Jeremy Welsh on Thu, 25 Sep 1997 21:48:36 +0100 |
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Syndicate: screens seminar |
<x-rich><bold><fontfamily><param>Geneva</param><bigger>s c r e e n s seminar 10 - 11 october, Trondheim </bigger></fontfamily></bold><fontfamily><param>Geneva</param>http://www.trdkunst.no/screens Arranged in collaboration with Trondheim Cinematek A two day seminar in which many different aspects of the culture of the screen will be discussed, from considerations of the digitalisation of cinema to the condition of liquid architecture in cyberspace. An international group of speakers from the fields of art, architecture, dance, theatre, music, film studies, philosophy and media theory will discuss a range of issues which complement and supplement the ideas and visions represented by the screens exhibition. Registration: The seminar begins with registration at 09.00 on Friday 11th. October at Trondheim Cinematek, Filmhuset Rosendal, Innherredsv. 73. A final schedule for the seminar will be published on the day. <bold>Pre-registration Trondheim Cinematek: Erik Larsen 73 52 23 55 fax 73 53 57 40 Tickets: Ticket prices: standard Kr 250, students/unwaged Kr 120 </bold>Screens seminar has been supported by Norsk Kinofond and NTNU Nettverk for Kunst og Estetikk <bold>Marcos Novak transArchitecture Building The Edge Of Thought </bold>Marcos Novak is an architect and theorist whose work is at the forefront of debates around architecture, cyberspace, virtual reality and digital media. Novak is an associate visiting professor in the S chool of Digital Arts, University of California, Los Angeles. transArchitecture, architecture beyond architecture, is an architecture of heretofore invisible scaffolds. It has a twofold character: within cyberspace is exists as liquid architecture that is transmitted across the global information networks; within physical space it exists as an invisible electronic double superimposed on our material world. Marcos Novac, architect and artist, explains the philosophical background of the liquid architecture and shows the two faces of digital architecture. <bold>Lev Manovich What is Digital Cinema ? </bold>Lev Manovich is an artist, theorist and lecturer in media arts at the University of California San Diego. He has written extensively on the emergence of new Media Art in Russia and is currently researching the field of digital cinema. Erkki Huhtamo <bold>Future Ghosts in an Ancient Mirror Media archaeogical approaches to the pre-history of the electronic screen </bold>Picture screens are cultural artifacts that have their own histories, conditioned by cultural, social, technological and ideological factors. Considering the centrality of the electronic screen in the culture of our century, it is surprising that no comprehensive history of the screen exists. The electronic screen had concrete predecessors, but, perhaps even more importantly, there were discursive manifestations that had already elaborated on the idea. It could be claimed that discursive screens, the ones that were switched on only in imagination or on paper, influenced the development as much as the materialized ones.In this lecture I will excavate the formative development of the electronic screen from a media-archaeological point of view. I will investigate some of the material and discursive factors that anticipated it and influenced its form and idea, travelling backwards in time as far as the 16th century. CV Erkki Huhtamo Erkki Huhtamo is an unaffiliated media researcher, writer and curator. His specialities include media archeology and media art. Mr Huhtamo has published numerous studies and scholarly articles. He has lectured widely and presented papers at symposia and festivals in Europe, Japan, the United States, Canada and Australia. His most recent book is "The Archaeology of the Moving Image" (in Finnish, 1996). His credits also include three television series (as director and script-writer) and radio programs. He has curated several international exhibitions of interactive art in Finland and elsewhere, most recently Unexpected Obstacles. The Work of Perry Hoberman (Otso Gallery, Espoo, Finland, 1997). Mr Huhtamo was a member of the international selection committee of the MILIA multimedia festival (Cannes, 1995-96) and is member of the Young Talent Pavillion Jury (MILIA 1997). He is one of the nominators for the ICC Biennale (Tokyo 1997). He also served as a jury member for Interactive Media Festival (Los Angeles 1995), "Portraits in Cyberspace" (MIT Media Lab, 1995) and Digital Salon (New York 1997). <bold>Arild Fetveit Digital image manipulation and fictive photographical portraits </bold>The digitalisation of photographical images has opened new arenas for artists. Among these, the portrait seems like one of the most promising places for intervening. The fictive photographical portrait, which so far has had a rather marginal life, is brought on through the digital technique. The new possibilities will be discussed drawing on the works of Cindy Sherman, Ole John Aandal, Vibeke Tandberg, and Keith Cottingham. Arild Fetveit is researcher at Department for Media and Communication, University of Oslo. He has done work on documentary, on interpretation and reception theory, and on digitalisation of photographical images. He is currently working on a dissertation about the boundaries of documentary film. <bold>Julia Knight "Where am I ?" on the position of the viewer in interactive media. </bold>Discussions about new media art, and digital technologies generally, usually claim that the 'user' now takes a more active role than has been the case for a 'consumer' of older art forms and cultural products. In conjunction with such claims is the assertion that the role of the artist is also changing, that the artist is increasingly relinquishing control over the work they produce as the 'user' plays a crucial role in shaping the end product, that the artist can be viewed as more of a facilitator or collaborator. However, the traditional notion of 'artist', as an individual creative genius, is still firmly embedded in both our culture generally and art institutions in particular. This paper wants to suggest that this is skewing the way 'audiences' for new media art are considered - and thereby challenge some of the ways the 'user' of digital technologies has been conceptualised - with the result that the actual experiences of 'users' are often largely neglected. It will go on to consider a range of issues relating to 'user' experiences of both artworks and other cultural products, such as the exhibition of work designed for a single user, accommodating the individual user in a multi-user environment, (perceptual) immersion vs (technological) interactivity, different forms of interaction and 'reading' practices, user desire vs ability to engage/interact, and user motivation. The paper will use these issues both to highlight the range of experiences - all too often homogenised by the all-encompassing but virtually meaningless term 'interactivity' - offered by digital media and to consider what the 'user' might want. Julia Knight worked in the independent film and video sector in Britian for a number of years before moving into Higher Education. She has published on a number of aspects of film and video culture, recently edited *Diverse Practices: A Critical Reader on British Video Art* and is co-editor of *Convergence: The Journal of Research into New Media Technologies*. <bold>Vigdis Holen </bold>Vigdis Holen is an artist and is currently writing a Phd thesis connected to Oslo College of Architecture, department of Information Technology. She is the founder and director of a media lab in Gloppen, Nordfjord, where she is currently developing a facility for digital sound and video editing. She works collaboratively on the nnet with colleagues in Japan and the USA and exhibits internationally. Vigdis snakker om det totale innhold, om etisk og estetisk ansvar i interaktiv teknologi, om felleskap og barrierer mellom mennesker med ulik kulturbakgrunn. Med videoprojeksjoner i bevegelse, video-overf¿ringer via elektroniske telenett, konstruksjoner i tre og i plexiglass med skjelvende og urolige reflekser, med lydbilder og vindtuneller lar Vigdis naturprosesser fra ulike geografiske steder rundt om pÅ? kloden m¿tes i real-time. I sine heltekniske installasjoner skaper hun meditative verdner av fossefallets suggererende bevegelser, vulkanens kraft eller den kalde brisen fra en isbre. <bold>Anita Leirfall </bold>Anita Leirfall is a researcher in the Department of Philosophy, University of Oslo. For several years she has been an active participant in discussions surrounding Virtual Reality and Cyberspace and was a founding member in the group "Forum for Virtuell Virkelighet" at the University of Trondheim. <bold>Jeff Taylor </bold>Jeff Taylor is Professor of Media Arts at the University of Lappland, Roaniemi, Finalnd. He taught previously at the University of Brighton, England, and has a long involvement with new media. He recently established a virtual reality laboratory at UROVA and was co-organiser of the project "Polar Circuit" in the summer of 1997, in which participants from many different countries collaborated on net-based and multi media projects in Northern Finland. <bold>Kristin Bergaust </bold>Kristin Bergaust is director of Atelier Nord, Oslo's workshop for electronic art. She is a practising artist and was formerly project leader for a scheme to provide further education and training for visual artists. She co-produced the first Norwegian artists' cdRom with Kenneth LangÅ?s and curated the video programme "Love Tech" for screens. She has recently been active in the project Conspiro/conspiratio, a travelling seminar which addresses the emetgence of a new art scene in Norway in the nineties. <bold>Per Platou and Amanda Steggel Motherboard & Maggie's Lovebytes </bold>Amanda Steggell Studied dance at London College of Dance and Drama, and choreography at the Norwegian Ballet Academy (Oslo). Dance and drama instructor since 1986, but working primarily as choreographer since 1994. Full length performances include "ARENA2" (1995), "M@ggie's Love Bytes" (1996) and "Motherboard/LawHat al-umm" (1997). Member of Res Rocket Surfer. Per Platou Studied media theory, criminology, history of ideas, and film/drama in Oslo and London. Editor of Radio Nova 1987-89. Freelance journalist (F.eks., Film&Kino, Gateavisa, Kritikkjournalen, Klassekampen). Founded DBUT in 1990, an alternative distribution network, management, record company and production company for sound, film, art and media. Innovator of "Urbanitet, bevegelse, kaos" (Project in Gamlebyen), 1994. Events-coordinator for Electra '96. Technical producer and sound director in "M@ggie's Love Bytes". Founding member of NOOD and member of Res Rocket Surfer. </fontfamily> Jeremy Welsh Trondheim Academy of Fine Art tel +47 73 59 79 00 fax +47 73 59 79 20 http://kit.trdkunst.no/ http://kit.trdkunst.no/greyzone/ http://kit.trdkunst.no/screens/ </x-rich>