DASH Archives - May 2008

CALL FOR PAPERS – DEADLINE 30 MAY 2008

Dear Colleagues, 

This is just a reminder that the deadline to submit a proposal for a paper
for the CHArt 2008 conference approaches.  Don't forget to email your
proposal by 30 May! 

SEEING... VISION AND PERCEPTION IN A DIGITAL CULTURE

CHArt (Computers and the History of Art) 2008 Conference 

Thursday 6 - Friday 7 November 2008 (central London venue to be confirmed)

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

What does it mean to see and be seen nowadays? How have advances in
neuroscience or developments in technology altered our understanding of
vision and perception? What kind of visual spaces do we now inhabit? What
new kinds of visual experiences are now available? And what are now lost or
no longer possible? How does the increasing digitalisation of media affect
the experience of seeing? What and who might be rendered invisible by the
processes of digital culture? What are our current digital culture's
blindspots? What are its politics of seeing? 

For the twenty-forth CHArt conference we are looking for papers that reflect
upon these issues.  We welcome contributions from all sections  of the CHArt
community: art historians, artists, architects and architectural theorists
and historians, curators, museum professionals, scientists, cultural and
media theorists, archivists, technologists, software developers,
educationalists, philosophers and any others who have a stake in the
question of seeing in a digital culture.  

Please email a three to four hundred word synopsis of the proposed paper
with brief CV of presenter/s by 30 May 2008 to Hazel Gardiner
(hazel.gardiner@kcl.ac.uk).  
 

CHArt (www.chart.ac.uk)
c/o Centre for Computing in the Humanities
Kings College, University of London
26 – 29 Drury Lane
London
WC2B 5RL

CALL FOR PAPERS – DEADLINE 30 MAY 2008

...........................................
Hazel Gardiner
Centre for Computing in the Humanities
King's College London
26-29 Drury Lane
London
WC2B 5RL
 hazel.gardiner@kcl.ac.uk
+44 020 7848 2013

>>IMMEDIATE ART<<

Centre for Contemporary Art Laznia in Gdansk (PL)

and

curator Kasia Wozniak

are happy to present the IMMEDIATE ART project:


>>IMMEDIATE ART<< project concerns wide range of phenomena that deal
with 
the modern mutual relationships between arts and new technologies. Our
aim 
is to build a panorama of these artistic phenomena and offer an event 
dealing with these issues in an integral form and wide thematic scope.

>>IMMEDIATE ART<< is a series of lectures given by the eminent 
theoreticians. In parallel to the above mentioned lectures, the invited

artists will present their works, discuss the interconnectedness of art
and 
technology and will talk about their art from the point of view of the

latest technological changes. We are deeply convinced that these two 
complementary cycles will provide the public with an in-depth panorama
of 
the fascinating phenomena in the body of New Media Art.


We are very happy to invite You to the following lectures:


2008

02.08. Paul SERMON
03.08. Oliver GRAU
04.08. Christian HÃœBLER
06.08. Siegfried ZIELINSKI
09.08. Lev MANOVICH
10.08. Maurice BENAYOUN
11.08. Hans BELTING
12.08. Monika FLEISCHMANN

****

22.02. Paul SERMON
Lecture: Puppeteers, Performers or Avatars - A perceptual difference in

telematic space

10.03. Oliver GRAU
Lecture: MediaArtHistory - Image Science - Digital Humanities

24.04. Christian HÃœBLER
Lecture: Translocal Practices

23.06. Siegfried ZIELINSKI
Lecture: On Variantology and Archeology of Media


2009

We have a great pleasure in announcing that the following Artists and 
Scholars accepted our invitation to hold lecture in the Laznia Centre
next 
year:

Roy ASCOTT
Eduardo KAC
Martin KEMP
Roger MALINA
Christa SOMMERER


The year shall be inaugurated with Eduardo Kac*s exhibition
*Lagoglyphs: 
the Bunny Variations*

Opening: January 16th, 6 pm



It is necessary to add that this project couldn*t have been realised

without generous support from our Partners:

Polish Ministry of Culture and National Heritage
Ifa Institut für Auslandsbeziehungen
American Embassy in Warsaw
Pro Helvetia Foundation


**************

www.laznia.pl 

**************

Further information and contact:

Kasia Wozniak

Centrum Sztuki Wspolczesnej Laznia
Centre for Contemporary Art Laznia
Jaskolcza 1
PL80-767 Gdansk

Tel. 49.15207105297 or 48.791505210
Fax. 48 58 305 26 80
E-mail. katarzyna.wozniak@laznia.pl 

Dan Sandin - Immersive spaces and radical technologies
Watch the stream at dl.avu.cz

22. - 23. May 2008

Dan Sandin is a professor at the School of the Art and Design,
University of Illinois in Chicago, director of interdisciplinary
research laboratory EVL (Electronic Visualization Laboratory), artist,
designer and developer of the tools for electronic image processing
(analogue Sandin Image Processor). He is also the co-developer of the
first "virtual reality theater" CAVE (1992, with Tom de Fanti) and other
VR or AR applications (ImmersaDesk, Varrier) and one of the leading
figures in the history of image-based electronic art. His work has dealt
with video art, interactive video, immersive electronic environments,
video game technology, virtual reality and open source movement.

In Prague, he will, among other things, talk about the relation between
analogue and digital tools; cooperation and communication of artists
with engineers and vice versa; about peculiarities of Chicago
audiovisual scene of the 1970s; about his own artistic development from
analogue video to 3D applications and also about why and how should
artists enter the CAVE.


Thursday, May 22nd, 12:20 - 4 p.m., FAMU, U2

- lecture - recapitulation of the art development of D.S. from
performances with analogue video to VR applications

Thursday, May 22nd, 7:30 p.m., Školská 28 gallery

- commented screening from the history of Chicago video art and video
performance since the 1970s

Friday, May 23rd, 12:45 - 5 p.m., IIM

- presentation of the work using 3D environment CAVE
- workshop with students and pedagogues, discussion

With the support: IIM, Trust for Mutual Understanding, FAMU,
ARTYÄŒOK.TV, DigiLab

Watch the stream at dl.avu.cz

www.evl.uic.edu/dan/
en.wikipedia.org/wiki/Daniel_J._Sandin
www.vdb.org/smackn.acgi?SANDIND

====
Paul Brown - based in the UK May - June  2007
mailto:paul@paul-brown.com == http://www.paul-brown.com
UK Mobile +44 (0)794 104 8228 == USA fax +1 309 216 9900
Skype paul-g-brown
====
Visiting Professor - Sussex University
http://www.cogs.susx.ac.uk/ccnr/research/creativity.html
====

Einladung / Invitation

     Please scroll down for text in English

     EARLY BEGINNINGS - Plotterzeichnungen von 1969 - 1990

     Vera Molnar, F
     Preisträgerin des ersten d.velop digital art award [ddaa] 2006

     Ausstellungsdauer: 31.5.-12.7.2008 | Exhibition: 31.5.-12.7.2008
     Ausstellungseröffnung: 30.5.2008, 19:00 | Opening: 30.5.2008, 7  
p.m.

     „Alles Konkrete ist hingegen nur es selbst“ – Molnars
künstlerische Herkunft

Vera Molnar wurde 1924 in Budapest geboren und wuchs dort als  
einziges Kind
ihrer Eltern in behüteten und bildungsbürgerlichen Verhältnissen auf.
Schon früh steckte sie der „Virus des visuellen Experimentierens“  an.
Die Künstlerin erinnert sich, wie sie im Alter von ungefähr 10 Jahren
eine zeitlang allabendlich den Blick vom elterlichen Haus über den
Plattensee zum gegenüberliegenden Ufer malte. Sie benutzte zunächst  
jedes
Mal die gleichen fünf Farben: Grün für die zum Wasser führende Wiese,
Blau für den See, Braun für den Gebirgszug am gegenüberliegen Ufer, Blau
für den Himmel und Orange für die untergehende Sonne. Nach einer  
gewissen
Zeit befriedigte das annähernd immer gleiche Bild Vera Molnar nicht mehr
und sie beschloss, für die einzelnen Bildfelder fortan die jeweils
benachbarte Farbe im Farbkasten zu wählen.  Bereits zu diesem frühen
Zeitpunkt war 1924         geboren als Vera Gacs in Budapest
1942–47      Studium der Malerei sowie Diplom-Studium in Kunstgeschichte
und Ästhetik an der Hochschule für bildende Kunst Budapest
1946         erste gegenstandslose Bilder entstehen
1947         Stipendiumaufenthalt in Rom an der Villa Julia
              Übersiedlung nach Frankreich
1947–60      gelegentliche Zusammenarbeit mit François Molnar
1948         Heirat mit François Molnar
1959–68      arbeitet mit der Methode der machine imaginaire
1960         Mitbegründerin der Groupe de Recherche d’Art Visuel (GRAV)
              erste Ausstellungsbeteiligung an der von ihrem Freund  
Max Bill
organisierten Ausstellung Konkrete Kunst in Zürich, Helmhaus
1967         Mitbegründerin der Gruppe Art et Informatique am Pariser
Institut d‘Esthétique et des Sciences de l‘Art
1968         die ersten Computergrafiken entstehen; fortan  
kontinuierliche
Arbeit mit dem Computer
1974–76      Entwicklung des Computer-Softwareprogramms „Molnart“,
zusammen mit ihrem Mann
1976         erste Einzelausstellung Transformations in der Galerie der
Politechnischen Hochschule London
1979         arbeitet am Centre Georges Pompidou in Paris, am Atelier de
Recherche des Techniques Avancées (ARTA)
1980         Mitglied des Centre de Recherche Expérimentale et
Informatique des Arts Visuels (CREIAV) an der Université de Paris I,
              Sorbonne
              das erste Künstlerbuch 1% de désordre erscheint bei
Wedgepress & Cheese in Bjerred (Schweden)
1985–90      Lehrauftrag für bildende Kunst und Kunstwissenschaft an der
Université de Paris I, Sorbonne
Seit 1990    ihre Arbeiten werden in großen europäischen Ausstellungen
zur gegenstandslosen Kunst und Avantgarde präsentiert
              die erste installative Arbeit entsteht für die Stiftung  
für
konkrete Kunst, Reutlingen
1999         große monografische Ausstellung Extrait de 100 000  
milliards
de lignes am Centre de Recherche, d’Échange et de Diffusion
              pour l’Art Contemporain (CRÉDAC) in Ivry-sur-Seine
2005         erhält für ihr Lebenswerk den ersten d.velop digital art
award [ddaa], ausgerichtet vom Digital Art Museum [DAM],
              Berlin und jeweils mit einer Einzelausstellung durch die
Kunsthalle Bremen präsentiert

Vera Molnar lebt und arbeitet in Paris sowie in der Normandie.

Bild im Anhang: Vera Molnar, "25 Carres", Plotterzeichnung, ca. 37x37  
cm,
1990

Weitere Informationen unter www.dam-berlin.de




     EARLY BEGINNINGS - Plotter drawings from 1969 - 1990

     Vera Molnar, F
     Recipient of the first d.velop digital art award [ddaa] 2006

     Exhibition: 31.5.-12.7.2008
     Opening: 30.5.2008, 7 - 9 p.m.

     “Everything concrete, though, is only itself” – Molnar’s
artistic origin

Vera Molnar was born in Budapest in 1924 and there, she grew up as  
the only
child of her parents in sheltered and intellectual, middle-class
circumstances. Quite early, she was infected by the “virus of visual
experimentation”. The artist remembers that, at the age of about ten,  
she
drew the view from her parental home across the Lake Balaton to the
opposing waterside every night for some time. Every time, she used  
the same
five colors: Green for the meadow leading to the water, blue for the  
lake,
brown for the mountain range at the opposing waterside, blue for the sky
and orange for the sun-set. After a certain time, the approximately same
picture did not satisfy Vera Molnar any more and she decided to use the
respectively adjacent color in the paint box for every image area.
Already at this early point in time, the first systematic  
investigation was
conducted which was guided by principles that still impact the work  
of the
artist: The analysis is followed by the systematic image-artistic
experiment which generates image series and thus, variations.

     Excerpt from „Vera Molnar und der Computer“, Catalouge Vera Molnar,
„monotonie, symétrie, surprise“, Kunsthalle Bremen, 2006

            Biography

1924        born (5th January) Vera Gacs in Budapest
1942-47     studied painting and for a diploma in art history and
aesthetics at the Budapest College of Fine Arts
1946        first non-representational images are created
1947        artists’ fellowship in Rome at the Villa Julia
             moved to France
1947-60     occasional co-operation with François Molnar
1948        marriage to François Molnar
1959-68     works with the machine imaginaire method
1960        Co-founder of the Groupe de Recherche d’Art Visuel (GRAV)
             first participation in an exhibition organized by her  
friend
Max Bill with the title Konkrete Kunst (Concrete Art) in Zurich,  
Helmhaus
1967        Co-founder of the Group Art et Informatique at the Parisian
Institut d‘Esthétique et des Sciences de l‘Art
1968        first computer graphics are designed: thereafter continuous
work with the computer
1974-76     development of the “Molnart“ computer software programme
jointly with her husband
1976        first single exhibition Transformations at the gallery of  
the
London Polytechnic
1979        works at the Centre Georges Pompidou in Paris, at the  
Atelier
de Recherche des Techniques Avancées (ARTA)
1980        member of the Centre de Recherche Expérimentale et
Informatique des Arts Visuels (CREIAV) at the Université de Paris I,
Sorbonne
             the first artist’s book 1% de désordre is published by
Wedgepress & Cheese in Bjerred (Sweden)
1985-90     lectureship in fine arts and aesthetics and art history  
at the
Université de Paris I, Sorbonne
Since 1990  her works are on display at major European exhibitions on
non-representational art and avantgarde the first installative work is
             created for the Foundation of Con-crete Art, Reutlingen
1999        large monographic exhibition Extrait de 100 000 milliards de
lignes at the Centre de Recherche, d’Échange et de Diffusion pour
l’Art
             Contemporain (CRÉDAC) in Ivry-sur-Seine
2005        recipient of the first d.velop digital art award [ddaa]  
for her
life’s work, organised bi-annually by the Digital Art Museum [DAM],
             Berlin and honoured with an individual exhibition by the
Kunsthalle Bremen

Vera Molnar lives and works in Paris as well as in Normandy.

Attached picture: Vera Molnar, "25 Carres", Plotterzeichnung, ca.  
37x37 cm,
1990

More Informationen www.dam-berlin.de



[DAM]Berlin

Galerie für Digitale Medien
Tucholskystr. 37
10117 Berlin
Germany
+49 (0)30 280 981 35
www.dam-berlin.de
berlin@dam.org



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