly Known As New Media” is an exhibition at the Walter Phillips Gallery (Sept. 17 – Oct. 23) curated by Sarah Cook and Steve Dietz on the occasion of the 10th anniversary of the Banff New Media Insti-tute. Selected from the hundreds of artists who have participated in the Institute’s programming (symposia, co-productions, labs), the exhibition is not an historical retrospective of work commissioned, pro-duced or previously presented at Banff. It is a “refreshed” look at how traditional forms of new media work such as interactive install-ations, interfaces, software, responsive performances, immersive spaces, and the world wide web have been explored through BNMI’s programming in terms of broader questions of economics, politics, social rela-tions, public space, memory, leisure, contemporary art, and what it means to be human as we increasingly become machine.
Friday, 30 September 2005
Plenary (8:45am – 10:45am, Max Bell Aud.)
London 3:45pm, Moscow 6:45pm, Tokyo 11:45pm
Session VI: Collecting, Preserving and Archiving the Media Arts
(Chair: Jean Gagnon)
Collections grow because of different influences such as art dealers, the art market, curators and currents in the international contemporary art scene.
What are the conditions necessary for a wider consideration of media art works and of new media in these collections?
JEAN GAGNON: The Daniel Langlois Foundation’s Research and Documentation Centre (CR+D) : Building and Preserving Tools and Resources on Media Arts
CHRISTIANE PAUL: The Myth of Immateriality – Presenting & Preserving New Media
PETER WEIBEL: The Migration and Preservation of Media
JON IPPOLITO: Creative Networks: Frictionless or Regulated?
CONCURRENT SESSION 1 (11am -1:00pm, Max Bell Aud.)
London 6pm, Moscow 9pm, (sat)Tokyo 2am
Session VII: Database/New Scientific Tools
(Chairs: Rudolf Frieling and Oliver Grau)
Accessing and browsing the immense amount of data produced by individuals, institutions, and archives has become a key question to our information society. In which way can new scientific tools of structuring and visualizing data provide new contexts and enhance our understanding of semantics?
RUDOLF FRIELING: ‘Media Art Net’: Database and Context
CHRISTIAN BERNDT: Database of Virtual Art – For an Expanded Concept of Documentation
SANDRA FAUCONNIER: V2_’s Archive – A Dynamic Model for the Description of Media Art
ALAIN DEPOCAS: tba.
ANNE-MARIE DUGUET: tba.
RICHARD RINEHART: A System of Formal Notation for Scoring Works of Digital and Variable Media Art
CONCURRENT SESSION 2 (11am-1:00pm) London 6pm, Moscow 9pm, (sat)Tokyo 2am
Session VIII: Pop/Mass/Society
(Chairs: Machiko Kusahara and Andreas Lange)
The dividing lines between art products and consumer products have been disappearing more and more since the Pop Art of the 1960s. The distinction between artist and recipient has also become blurred. Most recently, the digitalization of our society has sped up this process enormously. In principle, more and more artworks are no longer bound to a specific place and can be further developed relatively freely. The cut-and-paste principle has become an essential characteristic of contemporary culture production. The spread of access to the computer and the internet gives more people the possibility to participate in this production. The panel examines concrete forms, as for example computer games, determining the cultural context and what consequences they could have for the understanding of art in the 21st century.
MACHIKO KUSAHARA: Technology as Art: ‘Device Art’ as a New Japanese Paradigm
ANDREAS LANGE: Archiving of Computer Games
KAREN KEIFER-BOYD: Computer Games: Art in the 21st Century
TOBEY CROCKETT: An Aesthetics of Play – or, How to Appreciate Interactive Fun
MARK TRIBE: Open Source Culture
1:00pm – 2:00pm
Poster Session (2:00pm – 4:00pm)
London 9pm, Moscow 12am, (sat)Tokyo 5am
Experts of the field will be invited to present their research visually. In a large space at the Banff New Media Institute every presenter will have his own poster board space. During the presentation, the presenter remains at the display board to answer questions and discuss the contents of the display.
KIRSTY ROBERTSON: Webs of Resistance: Knitting, the Body, and the Net
CHARLOTTE FROST: Better Serving the List Serve
GENCO GULAN: Web Biennial: International Contemporary Art Exhibition for and on the World Wide Web
ATTEQA MALIK: Media Art in Pakistan_ Not Another ‘In Your Face’ Advertisement Campaign!
MICHAEL SALMOND: Legitimizing the Video Game
MARIA VICTORIA GUGLIETTI: Dialogue- Assimilation- Subversion: Contemporary New Media Native Art in Canada
AYESHA HAMEED: The Unspoken Archive: New Media Representations of the Middle Passage
CHRISTOPH KLUETSCH: Aesthetic Values
JOHN MAXWELL: Tracing the Dynabook: A Mythological Archaeology of Personal Computing.
SYLVIA GRACE BORDA & ALICE MING WAI JIM: [esc]aping: Mapping Digital Diasporas in Canada
ARTUR MATUCK: Human-Computer Creative Interfaces and the Emergence of E-Authors
MAUREEN NAPPI: What’s in a Name? The Ontology of Media Arts
MARTIN RIESER: Interactive Art and Public Spaces: Spatial Narratives for the 21st Century
JAN ALTMANN: Expressive Bacteria: the Art of Photomicroscopy
FRANCES DYSON: Nine Moments: Initiations in the Discourse and Practices of Art and Technology
FRANCK ANCEL: From Scenography to Planetary Network
CAROLINE BERNARD, JEAN-LOUIS BOISSIER, JEAN-LUC MARCHINA: Les Formes de l’Interactivité – a Research Project
COUNTY TAM: From Nothingness to Technology, What Do We Read Ourselves in New Media
MARA TRAUMANE: “”Approximate Art Manifesto” and “Acoustic Space”. On Disrupting Art Borders.”
SUSANNE SCHUMACHER: Digital Analysis of Structure and Form
4:00pm – 7:00pm
RUDOLF ARNHEIM LECTURE (8:00pm – 9:00pm, Max Bell Aud.) (sat) London 3am, (sat) Moscow 6am, (sat)Tokyo 11am
Introduction: Roger Malina
SARAT MAHARAJ: Post-Guten(morgen)berg: Soundings for a North/South Atlas of Art and New Media Histories.
Saturday, 1 October 2005
Plenary (8:30am – 10:30am, Max Bell Aud.)
London 3:30pm, Moscow 6:30pm, Tokyo 11:30pm
Session IX: Cross-Culture – Global Art
(Chairs: Sara Diamond)
Issues of cultural difference will be included throughout Refresh! However, the panels in Cross-Culture–Global Art provide an opportunity to examine cross-cultural influences, the global and the local. Through these sessions we hope to construct the histories, influences and parallels to new media art and even the definitions of what constitutes new media from varied cultural perspectives. For example, how what are the impacts of narrative structures from Aboriginal and other oral cultures on the analysis and practice of new media? How do notions of identity shift across cultures historically, how are these embedded and transformed by new media practice? What philosophical perspectives can ground our understandings of new media aesthetics? How does globalization and the construction of global contexts such as festivals and biennials effect local new media practices? We encourage papers from diverse cultural perspectives and methodologies.
SARA DIAMOND: Cross Culture – Global Art
SHEILA PETTY: CyberRace Constructs: Transnational Identities in R. Kempadoo’s Ghosting
MARY LEIGH MORBEY: From Cybercolonialism to Cyberglocalization: A Virtual Shifting of Cultural Identity on National Musea Websites
THOMAS RICCIO: World Narrative: The Creation of a New “Place”
APARNA SHARMA: Oscillations… Occasions of Excess and Interrogation
LAURA MARKS: Latent Rhythm: Algorithmic Performativity in Media Art and Islamic Calligraphy
CONCURRENT SESSION 1 (10:45am – 12:45pm)
London 5:45pm, Moscow 8:45pm, (sun)Tokyo 1:45
Session X: Cross-Disciplinary research methods
(Chairs: Frieder Nake and Ron Burnett)
The pressure to become interdisciplinary is very intense – coming from a variety of disciplines and institutions. Ironically, this pressure has been around for a very long time. So, why don’t we just strive for excellence irrespective of discipline? Don’t the artistic practices within the field of New Media push us in that direction anyway?
FRIEDER NAKE: Events of Significance
RON BURNETT: Is New Media New?
DOT TUER: Transculturation and New Media History
GUY SUI DURAND: Indiscipline
WILL STRAW: Grounded Materialities: Who Isn’t Interdisciplinary?
DAVID TOMAS: Toward a Relational History of Media and its Practices
MICHAEL CENTURY: New Media in an Adhocracy
CONCURRENT SESSION 2 (10:45am-12:45pm)
London 5:45pm, Moscow 8:45pm, (sun)Tokyo 1:45
Session XI: Rejuvenate: Film, Sound and Music in Media Arts History (Chairs: Douglas Kahn and Sean Cubitt)
During an earlier period of new media arts discourse, time-based media were often considered to be “old media.” While this conceit has been tempered, we still need to consider the sophistication and provocation of film, sound and music from the perspective of media arts history. This session invites papers, which examine the return of old media, thick in their natural habitat of the discourses, practices and institutions of the arts, entertainment,
science, everyday life, wherever they existed.
DOUGLAS KAHN: Music: The First Digital Art
SEAN CUBITT: Projection: Vanishing and Becoming
KEITH SANBORN: Hollis Frampton’s Algorithmic Aesthetic
SCOTT BUKATMAN: Comics and the Critique of Chronophotography, or “He Never Knew When It Was Coming!”
12:45pm – 1:45pm
Keynote (1:45pm – 2:45pm, Max Bell Aud.)
London 8:45pm, Moscow 11:45pm, (fri)Tokyo 4:45
Introduction: Louise Poissant
Lucia Santaella: The Semiosis of Media Art, Science and Technology
CONCURRENT SESSION 1 (2:45pm – 4:45pm)
London 9:45pm, Moscow 12:45am, (sun)Tokyo 5:45
Session XII: Collaborative Practice/ Networking (history)
(Chairs: Ryszard Kluszczynski and Diana Domingues)
In a network people are working together, they share resources and knowledge with each other – and they compete with each other. This process has sped up enormously within a few decades and has reached a new quality/dimension. It is the computer who had and has a forming influence on this change – from the Mainframes of the 50s and 60s to the PCs of the 70s and the growing popularity of the Internet during the 90s of the past century. The dataflow created new economies and new forms of human communication – and last but not least the so-called globalization.
RYSZARD KLUSZCZYNSKI: RE-Writing the History of Modern Art: How Hypermedia Change Our Vision of the Past (the case of artistic collaboration)
DIANA DOMINGUES, ELISEO REATEGUI: Collaborative Transdisciplinary Practices for Complex Systems in Interactive and Immersive Art
NINA CZEGLEDY: Cross Cultural Interdisciplinary Initiatives
TODD DAVIS, DOUGLAS JARVIS, JEREMY TURNER: SAT-TEL-COMP – (Satellite-Telephone-Computer): Beginnings of Multi-Dimensional Artist Networks Through the Connectivity of (technological) Telecommunications Devices and Human Dialogue
MARGARET DOLINSKY: CAVEs Projecting Imagination into Reality Across High Speed Networks
CONCURRENT SESSION 2 (2:45pm-4:45pm, Max Bell Aud.)
London 9:45pm, Moscow 12:45am, (sun)Tokyo 5:45
Session XIII: What Can the History of New Media Learn from History of Science/Science Studies? (Chair: Linda Henderson)
As in the case of artists working in traditional media who have engaged science and technology, new media artists must be situated contextually in the “cultural field” (Kate Hayles) in which they have worked or are working. Science and technology have been an important part of that cultural field in the twentieth century, and the history of science and science studies-along with the field of literature and science–offer important lessons for art historians writing the history of new media art. This session invites papers from art historians and scholars in science-related disciplines which explore methodological and theoretical issues as well as those that put interdisciplinary approaches into practice in studying new media art.
TIMOTHY LENOIR: Making Studies in New Media Critical
MICHAEL PUNT: History of Science, Technology and Entertainment at the Turn of the Nineteenth Century
LINDA HENDERSON: ‘The Fourth Dimension,’ the History of Science, and New Media
TIMOTHY DRUCKREY: Idiosyncratic Archaeologies: Realigning Media History
SIMON WERRETT: Logics of Innovation: Science Studies and New Media Approaches Compared
YANN CHATEIGNÉ: The Fourth Memory: Beyond Information Art in Hypertechnological Times
CONCURRENT SESSION 1 (5pm – 7pm)
London 12am, (sun) Moscow 3am, (sun )Tokyo 8am
Session XIV: High Art/Low Culture – the Future of Media Art Sciences? (Chair: Karin Bruns)
The panel aims to bring together the methodological fields of media studies and media art history. Rather than limiting their focus to canonical works of art new studies in media art production blend methods and issues from art history and media sciences as well as from communication studies, sociology, techno sciences, art history, cultural and postcolonial studies. To enhance discussions papers of the following topics are invited: methods, history and principles of western media sciences; concepts of techno-cultural media sciences; visual studies, game culture studies and media art; everyday digital culture.
KARIN BRUNS: High Art / Low Culture – the Future of Media Art Sciences?
YARA GUASQUE: Immersive and Participative Environments
ANDY POLAINE: Lowbrow, High Art. Why Big Fine Art Doesn’t Understand Interactivity
CLAUS PIAS: Zombies of the Revolution
BARBARA PAUL: Media Art Sciences & Feminist Theories: New Alliances?
CONCURRENT SESSION 2 (5pm-7pm, Max Bell Aud.)
London 12am, (sun) Moscow 3am, (sun) Tokyo 8am
Session XV: History of Institutions
(Chairs: Itsuo Sakane and Jasia Reichardt)
There are inevitable parallels between the development of what we now call media art and life at large. Excess of information leads to insecurity – what to believe, what to select, what to keep and what to discard.
Sustainability, conservation, education and access are topics relevant to today’s media art, and as relevant to it as to our natural resources. Now that media art has a history, how do we keep track of it and preserve it?
ITSUO SAKANE: On the History of Interaction between Art and Technology -Toward the Cultural Evolution of Human-Being
JASIA REICHARDT: The Computer in Art
MICHAEL NAIMARK: Dynamics of Sustainability
PETER RICHARDS:A History of Art in a Science Musuem
JOHANNES GOEBEL: What are ‘Centers for Media Art’ Good For If You Can Buy a ‘Media System’ for the Price of a Used Car? Or: ZKM and EMPAC as Institutions with Physical Spaces for Artistic Productions with Digital Tools.
ANDREAS BROECKMANN: discussant