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<nettime> Symposium Art-oriented programming
Karen O'Rourke on Sun, 14 Oct 2007 23:14:27 +0200 (CEST)


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<nettime> Symposium Art-oriented programming



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ART-ORIENTED PROGRAMMING 2

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International Symposium

PARIS, SORBONNE, 19 and 20 October 2007


Friday 19 October 2007 from 3 to 8:15 pm 

Saturday 20 October 2007 from 9:30 am to 8:30 pm


at the Università Paris 1 - PanthÃon-Sorbonne

AmphithÃÃtre (Lecture hall) Richelieu

17 rue de la Sorbonne - 75005 Paris 


Free Entrance(to sign up, send an e-mail to : poa2aop {AT} orange.fr)



Symposium organized by 

Laboratoire des Arts et MÃdias [LAM-LETA]

person in charge : David-Olivier Lartigaud


http://lam.univ-paris1.fr


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Master Class PURE DATA

with Miller Puckette

and in presence of Alexander Galloway, Cyrille Henry, Olivier Pasquet.


at the Ãcole nationale supÃrieure dâart de Nancy (ENSA Nancy)

1 avenue Boffrand - 54000 NANCY

Tel : 03 83 41 61 61


Sunday 21 October 2007 from 10 am to 5 pm


A limited amount of space is available(to sign up, send an e-mail to :
poa2aop {AT} orange.fr)


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Publication Art ++publicationART ++

Publication Art ++

ÃditionsHYX


to appear at the end of October


Contact - Information - Press : poa2aop {AT} orange.fr / 08 77 65 94 38


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General Introduction

ColloqueProgrammation orientÃe art 2


At the time of the previous  Art-oriented Programming  symposium in
2004, the question of programming in art was being hotly debated. Three
years later, works continue to be made but they seem to have less
visibility. Is this due to a decrease in artistic production? Was it
simply a  fashion � Has programming really become an art? Many works
have been made during these last few years and perhaps even more
theoretical statements. It has become urgent to clarify matters and make
a  fresh start Â. To avoid repeating or caricaturing what has already
been done, we must objectively take stock of the situation, sort out the
stakes and open up a new critical space. 

In five sessions over two days, this symposium proposes to explore
current art and thinking in this field, still lively and rich in
promise.


____________________________________


Art and Code : Exhibit/preserve/collect

(Friday 19 October â 3-6 pm - amphithÃÃtre Richelieu)


With : 

Inke Arns(Directrice artistique de Hartware MedienKunstVerein,
Dortmund), 

Wolf Lieser(Directeur de la galerie [DAM], Berlin), 

StÃphane Maguet(Directeur de la galerie numeriscausa, Paris), 

Gilles Rouffineau(Professeur à lâÃcole supÃrieure dâart de Valence,
LAM), 

Antoine Schmitt(Artiste, Paris), 

Nicolas ThÃly(MaÃtre de confÃrences, Università Paris 1 -
PanthÃon-Sorbonne, LAM).


Exhibiting and preserving programmed works is a problem that requires
many adjustments with the artist. Does an old work presented on a new
machine lose part of its essence? How can we deal with the obsolescence
of media? How can we give a future to works so heavily dependent on
constantly changing technologies and software? As for the art market,
will it be able to adapt?


____________________________________


Art and code : What history for what future?

( Friday 19 October â 6-8:30 pm - amphithÃÃtre Richelieu)


With : 

Andreas Broeckmann(Historien dâart, Directeur artistique de TESLA,
Berlin), 

Geoff Cox(Artiste, Lecturer à lâUniversità de Plymouth), 

Darko Fritz(Artiste et commissaire dâexposition, Amsterdam/Zagreb), 

David-Olivier Lartigaud(Università Paris 1 - PanthÃon-Sorbonne, LAM).




The creations of the  computer art   pioneers  of the sixties and
seventies have found a new vitality: celebrated anew, appreciated for
their formal and conceptual clarity, these works seem all the more
readable in our contemporary context. 

But isn't  programmed art  too young to be contemplating its past?
Could this be a sign of withdrawl, a need to find its place in a
genealogy and thereby prove its worth? Or, on the contrary, does this
return to the sources offer a change of viewpoint necessary for a
renewal of the topic?



____________________________________


Art and Code : Coded Cities/ Programmed Maps

(Saturday 20 October â 9:30-12:30 am - amphithÃÃtre Richelieu)


With : 

Maurice Benayoun(Artist, Università Paris 1 - PanthÃon-Sorbonne,
Artistic Director of CITU, LAM), 

Wilfried Hou Je Bek(Artist, Utrecht), 

Karen OâRourke, (MaÃtre de confÃrences, Università Paris 1 -
PanthÃon-Sorbonne, LAM), 

Tania Ruiz(Artist, Paris), 

Jo Walsh(Artist, London).


Code and programming seem to adopt the very shape of questions relating
to urban life. Dynamic maps and 3-D cartography reflect a new approach
to the city seen as a database, a potential in which the artist finds
not only inspiration but also the material of her creation. More than
just a screen, isn't the city the new place for software art?


____________________________________


Art and Code : Aesthetics / Culture / Society

(Saturday 20 October - 2-5pm - amphithÃÃtre Richelieu)


With :

Wendy Chun(Professeur, Brown University, Providence), 

Matthew Fuller(Critique, Center for Cultural Studies, Goldsmiths
College, Università de Londres), 

Alexander Galloway(Artiste, Professeur Assistant à lâUniversità de New
York), 

Olga Goriunova(Critique, co-fondatrice de runme.org, Moscou), 

David Zerbib(Università Paris 1 - PanthÃon-Sorbonne, LETA).


The question of programming in art is founded in -or derives its meaning
from - a broader context, that of a kind of  digital culture Â. What do
we mean when we use this expression? Does this culture really exist? If
so, has artistic programming participated in defining this culture or is
it simply a product thereof ? The question comes up regularly as to the
existence of an aesthetics specific to this  culture Â. Is this
existence supported by facts? Or is it merely a theoretical
construction?

____________________________________


Art et Code : Langages

(samedi 20 octobre - 17h/20h30 - amphithÃÃtre Richelieu)


Avec : 

Samuel Bianchini(Artiste, MaÃtre de confÃrences, Università de
Valenciennes, LAM), 

Christophe Bruno(Artiste, Paris), 

Philippe Codognet(Professeur à Keio University, Tokyo), 

Jacques Lafon(Directeur de lâÃcole europÃenne supÃrieure de lâimage,
site dâAngoulÃme), 

Miller Puckette(Professeur à lâUniversità de Californie, crÃateur de Max
et Pure Data), 

Douglas Edric Stanley(Artiste, http://www.abstractmachine.net).


Free and/or open-source software open up a whole new approach to
creation using computers. The success of Pure Data, for example, shows
that exemption from payment is not the only reason for this popularity:
these applications seem better able to meet certain artists'
expectations. But how far does this go? Are productions using free
software really that different from works made using commercial software
and computer languages?

The question of language is not limited to programming. Web 2.0 opens up
a new set of problems, that are either exciting or frightening,
according to one's viewpoint, in which language is central.




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Master Class PURE DATA


with Miller Puckette


Dimanche 21 octobre 2007 de 10h00 Ã 17h00


à LâÃcole nationale supÃrieure dâart de Nancy (ENSA Nancy)

1 avenue Boffrand - 54000 NANCY

tÃl : 03 83 41 61 61


PlaceslimitÃes(inscription gratuite à lâadresse : poa2aop {AT} orange.fr)


The Master Class Pure Data, which will take place at the Ãcole nationale
supÃrieure dâart de Nancy will allow participants to explore in depth
the possibilities offered by this program in a hands-on session with its
creator.


Miller Puckettea obtenu une thÃse en MathÃmatiques à Harvard en 1986.
Membre du Media Lab au MIT (Massachusetts Institute of Technology) de la
date de sa crÃation jusquâen 1987, il devient ensuite chercheur Ã
lâIRCAM (lâInstitut de Recherche et de Coordination Musique/Acoustique)
oà il Ãcrit le logiciel Maxpour Macintosh. En 1989, Miller Puckette
rejoint le projet ÂIRCAM musical workstation (IMW) oà il dÃveloppe une
version Ãtendue de Max intitulÃe Max/FTS qui devient une rÃfÃrence en
recherche musicale. En 1994, Miller Puckette entre au dÃpartement
Musique de lâUniversità de Californie à San Diego. Il y est actuellement
Directeur associà du Centre de Recherche en Art et Informatique (CRCA).

Miller Puckette travaille depuis quelques annÃes au dÃveloppement du
logiciel Pure Data, destinà au traitement en temps rÃel de donnÃes
multimÃdia pour les installations interactives et le spectacle vivant.
En tant que logiciel libre, Pure Data, dont la communautà dâutilisateurs
ne cesse de sâÃtendre, fÃdÃre un grand nombre de dÃveloppeurs à travers
le monde qui participent à son Ãlaboration et Ãtendent ses possibilitÃs.
Pure Data est gratuit et disponible sous Linux, Windows et Macintosh.


et en prÃsence de 


Alexander Galloway,


Cyrille Henry,artist and independant developer, Cyrille Henry works with
captors and physical modeling for gesture analysis, as well as real time
sound and visual synthesis. 


Olivier Pasquet, composer of electronic music and producer. He works in
pure music and diverse fields of the performing arts such as theatre,
installations, popular contemporary instrumental music (Ircam).



Miller Puckette's Site : http://www-crca.ucsd.edu/~msp/

Pure Data Site: http://puredata.info/


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Publication

ART ++


Ãditions HYX


to be published at the end of October



Modification of Nintendo cartridges, website hacking, experimental
software or poetry written in Perl... What has programming in the field
of art been doing for the past ten years? By assembling texts, either
original or unpublished in French, this book proposes to analyze and
understand the impact of code, programming and digitalization of data on
art practise. In their different contributions, theoreticians, critics
and artists reveal the new aesthetic, technical and cultural stakes
linked to what is known today as  the digital revolution Â.


This publication follows the symposium Art-oriented Programming, which
took place at the Università Paris 1 -PanthÃon-Sorbonne in 2004. It is
supported by the Scientific Comittee of the DÃlÃgation aux arts
plastiques as part of the research line Meaning and Use of Computer
Programming in Art.



____________________________________

Preface by Anne-Marie Duguet, Professor at the Università Paris 1
PanthÃon-Sorbonne. Director of the Laboratoire des Arts et MÃdias
[LAM-LETA].

Book Editor: 

David-Olivier Lartigaud, Università Paris 1 PanthÃon-Sorbonne, LAM.


With contributions from :

Inke Arns, Critique, Directrice artistique de Hartware
MedienKunstVerein, Dortmund.

Samuel Bianchini, Artiste, MaÃtre de confÃrences, Università de
Valenciennes, LAM.

Andreas Broeckmann, Historien dâart, Directeur artistique de TESLA,
ancien directeur artistique de Transmediale, Berlin.

Christophe Bruno, Artiste, Paris.

Wendy Hui Kyong Chun, Professeur, Brown University, Providence.

Florian Cramer,Critique, Directeur de cours au Piet Zwart Institute,
Rotterdam.

Geoff Cox, Artiste, Università de Plymouth, Alex McLean, Artiste,
Londreset Adrian Ward, Artiste, Londres.

Jean-Paul Fourmentraux, Docteur en Sociologie, MaÃtre de confÃrences Ã
lâUniversità Lille 3.

Matthew Fuller, Critique, Center for Cultural Studies, Goldsmiths
College, Università de Londres.

Olga Goriunova, Critique, co-fondatrice de runme.org, Moscou.

Wilfried Hou Je Bek, Artiste, Utrecht.

David-Olivier Lartigaud, Università Paris 1 PanthÃon-Sorbonne, LAM.

Geert Lovink, ThÃoricien des mÃdias et critique, fondateur et Directeur
de The Institute of Network Cultures, Amsterdam.

Karen OâRourke, MaÃtre de confÃrences, Università Paris 1
PanthÃon-Sorbonne, LAM.

Gilles Rouffineau, Professeur à lâÃcole supÃrieure dâart de Valence,
coordinateur pÃdagogique de lâoption design graphique, LAM.

Antoine Schmitt, Artiste, Paris.

Nicolas ThÃly, MaÃtre de confÃrences, Università Paris 1
PanthÃon-Sorbonne, LAM.

Sylvie Tissot, IngÃnieur diplÃmÃe de lâInstitut National des
TÃlÃcommunications.

Jo Walsh, Artiste, Londres.

____________________________________

ART++, format 15 x 20,5 cm, 160 pages. 20 euros. ISBN 978-2-910385-51-5



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Colloque et Master Class organisÃs par

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TheLaboratoire des Arts et MÃdias[LAM-LETA]

The Laboratoire des Arts et des MÃdias [LAM] is directed
byAnne-Marie-Duguet, professor at the Università Paris 1 -
PanthÃon-Sorbonne. The LAM is one of three laboratories of the LETA,
Laboratoire dâEsthÃtique et de ThÃorie AppliquÃe (Laboratory of
Aesthetics and Applied Theory), unit of research in the Humanities at
the Università Paris 1 - PanthÃon-Sorbonne.

Site : http://lam.univ-paris1.fr


Acknowledgements:


lâÃcole doctorale Arts plastiques, esthÃtique et sciences de lâart

Università Paris 1 - PanthÃon-Sorbonne.


avec le soutien 


CITU(Interactive Transdisciplinary Creation at the University / Paris
8etParis 1)

The CITU is a federation of laboratories founded by the Universities
Paris 1 and Paris 8. The CITU is an  activator of research  in the
field of transdisciplinary creation and emergent media.d

Site : http://www.citu.info/


LâÃcole nationale supÃrieure dâart de Nancy (ENSA Nancy)

Site : http://www.ensa-nancy.fr/


ARTEMNancy

ARTEM is a strategic partnership linking three schools in Nancy :
lâÃcole Nationale SupÃrieure des Mines de Nancy (EMN), lâÃcole nationale
supÃrieure dâart de Nancy (ENSA) and le Groupe ICN Ecole de Management.
Ãt the intersection of Arts, Sciences and Management, ARTEM is supported
by Nancy-UniversitÃ, Greater Nancy, the DÃpartement of Meurthe et
Moselle and the Lorraine Region .

Site : http://www.mines.inpl-nancy.fr/blogartem/


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The publication ART++ was realized by

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the Ãditions Hyx and the Laboratoire des Arts et des MÃdias [LAM]


with the support of 


the MinistÃre de la Culture et de la Communication 

(DÃlÃgation aux arts plastiques)


andlâÃcole doctorale Arts plastiques, esthÃtique et sciences de lâart
(the Doctoral School of the Arts, Aesthetics and Sciences of Art)

Università Paris 1 - PanthÃon-Sorbonne


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> THANK YOU

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