Presentation Data Table

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Title	Presenters	Symposium	Type	Category	Image	Venue	Abstract	Sponsorship Support	Keywords
Oil, War and Housing Markets: the aesthetics of accumulation and waste	Matthew Kenyon	ISEA2014: 20th International Symposium on Electronic Art	Paper			Zayed University - Dubai	My Studies of Work Atmosphere and Mass‑Production work has created a body of work that examines various socio‑political phenomena. While I have experimented with a wide array of media, I have defined an important part of my practice as Inverse Biotelemetry. Coordinating data mining with physical computing, Inverse Biotelemetry has been a supervenient discovery in forming a meta‑narrative for my research. In essence, Inverse Biotelemetry has clarified my observations regarding the effects of posthuman‑systems upon the individual person. The defining paradigm shift of the last hundred years can be seen as a movement from defining individuals as citizens, to seeing corporations as citizens. Partnerships between psychology and industry have also lead to a demotion of individual citizens to the role of consumer. Advances in our understanding of how our individual minds work have accelerated and expanded upon this post‑human shift. As corporations shift from branding products to branding consumer’s experiences, notions of ownership, authenticity and disobedience become more important than ever before. What will tomorrow’s protest look like? Post‑human systems relate to demography, not the individual. For instance, thousands of individuals, both civilian and military, have been killed during the US occupation of Iraq and Afghanistan. The global news media reflects on these events, it is out of an interest for the spectacle and the story being generated. Improvised Empathetic Device and Notepad are a pair of projects that comment on this phenomenon. Like many of my Inverse Biotelemetry based projects, IED and Notepad filters between the spectrums of where outcomes where humans are regarded in masse rather singularly. This inversion represents a strategy many present day artists and designers are deploying in order to tackle the important issues that confront our culture today. These strategies represent a ‘vocabulary’ of adversarial design.
Old Tech and New Spaces: Repurposing Payphones for Community Design	Karl Baumann	ISEA2015: 21st International Symposium on Electronic Art	Poster	2015 Overview: Posters			Keywords: Participatory Design, Social Art, DIY, Urbanism, Placemaking, Residue, Social Spaces, Speculative Design. The Leimert Phone Company is an experimental community design collective based in South Los Angeles. Our goal is to shift from designing technology for a neighborhood by planning technology as part of the neighborhood. By repurposing unused payphones and other public furniture, our designs seek to reinforce the identity of the neighborhood and create new forms of civic engagement. The collective is run through workshop teams composed of university technologists, artists, and designers who work with local artists, musicians, and concerned citizens. Members bring a variety of knowledge sets that contribute to imagining alternative systems that are culturally specific to the historically black arts community of Leimert Park. Our workshops are structured around rapid-prototyping, embodied prototyping, radical accessibility, and speculative design. In this presentation, I’ll explain the socio-cultural dynamics that inspired the collective, our methodology for maintaining a balanced participatory design process, and the impact the collective has had on reshaping public space and social relations in the neighborhood.
Omikuji	Elena Knox and Katsumi Watanabe	ISEA2019: 25th International Symposium on Electronic Art	Artist Talk		Knox, Watanabe: Omikuji Knox, Watanabe: Omikuji Knox, Watanabe: Omikuji Knox, Watanabe: Omikuji Knox, Watanabe: Omikuji	Asia Culture Center (ACC)	An AI robot tells your fortune. Omikuji are short personal fortunes obtained at Japanese temples and shrines. Exhibition visitors are invited to play the artists’ ‘Belief Machine’. You can receive omikuji in the form of a personal mini sound-artwork, made by the robot and delivered directly to your phone! Omikuji began as a live-stream event taking place between Japan’s National Museum of Emerging Science and Innovation (Miraikan) and major international art precincts. It is part of Knox + Watanabe’s art–science experiments Alter versus Deep Belief. Alter is an android robot with an experimental AI system that is stimulated by sensor input. It is created by Ikegami Lab and Ishiguro Lab. Alter can sense, learn, and sing. It uses a self-organising neural network to classify its surroundings. Such AI strategies include deep belief networks, through which machines determine certain inputs to be believable. Alter is beginning to believe things about the world. Knox+Watanabe make art–science projects exploring sensory and computational perception and conviction in robots and artificial lifeforms. We observe how a nascent robot learns and embodies its ‘beliefs’. If the goal of artificial neural networks is for machines to discern phenomena in a humanlike way, Alter is outputting its discernment of sensory data via its machine body; by this performativity, its belief and behaviour evolve. In robotic intelligence that mimics human ‘deep belief’, machines are trained to recognise characteristics and then to recreate (infer) them by probability, eventually being able to perform classification tasks. They ‘think’ in layers of computational variables which are inferred from initial, lower layers of direct-measured values — yet each sub-network can only ‘see’ the one that came before it. Layer by layer of accumulated belief, the deep layers of the machine-brain act as truth filters (‘feature vectors’), guiding the learning process. Belief systems are maximally contentious in our globalised world, and are important to both the inter-harmony and the preservation of culture/s. We create artworks to uncover and express the layers of Alter’s budding belief system, in their naïve mutability and contingency, even their idiosyncrasy. People may be prompted to ask: How are we transmitting our beliefs to and through machines? How sure are we in our beliefs? How soft are they, and how hard?	Waseda University
On Animals, Children, and Seeing Deeply	Dr. Carol Gigliotti	ISEA94: Fifth International Symposium on Electronic Art	Panel				Panel Statement Panel: Pedagogy of the Oppressed The impact of the Cartesian paradigm on the natural world has been immense. How do the two most consistently oppressed groups in this culture animals and children, fare in the context of the Cartesian coordinate system? Virtual environments (VE) and visual components of artificial life (Al) systems are two of the more recent additions to our efforts at simulating the natural world. Animals and children share a lack of integration into the pervading cultural constructions of that world. What effect will the present developments in the fields of VE and Al have upon the development and quality of life for these two groups?
On Being A Microbioartist: Making Art In A Microbiology Laboratory	Tarsh Bates	ISEA2016: 22nd International Symposium on Electronic Art	Artist Talk			Run Run Shaw Creative Media Centre	This presentation will discuss the challenging nature of making art with microbial pathogens in an era of global epidemics and fears of bioterrorism. I present a series of artworks that explore the physical, emotional and political relationships between humans and Candida albicans (an opportunistic fungal pathogen of humans). These relationships span immunology and epidemiology, sexuality (both human and microbial), public health and body discipline, institutional frameworks and the biopolitical implications of the recent revolution in our understanding of the human body as being at least half non-human. In addition to the challenges of working with pathogens, the rapid simplification of genetic engineering technologies (eg the Bento Lab, “an easy-to-use, laptop-sized DNA analysis laboratory”) and increasing commodification of human microbes (eg fecal transplantation) raises complex questions about whether these organisms have ethical standing: are they living or merely machines? This presentation will ask the audience to consider the perspective of the microbe, of the pathogen, as a creature that is more-than-human, through a series of artworks developed in a microbiological laboratory.
On Breathing and Geography: Sonifying the Severn as Shared Generative Art Practice	Michaela Palmer	ISEA2011: 17th International Symposium on Electronic Art	Paper			Sabanci Center	Dr Michaela Palmer and Dr Owain Jones are Tidal Severn, an interdisciplinary research team that provides information, teaching materials and presentations in order to raise public awareness about the Severn Estuary, a large and important intertidal landscape in Southwest England. The Severn Estuary deserves great attention: with a huge tidal range and three million people living around its shores, tidal processes and people are intrinsically and uniquely interlinked. While the Severn Estuary only concerns the livelihoods of some families directly, the passage over or under the estuary, tourism and recreational activities indirectly affect a much wider, and not necessarily local, population group. This is the target audience for Sonic Severn, a small but growing online collection of soundscapes, sonifications and compositions about the Severn Estuary, curated by Tidal Severn. Sonic Severn is an open invitation to local composers, sound designers and sound artists to sonify some of the phenomena of the Severn Estuary. Many of the Sonic Severn artefacts have combined information technologies with audio technologies in order to communicate some of the tidal phenomena in the form of sound, and by this means to share what is in living memory and to open listeners’ minds to the fragile relationships between human experiences and local landscape. Sonification of data is a key technique hereby. Although strongly linked to scientific data acquisition, it was here often applied as an artistic method: data ‘farmed’ from the Severn Estuary was used to further generative sound practice. In order to make the generative forces that affect an intertidal landscape clearly perceptible to listeners, the question of how data is mapped onto sound is often crucial. This paper explores the necessary compromises between quantifying and qualifying data that can aid listeners’ interpretation of sounds. Based on this it discusses different kinds of ‘accuracies’ that may be applied in the creation of sonic representations. These accuracies are often connected with listeners’ perceptions of where they are located within this landscape. It is argued that skillful use of sonification and mapping techniques can deepen and intensify listeners’ experiences of a local landscape.
On Composing a Medium	Insook Choi	ISEA97: Eighth International Symposium on Electronic Art	Paper				When we speak of technology we often focus on tools and techniques. They are easier to refer to, due to the conventional ways of making references by turning to the nameable objects and well-defined methodologies. However the primary inquiry of technology is in forming questions, generating cases, and creating problems that may not fit in existing paradigms. It is this aspect of technology that makes it an open discourse in a broader context in which scientific and engineering practices can be revisited. Technology includes “illiterate” practitioner’s inventions as well as theories. For example, as Harding pointed out, the people who invented the compass were illiterate, meaning in the domain of practice of the compass as a tool, they were not scientists. The word illiterate is applied to people here. Let’s note the term also applies to the practice for which descriptive language is not yet available. When the practice is indescribable we are illiterate to the need for the solutions to the problems. When we are illiterate to such problems, we call them ill-defined problems. Bringing ill-defined problems to well-defined problems is a beginning of an involvement with technology, necessarily involving our linguistic practices. With this aspect of a technology, we wish to examine the issue of the composability of medium in works of art. The term, medium, has specific implications associated with old technology such as mass media, where the term presup¬poses a quality of being transparent and a premise to simply mediate with no interference. Through the observation of mass media practices we have learned the implication of such premises is no longer feasible for supporting any medium as an objective representation tool for the world. Similarly, we wish to revisit whether any medium can be an objective tool for artistic expressions. One might say it doesn’t matter what an artist uses to create a work of art as long as he or she gets the result. The conceptual ground for such premises is irrelevant for practitioners and artists in a computing environment particularly when one faces the machines that take nothing for granted. Can a compositional idea be independent from the medium it predicts? We notice how tools shape our final results; tools leave a trace in a work of art and this is not necessarily undesirable. It simply means the composability of the tools has to be taken into compositional criteria and this is desirable. This desirability may open to other layers of discourse with practical distinctions between “a composition for a medium” and “the composition of a medium”. Necessary distinctions include physical modeling of musical instruments, and physically-based modeling of an object, its environment, and their interactivity. Undertaking computational processes in composition/performance practices extends what it means to compose a medium other than assembling off-the-shelf tools, and extends how competence may be built among interacting agents in performances with technology, through the well-defined language of computability.
On Consciousness, Memory, and the Role of Art in the Era of VR & AI Maturity	Melentie Pandilovski	ISEA2019: 25th International Symposium on Electronic Art	Panel			Asia Culture Center (ACC)	Henri Bergson claimed that we have to change our way of thinking when facing new objects: “The idea that, for a new object, we might have to create a new concept, perhaps a new way of thinking, is deeply repugnant to us.” Memory has resurfaced as an important concept. Although much has been achieved with Analytical, Human-inspired, and Humanized Artificial Intelligence the loss of memory in AI can be treated as catastrophic and represents a big hurdle in the development of AI. For Vilem Flusser in the first phase of manipulating information we deal with creation or production of information, and in the second phase with the deployment of memories with the aim of storing them. Flusser emphasizes two significant aspects of the technical image: its capacity for memory and its mathematical logic. For McLuhan, the nature of media determines the nature of society. He writes, “[o]nce a new technology comes into the social milieu it cannot cease to permeate that milieu until every institution is saturated.” The Tetrad, or Four Laws of Media, according to the McLuhans, refers to enhancement, obsolescence, retrieval, and reversal. McLuhan notes: “[v]ideo related technologies must produce a form of psychological death for all mankind [sic] by separating it permanently from the natural order, the book of nature, through narcissus-like self-involvement” a conclusion reached by McLuhan operating on three analytical levels at once: the perceptual, the historical, and the analogic. Thomas Metzinger draws attention to the fact that we do not know what the psychological consequences of the use of VR will be and emphasizes the risks of depersonalization after extended immersion in virtual environments, as well as to the need to study its long term effects. Antti Revonsuo points out how conscious experience exactly is a virtual model of the world, a dynamic internal simulation, which in standard situations cannot be experienced as a virtual model because it is phenomenally transparent—we “look through it” as if we were in direct and immediate contact with reality.
On hertzian space and urban architecture	Mark Shepard	ISEA2009: 15th International Symposium on Electronic Art	Paper			Waterfront Hall	Abstract Cities today are complex hybrids of physical and informational space. Brought into being through common everyday techno-social practices, these hybrids rely on the wireless spectrum to enable a variety of media, information and communications events that continually make and remake the spatial conditions of urban life. This essay examines the relations between this Hertzian space and the architecture of urban environments. Building on a longstanding discourse surrounding the material and immaterial limits of urban architecture, it explores how we might begin to think about shaping the Hertzian space of contemporary cities.
On Holography	Eduardo Kac	TISEA: Third International Symposium on Electronic Art	Paper
On Internet Art: A Critique of the Imperceptible Interface	Eileen Isagon Skyers	ISEA2015: 21st International Symposium on Electronic Art	Paper				(Short paper) Keywords: Network, Interface, Interruption, Interpassivity, User-Agency, Internet Art. In this text, I examine the role of network-based art practices as an aesthetic critique of our engagement with interface technologies that are increasingly seamless and, indeed, largely undetectable. Despite our incessant customization of web content, we are unable to observe the computational processes that make this information manifest. I investigate what network-based art practices reveal about the changing nature of subjectivity in relation to this imperceptibility. Internet art, I argue, constructs temporary, physically variable structures that rely on retromediation and technological anachronism so that actions inherent to networked space are, by necessity, thrown into question . These practices, I argue, function as a critical interruption of the ruling tendencies and assumptions of screen-based operations, namely, transparency and interactivity. The complexity and speed of new technology are the cause of both euphoria and anxiety. Drawing on Žižek’s concept of interpassivity, I examine current notions of user agency, arguing that the strong correlation between imperceptibility and distraction demands a reconsideration of subjectivity, mediation and technology.
on moss: topology of a plant	Stefan Riekeles	ISEA2006: 13th International Symposium on Electronic Art	Poster	2006 Overview: Posters			An investigation of the topological characteristics of moss.The unique botanical features of moss qualify as a background for the analysis of phenomena which require a topological approach. The characteristics of the growth process are: Territorial growth of genetically identical clusters. Mutual support of the plantlets of one cluster. Clusters have a layered structure. Illustrations by Ingela Viks.
On Places, Spaces and Objects of Interdisciplinary Scholarship: The Case of Useful Fictions	Manuelle Freire	ISEA2020: 26th International Symposium on Electronic Art	Paper				In the contemporary institutions of knowledge, different disciplines are associated with specific spaces, objects and instruments. This article rethinks the spaces of academia and the material conditions in which and with which knowledge is generated. Based on a weeklong practice-based workshop and symposium titled Useful Fictions, I argue that the relational effects of objects, instruments and spaces are the mesh for interdisciplinary collaboration, and essential to bridging disciplinary divides. Therefore, spatial and material conditions of research must remain central to the processes of planning and developing interdisciplinary research and creation. I draw four considerations to more efficiently prepare teams for collaborative research across arts and sciences: Understand the institutional context where collaborations take place, and participants’ familiarity and perceptions of the environment including the objects and instruments at hand, Define the scope and scale of the project in accordance with the range of expertise of collaborators, Reset participants’ disciplinary lenses, Privilege reflective practice and dissemination methods that are anchored in the objects used and produced.
On Strategies		FISEA'93: Fourth International Symposium on Electronic Art	Poster	1993 Overview: Posters			A discussion and demonstration of the artist’s strategies in the creation-production process, stressing low profile / low technology devices.
On the Bridge Between Bolivia and Computers	Lucia Grossberger-Morales	ISEA2012: 18th International Symposium on Electronic Art	Paper	2012 Overview: Paper Presentations		National Hispanic Cultural Center	Author was released to create interactive textbooks, but it has great potential for art books. I will discuss the media and interactive features on the iBook that enhance an artist’s ability to tell their story, for example: video; music; voice-over; interactive Keynote presentations, which can have hot spots that link to other slides and individual objects that can move; links to sections of the book, or to web page and the ability to zoom into an image, The iBook can be a compelling, inexpensive format to present artists’ work and catalogs. Intro: Telling Personal Stories of Memory, Time, and Space On my fifth birthday I heard a voice, “You must tell your story.” I don’t remember if the voice was in Spanish or English. At that moment, I promised I would never forget the pain I felt emigrating from Bolivia to the United States. Though I emigrated when I was only three, it has been one of the most profound experiences of my life. I left an extended family, where I had felt confident and safe. Emigrating to New York made our family feel alien and helpless, living in a country where we didn’t speak the language. On that fifth birthday I swore that someday I would find the way to tell my story. Every year on my birthday I reminded myself of my promise. In 1979 I found the tool I would use to tell my stories, the personal computer, but it would be years before I had the hardware, software, and computer knowledge. Finally in 1987, I was ready to begin. Telling Stories using Multimedia Telling my stories was a calling. Initially the voice came to me when I was five, but has continued over the years in my dreams and travels to my homeland. It was only when I saw that computer that I knew I had found the medium that could capture the emotional richness of these experiences, combining images, words, and most importantly interactivity. By creating multimedia pieces I made the stories concrete, externalized them and better understood them. Along with different media elements, I incorporated techniques such as branching, layering, and telling the same story from a variety of different perspectives, even in different languages. In some pieces I would include a voice-over in Spanish or English that expressed a more personal thought or feeling. Often the text and voice are counterpoints to each other. This paper is divided into my Altar Sangre Boliviana and installation Khuritos Infinitos. Within these two works are my personal stories about emigrating, as well as my experience as an adult revisiting my homeland, awakening to the social injustice, and my admiration of the indigenous cultures as stewards of the land. Altar: Sangre Boliviana (Bolivian Blood) 1992-2002 Sangre Boliviana is a CD-ROM, which is presented as either just a CD-ROM or in the context of an altar, with a frame around the computer, on a table that looked like it belonged in a church. Sangre Boliviana is a postmodern collage including fragments of my story of being an immigrant, growing up bicultural and discovering Bolivia’s culture and worldview. Each of the six sections has its own style and interaction.
On the Road to Omniana	Jeremy Diggle	ISEA98: Ninth International Symposium on Electronic Art	Paper				So what is omniana? Well it certainly isn’t a place over the next horizon. It’s not a virtual Shangrilla. Omniana is quite real and its potential lies in the fragments of all things brought together and given form. Omniana is simply a liberation from the self-consciousness of attempting to work in different media disciplines, it is one medium. To be a manipulator of multiple media forms is to fail to escape the preconception and rules established as practice within them as identifiably distinct media. The new potential of the ‘multimedia’ platforms are that they are neither individual or combined media. Multimedia is intrinsically a medium of its own. The way that we choose to use the potential of this medium is all important. We can connect to information of all kinds, and borrow from the massive collections of data and artifacts globally. This synthesis ranges through human thought, language and science, absorbing elements from perhaps all religions and philosophies, without barriers, except those that we impose through convention.
On-going project: on tactical archiving of one’s life via digital instruments	Jacek Smolicki	ISEA2015: 21st International Symposium on Electronic Art	Artist Talk	2015 Overview: Artist Talks	Smolicki: On-going project: on tactical archiving of one’s life via digital instruments Smolicki: On-going project: on tactical archiving of one’s life via digital instruments
On-line Film Circulation in China: The Case of Youku Tudou As a Creative Corporate Soft Power Champion	Patrice Poujol	ISEA2016: 22nd International Symposium on Electronic Art	Long Paper and Paper			Run Run Shaw Creative Media Centre	Abstract (long paper) Since China’s entry in the World Trade Organisation (WTO) in 2001, the development of Chinese start-ups has been explosive. Their representation worldwide has also been notable with such examples as Alibaba or Youku Tudou (YT). A lot of these start-ups have been tightly connected with the expansion into the media sector. During this recent political-economic transition, the media has been used as a soft power vehicle (ruanshili), both internationally and domestically. This makes it a key strategic sector for the Chinese Communist Party (CCP) to control and shape. Through the case of YT, this paper addresses the following questions: Before and post WTO entry, how has China been managing its political-economic series of transformations to create the current media context? In that context, how is the Chinese government shaping the evolution of its media system towards the creation of national brands and on-line creative champions such as YT? To which extent, is this influencing China’s soft power agenda abroad? What does it tell us about the changing relationship of the Chinese government and its creative industries in regards to Intellectual Property (IP)? Is it a step forward to identify and nurture emerging local film talent?
One and Three Launchpads	Lee Cheng	ISEA2016: 22nd International Symposium on Electronic Art	Artist Talk			Run Run Shaw Creative Media Centre	This artwork is an imitation of the classic conceptual artwork, One and Three Chairs (1965) by Joseph Kosuth. While Joseph problematized relations between object, visual and verbal references via his artwork, One and Three Launchpads highlights the three different stages of the interface evolution: The physical interface (controller), the computer interface (cursor), and the mobile app interface (tablet). It reflects the transformation of music-making tools from physical to virtual environment, and from desktop/laptop software to mobile app. Despite the transformation, the purpose of the tools is the same – to make available more music-making options and facilitate the musical creation. As an installation attachable to any wall in the exhibition venue with power supply, the three Launchpads will be appeared as (1) a ‘physical’ Launchpads connected with the Mac Mini / Mini PC; (2) a screen displaying a Launchpad 2-D graph; and (3) an iPad Mini displaying the same Launchpad 2-D graph. All three Launchpads respond the same way via the same Pure Data sound engine both visually and audibly. Random pitches and lights will be generated via clicking the physical button / button on screen / gesture on the tablet. By experiencing the interaction with three different types of interfaces, this artwork raises the awareness of the evolutions of interfaces to the general public.
One Artist, One Art System, The Case of Net.Art	Vuk Cosic	ISEA98: Ninth International Symposium on Electronic Art	Panel
OneBeat Project	Christopher Marianetti	ISEA2012: 18th International Symposium on Electronic Art	Artist Talk	2012 Overview: Artist Talks		OFFCenter	Symphony 505 creates an orchestra of automobiles and re-visions their mechanic motion as dance. Working with a group of people within the lowrider community that have built and customized their cars, their lowriders will be further transformed, in their familiar landscape, into both musical instrument and dancer. Using wireless audio technology and suped-up sound systems, a conductor (or audience) will be able to “play” the cars as the drivers perform a series of movements and gestural sequences. Embedded within the architecture of Albuquerque, the vehicles’ ability to respond to and dominate their environment is the catalyst for this moving symphony.
Online Higher Education for Electronic Arts: New Practices	Peter Chanthanakone	ISEA2014: 20th International Symposium on Electronic Art	Round Table			Zayed University - Dubai	Online education has been in the forefront of higher institutions for the past decade. While the technologies are continuing to evolve, the opportunities to use those technologies bring new methods to deliver content. Live video feeds from any studio in the world with multiple virtual guest speakers at one time, screen sharing to learn software and real‑time cloud file sharing for feedback are all available to today’s educator. This type of nonlinear delivery of content can strengthen the learning objectives for any electronic art forms and removes the location restrictions set by a physical institution. This roundtable will discuss how educators are using new technology to effectively teach students which allows course content delivery to be more immersive and therefore, more effective in student learning outcomes. It will redefine the way you think of online education for the electronic arts.
Online Social Network Based on Internet of Things and Habit of Drinking Coffee in South of Brazil	Tiago Franklin Rodrigues Lucena, Hygor Vinícius P. Martins, Talita Novacoski, and Vinicius Oberleitner	ISEA2016: 22nd International Symposium on Electronic Art	Artist Talk			Run Run Shaw Creative Media Centre
Only Human….	John McCormick	ISEA2011: 17th International Symposium on Electronic Art	Panel			Sabanci Center	Panel: Motion Capture and Dance: what it can do, what it can’t do, and what it should never attempt Movement analysis in the scientific realm is often characterised by the desire for certainty and predictability yet this level of predictability may not always be desirable in an artistic context. In the area of dance creation and performance, the fact that humans can be surprising, inspired, fragile and unpredictable could be seen as part of their potential creativity and preferable to obvious, robotic responses. How far would we allow machines to carry similar traits in their analysis and responses to human movement? This presentation investigates the area of machine learning and understanding as it may be applied to motion capture analysis in performance, including the aspiration of many machine learning techniques to model and approach human learning.
Only White Deep White	Tomoko Mukai	ISEA97: Eighth International Symposium on Electronic Art	Artist Talk	1997 Overview: Artist Talks			My concern is what is the realizing of a space. Seems to be abstract question only, but it could be probably recognized with three different aspects mainly. The first aspect consists of my personal memory of space. It is the origin—original form of space what had been and would be developed through layers of my subjective experiences about bodily sensation of space. The second aspect is based on the interpretation of space from Japanese view as my origin. The third is the image of space what could be provided and developed with new technical possibilities, especially the use of 3D software. But each component of space could not be defined with one aspect, but these different aspects appear at each moment and overlap each other. At last a space appears like a afterimage in my brain. Only White Deep White is the basic structure of the origin form of space, purity. Between Darkness and Light metamorphoses this purity with colour. The space which appears is constructed by the essential aspects of the subjective aspects such as “I will experience it myself” and “I will let myself experience it: An actual construction of real space, pure white, coexists with the construction of an abstract, computer generated space. The fundamental virtual space is constructed at human scale from materials and textures which can be transferred and built into the real space. At first glance, this space is as though it has its own connection with the real space, but its existence is more likely an idea of space, constructed of pure abstraction because of its virtuality. The space which had been converted into a two-dimensional expression on a monitor is then reconstructed once more in the three-dimensional, real space. Colours project outward, extending the virtual world further into the real. The computer generated simulations are projected on three screens with video beakers in the exhibitions room. In the part of Between Darkness and Light, the slides are projected on the floor with six slide projectors. All simulations and slide projections are synchronized with computer.
Open Culture + Wearables	Valérie LaMontagne	ISEA2011: 17th International Symposium on Electronic Art	Panel			Sabanci Center	Chair Person: Valérie Lamontagne Presenters: Otto von Busch, Syuzi Pakhchyan, Melissa Coleman, Piem Wirtz, Mika Satomi & Hannah Perner-Wilson This panel will investigate the influence and importance of open culture on wearables production, dissemination and technological crafting. Uniting practitioners in the field of wearables who have worked on and with online platforms, open workshop events, publications, hack spaces, university classrooms and media labs to advance the proliferation of the craft of wearables, the panel will present case studies for the specific integration of open culture in the production and dissemination of wearables. The importance of DIY, open platforms, collaborative design practices and hacking in the advancement of computational couture has been key in propagating the practice and research into mainstream media, academic curriculums, arts and new media festivals and publications. The hybrid practice of wearables – combining techno-scientific knowhow with the skill of couture fabrication – presents exciting challenges to both unique fields, encouraging the cross-pollination of artistic and scientific domains. There are good arguments as to why wearables are closely aligned with the growing movement of open design practices. To being with, Johanna Blakley has argued that fashion is predicated on “free culture”, i.e. that the history of fashion points to borrowing, remixing, and re-inventing known patterns and methods. Other designers, such as Otto von Busch in his book Fashion-able, have looked at hacking culture as a way of creating an entry-point into the often closed commercial system of the world of fashion. Open design concepts stem from two main impetuses – a) the desire to make things “open” and commercially free and b) the need for multiple inputs from many participants to develop complex systems (i.e. a software). It could be argued that open design will become a facet of all technological production and dissemination as the added value of multiple participants becomes undeniable. Open Culture + Wearables asks: How can open culture be useful to the field of wearables?
Open Cultures: cultivating collaboration	Amanda McDonald Crowley	ISEA2013: 19th International Symposium on Electronic Art	Panel			The University of Sydney	Panel Statement Panel: Rogue Troopers: Designing functional and fictional disruptions “We are a cultural laboratory re-imagining possible futures at the interstices of art, science, nature, and everyday life.” _fo.am/about/ Artists are increasingly working in collaborative ways to develop work that moves beyond conventional gallery spaces and into the world, and our lived experience. Through the lens of recent curatorial research into ArtTechFood, Urban Research, and Open Culture, I will look at the history of artist labs as spaces to work creatively and build community. I am especially interested in how artists are currently making significant contributions to open source movements, mapping, sharing, collaboration, DIY, knowledge sharing, and skills transfer to explore open knowledge and build open utopias. What are the possibilities and pitfalls of curating this kind of research and process?
Open Design Practices, Materiality and DIY Wearables @ 3lectromode	Valérie LaMontagne	ISEA2011: 17th International Symposium on Electronic Art	Panel			Sabanci Center	Panel: Open Culture + Wearables This paper and presentation will investigate the notion of open design within the practice of DIY wearables and the online/customization initiatives of 3lectromode and other design collectives in the field of fashion and technology. By looking at how technologies are facilitating access, networks and small production lines I aim to reveal the changing creative and production practices of fashion and technology from a pure industrialized vs. craft-based one, to a sophisticated, high-tech and networked 21st century cottage industry. Furthermore, an emphasis on the open design principles applied to textile material practices that can be adopted to sustain and enhance this field will be addressed. 3lectromode holds the vision of innovating in the field of wearables by combining technology with customizable prêt-â-porter fashion. We aim to inspire a future where wearables are democratized, aestheticized, and performative. We are a small design studio interested in developing accessible wearables, which combine DIY technology with current fashion research. We are fascinated with the potential for technology to create new modalities of interaction between the body and its environment, and are interested in the performative potential of technology. Key to our design ethos is a to create a library of open sourced tools which can be easily accessed, interpreted and used by anyone. We develop wearables, which we hope will be meaningful to the wearers by enriching everyday experiences with an awareness of both ourselves and the world around us. We see our work as creating a further connection between humans and the world at large of machines, information patterns, environmental data, and organic material.
Open Electronic Book	Betty Beaumont	ISEA98: Ninth International Symposium on Electronic Art	Paper				The Open Electronic Book critiques the notion of library and museum, creates an archive of different memories and many voices, and makes new histories possible by soliciting community involvement. “The Open Electronic Book” is an Interactive Computer artwork at three public places: 1. an urban centre 2. a college and 3. a virtual site, on the world wide web These sites are: discursive sites for gathering and presenting oral histories about a about a specific culturally diverse urban community; a consideration of different personal histories, memories, cultures; a process of making visible transparencies of meaningful articulations of presence and absences of cultural formations, of cultural mapping with meaning, of many complexities of aesthetic political and critical connections to the built environment of the urban space in the context of planning for urban and waterfront development. The Open Electronic Book is process — cultural situations — cultural articulations — construction of the image — transcription — possible text — possible space possible articulation for different cultural moments — spatial definition – organize text and Image – political, social, economic space/time manipulation — cultural space – public space – necessity of finding connection between place and cultural event – make visible cultural mapping – complex cultural situations — spatial definitions.
Open I/O	Burak Arikan and Vincent Leclerc	ISEA2006: 13th International Symposium on Electronic Art	Artist Talk	2006 Overview: Artist Talks			Open I/O is a suite of software services and applications for composing and running distributed physical media in a way that enables people to exchange data over the Internet. By using this system, artists and designers can collaborate and take advantage of high-level social and economic information while creating low-level physical interactions. By enabling social interactions through networked electronic objects, Open I/O lets people explore the intersection of material culture (things, physicality) and ideology (ideas, values). [Remark: See ISEA2006 Paper with the same title]
Open Lab Egypt (OLE)	Dia Hamed	ISEA2011: 17th International Symposium on Electronic Art	Panel			Sabanci Center	Panel: East & West Institutional Presentation As abbreviated “OLE”, Open Lab Egypt is a long-term project meant to establish a laboratory for the development of digital arts in Egypt, promoting the use of Open Source tools in audiovisual creation. It aims to raise a local community in Cairo of autonomous people that can start a support for production of interactive environments and electronic interfaces in the future, using all the accessible technologies that might be necessary. The project is intended for art students, artists, designers, educators, engineers, and scientists contributing to the development of cultural production in local communities of the Arabic speaking regions. Medrar for Contemporary Art “Medrar” is a nonprofit organization that started running activities since 2005. It represents a common cultural corporate and philanthropic platform for young emerging artists in all means of communication, developing experiences and financial support. Considering the necessity to document the ongoing Contemporary praxis in Egypt and critique based methods, Medrar aims to drive the interest of emerging artists with providing chances of accession and experimentation. We believe we can stimulate the artistic scene in Egypt by focusing on the organization of workshops and festivals that would encourage participation of new faces, locally and internationally. As an artist running based initiative, we are always seeking the upcoming potentials of creativity.
Open Laboratories, Laboratorios Abiertos	Felipe Cesar Londoño Lópes, Ricardo Dal Farra, and Gabriel Zea	ISEA2012: 18th International Symposium on Electronic Art	Panel			National Hispanic Cultural Center	Panel: Latin America and Cybernetics Representatives from open labs in Latin American countries share their experiences and teach workshops, including: “Open Solar Circuits” taught by Leslie Garcia and “TAG” taught by Gabriel Zea, a workshop about tagging objects in public spaces. There will be other contributions to the panel by
Open Media Art from Cosmetics to Critical Fusion	Maurice Benayoun	ISEA2013: 19th International Symposium on Electronic Art	Paper				When trying to explain why “the convergence between art world and computer art world (…) will never happen” Lev Manovich opposed ‘Duchamp-land’ and ‘Turing-land’, stating that both are doomed to irreducible oppositions: • content vs the new • complicated vs simple • ironic vs serious Do such divisions reflect the reality of apparently antagonist fields? Are Murakami’s and Koon’s works so much about ‘content’? Is there a lack of ‘irony’ and ‘complexity’ in most of the Ars Electronica awards? The opposition between the two artistic attitudes might be relevant throughout the history of art, and not only between two moments of this history. The fracture delineates a stronger frontier across the ‘lands’ separating invisible transfrontier communities of artists; and across the time, art became a permanent fight between: • depth and surface effects, • cosa mentale and eye candy, • critical and cosmetic practices, • and later, between social awareness and techno entertainment. ‘New’ media extended the artist’s impact to all parcels of the visible and sensible space, and the artist’s responsibility took on the scale of his/her impact. Let’s explore deeper Duchamp’s heritage … The Duchamp brothers’ heritage! The Duchamp Bros. formulated diverging directions for art which still coexist in the media art field, with artists: • using technologies to create pleasant effects (Jacques Villon’s heritage); • referring to technologies creating artefacts inspired by the Zeitgeist (Raymond Duchamp-Villon’s heritage); • shaking the field up by taking a critical approach to art, introducing (inside or outside the frame) the questions: “What?” “What for?” and “What if?” (Marcel Duchamp’s heritage) Beside these producing highly sophisticated life sweeteners, consolidating the Society of the Spectacle, some investigate the open world of new medias to practice the critical fusion of fiction and reality, forcing the last to become more visible and understandable than ever.
Open Source City: A Trip Around a Magic Puzzle	Clara Boj Tovar	ISEA2004: 12th International Symposium on Electronic Art	Paper
Open Source City: Communal Urban Green Space	Fælles Grønt Byrum	ISEA2004: 12th International Symposium on Electronic Art	Paper
Open Source City: Communism of Ideas: Towards an Open Source Practice of Architecture	Dennis Kaspori	ISEA2004: 12th International Symposium on Electronic Art	Paper
Open Waters [Northwest Passage \| Open Polar Sea \| Arctic + Great Lakes Plastic]	Andrea Wollensak, Brett Terry, Judith Goldman, and Bridget Baird	ISEA2020: 26th International Symposium on Electronic Art	Paper				Open Waters [Northwest Passage \| Open Polar Sea \| Arctic + Great Lakes Plastic] is an interdisciplinary, interactive multimedia artwork inspired by a five-hundred-year history of expeditions that sought to find the Arctic Northwest Passage and Open Polar Sea. Through a constellation of interconnected pieces including an interactive book and interactive wall projection, Open Waters reworks a number of discursive and visual genres across disciplines. An interactive book features a suite of archival poems on Arctic exploration, politics, and ecological change. As the viewer/reader turns the pages of this print-digital hybrid book, projected digital generative art and poetic text intermingle recombinantly with printed text. The interactive back wall of the gallery combines video and audio generative works that respond to the activity present in the room, evoking the effects of human disruption of the Arctic environment. Open Waters also considers the global circulation of microplastics through large format photographs of plastic pollution in Buffalo waterways; an animated, dynamic video projection that incorporates research poetry on plastics pollution in the Great Lakes system; and a floor assemblage incorporating locally collected used commodity plastics as well as raised etched glass panels depicting a historical water route from Buffalo to the Northwest Passage.
Open Wearables	Valérie LaMontagne	ISEA2014: 20th International Symposium on Electronic Art	Paper			Zayed University - Dubai	This paper investigates the role of designer in the ‘opening’ of culture in fashion and technology. In particular it explores the convergence of ‘open practices’ in vanguard technologies and fabrication processes found in the history of Modernist fashion, as well as recent popular uses of technology, engineering, and more specifically wearables design practices.
Open, Free, Pass It On	Shun Chu and Miho Aoki	ISEA2002: 11th International Symposium on Electronic Art	Poster				The Artvo Project welcomes creative minds in the fine art and design fields to let art projects prosper using the Internet as a medium. By allowing other artists and designers to share and modify each other?s work openly, this project promotes a new creative information exchange.
Open-source Sentience: the Proof is in the Performance	Joseph Thibodeau and Ceyda Yolgörmez	ISEA2020: 26th International Symposium on Electronic Art	Paper				This paper asks how AI can change the consensus around the notion of sentience, through a specific focus on the intertwining of culture and materiality, as well as human-nonhuman relations. The question of sentience in machines is generally regarded as a rather fetishizing notion that obscures the specific assemblages of AI. We would like to open up this notion of fetish, and provide a theoretical map for an inverted way of understanding how fetishization of AI could be mobilized in cultivating an interspecies community. The ideas reflected in this paper are drawn from a research-creation project that took place in Spring of 2019, Machine Ménagerie , in which a collection of small autonomous robots serve as a medium for considering different understandings of human-machine interaction. Machine Ménagerie creates the basis for interrogating the exclusive definition of sentience as a measurable property. We argue instead for an approach that would emphasize (1) the relational nature of the notion of sentience, and (2) the rituals of care and friendship in relating to nonhuman others. In this context, sentience is not something that beings own, or that humans bestow upon things, but rather is something that is continuously achieved and in which humans and nonhumans participate.
Opening ISEA2000	Derrick de Kerckhove	ISEA2000: 10th International Symposium on Electronic Art	Keynote	2000 Overview: Keynotes			N/A
OpenLab: Art + Astrophysics	Jennifer Parker	ISEA2012: 18th International Symposium on Electronic Art	Artist Talk	2012 Overview: Artist Talks		Hotel Albuquerque	“Down to earth: Art, Astronomy and Physics” Highlighting new works created by artists and scientists from the OpenLab at the University of California at Santa Cruz.
Opera and the Cult of the DJ	Justine Poplin	ISEA2011: 17th International Symposium on Electronic Art	Paper			Sabanci Center	Physicality in Projection Artists working in the field of New Media have at times limited their creative outputs of their finished works exhibited in the gallery or public space by the notion of ‘the screen’. The screen I am speaking of is generally rectangular in shape, either within the interface of a computer screen or majestically projected onto flat, uninspiring surface/s. There are however; other possibilities that few artists have explored to create a ‘physicality’ in projection, which extends preconceived notions of screen-based culture. Video and notions of projection can engage in creative strategies that push boundaries and extend the message of the medium. Artists can initiate an alternate dialogue by creating a screen or screens that are physical in presence and through this physicality take on their own psychological space. This physical presence is illustrated in Tony Oursler’s ‘Smoke and Mirrors’ 2006 the viewer can freely circumnavigate the work in its holographic–like, free-form state, illuminating video’s post-human presence through projection. Oursler’s “general theme was to mimetic technology, that is, technology that could be perceived as a direct extension of psychological states”. [1] In video work such as this created from projected pixels onto surfaces that are freestanding or transcendental take video out of its rigid realm into the transcendental giving the audience something avant- garde and phantasmagorical. There are several Artists that will be discussed throughout this paper and then later I will discuss how they have informed my own work… Poplin further explores notions of screen culture and performative presence in her new work ‘Habitat’. [1] Smoke and Mirrors: Tony Oursler’s Influence machine, A conversation between Tony Oursler and Louise Neri May July 2001, New York City
Opportunities in Brazil: FAD – Digital Art Festival, 1st Edition of Digital Art Biennial 2018	Tadeus Mucelli	ISEA2017: 23rd International Symposium on Electronic Art	Institutional Presentation	2017 Overview: Institutional Presentations		University of Caldas	Since 2007, the Digital Art Festival has spread the themes of Art through New Technologies in four pillars of action in Belo Horizonte/Brazil. (Workshops, lectures, performances and art xhibition). The proposal of this edition called the Digital Art Biennial, tends to broaden the horizons of art through new media, placing this theme in a centrality in the field of art and culture in the midst of society. The connection between the cultural spaces of the cities of Rio de Janeiro and Belo Horizonte, and an international exchange of thinkers and makers who are habitual to the festival, is planned in this sense, but on a new spatialized scale of activities in the cities. The 1st FAD Digital Art Biennial is a great opportunity for all makers present at the ISEA and at the Image Festival.
Optical handlers: eeyee	Eric Siu	ISEA2009: 15th International Symposium on Electronic Art	Artist Talk			Waterfront Hall	Artist Statement Optical Handlers – eeyee is an optical device that dissects one’s embodied visual experience by a simple tool-set – LCDs and cameras. eeyee literally splits users’ vision into two and relocates them onto their hands separately. The extended vision, along with the mobility of the hands, makes it possible for the users to observe the world from a dimension off the skull and from a perspective through the limbs. Instead of splitting the vision just as a left and a right, eeyee manages to treat each split stereoscopically. Thus, users experience a double mobile real time stereoscopic vision, which has a redundant reality that poses the questions: Aren’t we living in a 3D world already? Or are we? eeyee, facilitates a hyper entanglement exclusively for the users. When users wear this device, their experience is completely alienated. They have to manipulate their body and invent their own ways to cope with their surroundings to make a step forward. Eventually, the user will meet and interact with the public – thus learn how to socialize and co-exist in this ‘hyper’ active space. eeyee provides an experiential situation for users to play with their own body and to make fun and interact with people around them. It has an identical set of LCDs that face outward, which enables bystanders to peek in the users’ vision as closely as they want. eeyee essentially blinds the users as well as heightens their senses to create a tension between their followers and the place where it is played. Technical description The device is amateurishly produced with a simple tool set. It consists of two parts – the goggles and the gloves. Within the goggles, two pairs of LCDs are arranged sideby-side in front of the right and left eye separately. Each eye sees two lenses magnified by LCD images, and they are perfectly aligned in a binocular distance so that user will overlap four images into two to create a stereoscopic vision. All the LCDs’ videos are sourced from two sets of stereoscopic cameras on the right and left gloves separately and accordingly, enables the user to see through his/her hands. An identical duplication of the LCD-set that has the same video sources is equipped in the forefront of the goggles, facing outward to the audiences, which allows bystanders to see through what the goggles wearer is seeing. The cameras also offer another four video signals that connect to a video splitter, used for recording the seeing in real time. Eventually, mobile stereoscopic vision and social interactive performance becomes possible. Detail of material/media: Optical device, wearable media, head mount display, mini-LCDs, cameras, electronics, goggles, gloves, celastic, paint, jumpsuit.
Orai and the Transdisciplinary Wunderkammer	Michael Punt	ISEA2002: 11th International Symposium on Electronic Art	Paper				Recent speculation in cosmology and the science of consciousness studies has been obliged to reconsider the concept of reality as an “absolute given” from which all laws can be verified. In string theory in particular, the dispute now hinges on the existence of ten or eleven dimensions in rippling membranes that discharge energy at the point of contact. In science of consciousness studies similar models have appeared in order to explain what one authority has called “the necessary moment of enchantment between planes of consciousness that produce awareness”. Between the macro and the micro the daily experience of ordinary human beings has long needed the explanation of multiple realities in order to stabilise conflicting desires and constraints – the multiplicity of times and spaces that converge in a single individual have long been sifted between those that have a rational and scientific explanation (e.g. money, work, knowledge) and those that have an irrational basis (e.g. love, pleasure, and art). One convenient division of labour has been to assign the rational to the real and the irrational to the imagined. The inevitable realisation in scientific circles that the reality of the imagined has as an equivalent epistemological significance raises fascinating questions as it invites a sceptical reconsideration of the essential basis of knowledge. While the radical shift in scientific thought provides the moment of profound satisfaction for those artists, designers and scientists who have long argued for a transdisciplinary world view, it also provides a moment of the greatest challenge as we begin to consider how knowledge might be extended, codified and distributed in a multiverse, and begin to reflect on the relationships between a text and a world to be understood when any given world is only defined by the temporary consensus dependent on an arbitrary episteme. This short paper approaches the theme of Orai by first developing the claim that we exist in a multiverse of multiple realities by exploring some major turns in cosmology, and consciousness studies and then drawing on my own published work which deals with the quotidian multiverse. It then asks the question of how we might manage the new concept of “comings and goings, communication and contact as well as streets and traffic” at a time when the reduced world view that has provided the foundation of dominant opinion in the last half-millennium is unsustainable. In conclusion it proposes that visual analogy, in the sense that Barbara Maria Stafford and others have argued the term, points to both the new transdiscplinary strategies for research and education as it also places new responsibilities on the custodians of analogy during the half-millennium of the reign of reason – those for whom finding sameness in difference has formed an essential part of their methodology – namely artists.
Oral History Practices and Undiscovered History of Polish Computer Art of the 1970’s and 1980’s	Joanna Walewska	ISEA2011: 17th International Symposium on Electronic Art	Paper			Sabanci Center	This paper aims at being a contribution to current debates on writing history of media artand is based on a case study of the history of computer art in Poland in 1970’s and 1980’s. Thepoint of view of relationship between art and technology in Polish art practices is hardly takeninto consideration by contemporary art historians, who usually omit this current treating it asirrelevant to the mainstream narrative. Currently, in Western Europe as well as in the United States, there is a number ofprojects which are aimed at reconstruction and documentation of computer art history. EasternEuropean computer art however seems to be still a kind of terra incognita. Such status quo isobviously a result of long-lasting geopolitical and intellectual division of Europe. In this paper I would like to introduce my research project devoted to the Polish computer art history. I intend to reconstruct the history of this current (its assumptions, goals,artistic strategies, ideological involvement, etc.) by collecting snatches scattered throughout Polish gallery archives. The project’s essential sources, however, are the interviews withartists who are still alive and willing to share with information which have never beenpublished, i.e. with technological details and information regarding the local context. As an example, I would like to present works of three Polish artists, i.e. WincentyDunikowski-Duniko, Stanislaw Drózdz and Jan Pamula. Their cases are interesting due to thefact that even though they were well-acquainted with the development of computer art inWestern Europe and the United States, they did not treat the computer as a medium. The interviews with Dunikowski, Pamula, and Michal Bieganowski, Drózdz’s close collaborator prove that that they treated computer as a sort of sign of time, a romantic metaphor of modernity, or, in the best-case scenario, as a tool and point of reference for their works. Therefore, by means of collecting the interviews, the history of art in the Soviet bloc can be rewritten from a completely new standpoint.
Organic and Social Histories: Collaborative Systems, Structures and Metaphors	Sara Louise Diamond	ISEA2002: 11th International Symposium on Electronic Art	Panel				Sociologists such as Bruno Latour, John Hassard, John Law, and Judith Butler and performance theorists such as Susan Bennett, argue that we perform our identities. Social networks take up meaning through the role of the “actor”. There is an aesthetics to the performance of Internet discourse that can be deciphered and analyzed through visualization. Once visualized, performance can be used as a tool to enhance dialogue. The participatory nature of the Internet allows the very tools of analysis to become tools of creation. The research will investigate whether social cohesion between disciplines is built in part through aesthetic experience. Given that art and science have developed aesthetics, as suggested by Robert Flake and James McAllister, how are these reflected in the discourse itself? Synchronous and asynchronous dialogues function as performances. CodeZebra includes the creation of a “chat” software tool that creates a cognitive and aesthetic map of identities as these develop within the chat world. The software attempts, in iconic and ironic form, to express the qualities of the chat itself and the “feelings” of participants in that discourse. My interests include the design or testing of a number of material cultural expressions that both produce and result from this software as a comparative method. Culturally based performance fields and their associated methodologies (i.e. choreography, dramatic improvisation, fabric and fashion display) can be mobilized to facilitate the exchange and transformation of different forms and sites of knowledge. Full text (PDF) p. 133
Origin	Timothy Nohe	ISEA2000: 10th International Symposium on Electronic Art	Poster				Poster Statement Origin is a multi-media installation that examines «space» as a construct. Simulative, surveillance, acoustic and electronic sound samples, and cartography were employed to produce an investigation of urban spaces and the patterning power of technology and philosophical systems. The title Origin refers to the absolute center point at which horizontal and vertical axes intersection. This point of convergence is a philosophical and mathematical construct that enables architects, cartographers, city planners, designers, the military, etc. to imagine space as rational, and therefore controllable. Rational grids control the traffic patterns of most modern American cities, the direction in which we walk, the box-like dwellings and spaces that we occupy, and our orientation to the sun and forces of weather… This system may be contrasted to organically evolved models such as watercourses, trade routes, or terrestrial topography.
Origin of Contemporary in Situ Remediation of Sound Art and Cognition	Jisoo Park, Beomseok Seo, and Sangjun Park	ISEA2019: 25th International Symposium on Electronic Art	Poster	2019 Overview: Posters	Park, Seo, Park: Origin of Contemporary in situ Remediation of sound art and cognition	Asia Culture Center (ACC)	This research employs a cognitive and neuro-aesthetical perspective, focusing on the private/public duality that exists in each of us. Whether one prefers to be alone or in an intimate relationship, it is always possible to experience individual feelings among other people. We define the duality of this experience as a remediation of sound art and cognition. The concept of remediation allows us to connect the personal sounds people experience alone and the social sounds they experience collectively. As this study shows, this process extends through the bodies of others and serves as a mechanism by which individual experience is redrawn within a social context.
Origins of Japanese Media Art: Artists Embracing Technology from 1950s to Early 1970s	Machiko Kusahara	ISEA2011: 17th International Symposium on Electronic Art	Paper			Sabanci Center	This paper excavates and analyzes works of Japanese artists from 1950s to early 1970s that anticipated media art to come, with original ideas and innovative use of technology. It is never clear when and where “media art” started. However, it is important to trace back its history and examine what may be called “pre media art” in order to better understand media art today. By exploring postwar Japanese art history retrospectively from today’s media art point of view, elements that have been neglected or put aside can be rediscovered with different meanings. For example, musique concrete composed by Toru Takemitsu and his collaborators using tape recorders was a part of multidimensional performance that integrated latest electronic audiovisual technology of the time, rather than purely musical experiment. The Gutai artist Akira Kanayama’s drawings using remote-controlled cars with paint tanks were by then introduced as alike of Jackson Pollock’s “all-over” style in the art world outside Japan, neglecting the interesting questions that arose about originality and the role of technology in art. It is important to explore how Japanese artists of the time regarded technology and its relationship to art in the fast-changing postwar society. The author has been writing, curating and teaching in the field of media art and media studies since early 1980s, meeting many of the pioneers in experimental art. She has presented a paper titled A Turning Point in Japanese Avant-garde Art, 1964-1970 at re:place conference in 2007, which was later included in the book Place Studies in Art, Media, Science and Technology published by VDG-Weimar in 2008, edited by Andreas Broeckmann and Gunalan Nadarajan. This paper is partly the further development of the previous paper, yet written from a different angle and with new research.
Orphics: Computer Graphics and the Feasibility of a Preferred Colour Model	Edward Zajec	TISEA: Third International Symposium on Electronic Art	Paper				With the aid of computers colour has lost its permanent form and has become as transient as sound. The need for some system of notation has become increasingly pressing. In my two previous papers, Orphics: Computer Graphics and the Shaping of Time with Colour, and Orphics: Computer Graphics and the Temporal Dimension of Electronic Colour, I discussed some ideas and techniques for the fluid articulation of color in space and in time, without relying on a preferred colour model. The possibility of defining a colour theory of a fundamental colour tuning, comparable to the harmonic theory and tempered scale in music, remains an open question. The object of this writing is to articulate the above question by discussing the nature of a preferred colour model in which the laws of colour creation are intimately interwoven with the principles of colour classification.
Orphics: Computer Graphics and the Shaping of Time with Colour	Edward Zajec	FISEA: First International Symposium on Electronic Art	Paper				In view of the unprecedented control and flexibility now offered by computers, the author discusses ideas and techniques for the fluid articulation of color in time and illustrates his concepts with recent work. Parallels with music and mathematics (fractals) are discussed concerning such musical practices as modulation and thematic transformation.The nature of ‘dividual’ as opposed to individual forms is considered from the point of view of color dynamics and dimensional upgrades. Parallels with music and film are made concerning the nature of thematic dissolves. The emergence of a hypothetical language of light and sound (Orphics) is envisioned.
Osmose	Char Davies	ISEA97: Eighth International Symposium on Electronic Art	Paper				Char Davies approaches the medium of immersive virtual space as a philosophical “arena” for constructing architectures of enveloping immaterial form. Davies will show documentation of her well-known work Osmose with its dozen worlds of forest, earth, pond, abyss, code, text and so on, while discussing various paradoxes inherent to the medium such as embodiment/ disembodiment, and 3D form/immateriality. Whereas conventional VR design reflects a cultural world-view in which empty space is filled with hard-edged objects etc, Davies’ approach embraces the medium’s paradoxes by working with transparency, luminosity, spatial ambiguity and temporality. She has pioneered a body-centered user interface of breath and balance with the intent of affirming the role of subjectively – felt physical body in virtual space.
Ostrich Effects	David Cotterrell and Jordan Kaplan	ISEA2015: 21st International Symposium on Electronic Art	Paper				(Short paper) Keywords: Call-centre, automation, IVR, recursive, war games, glitch, ostrich, cold war. The scenarios of computer science suggest the potential for an ‘Ostrich Algorithm’: a strategy of wilfully ignoring potential problems on the basis that the likelihood of their occurrence would be so rare as to negate planning for them. The paper focuses on the art installation, The Ostrich Effect by David Cotterrell. The work is a generative installation that explores the recursive loops that might occur in hypothetical scenarios. Built using commercial automated call centre servers programed to dial and trigger each other, The Ostrich Effect is a generative installation that establishes a computer-based conversation, which will never be resolved. The call centres continuously negotiate with each other to sell their products, handle complaints, solicit customer feedback and broadcast government warnings. With systems attempting to recognise each other’s responses, a perpetual loop of questions, diversions and holding patterns ensures that calls will neither achieve their assigned tasks nor fully accept the futility of their method. This paper considers the role of error in heightening awareness of familiar systems, explores the idea of the Ostrich Effect within a contemporary political and technological context and seeks to contextualise Cotterrell’s artwork within popular film and science fiction references.
Osmosis: Transformations Between Sound Worlds	Ioannis Zannos	ISEA2011: 17th International Symposium on Electronic Art	Panel			Sabanci Center	Panel: Through the Roadblocks: Technology and Orality In a world where worldwide immigration is increasing daily because of social instability and economic need, the issues of multiculturality have once more an acute impact on everyday life in many regions and countries. Besides the pressing problems of vital resources such as living space and other fundamental needs for physical survival, equally important, and inextricably connected, are the problems of cultural survival and of mutual understanding between groups of different cultural backgrounds. Besides the physical barriers of country boundaries or roadblocks, the intangible barriers of language, culture, habits, social status and mentality play just as important a role in this context. “Osmosis” explores the idea of cultural interchange and adaptation through an acoustic metaphor: It creates a sonic environment where sounds from three different sources “live” and change gradually by adopting each other’s distinct characteristics. In the purely acoustic dimension of the project, three groups of sounds are initially placed in different regions of the performance space. As idividual sounds start “migrating” from their region of origin to one of the other two regions, they experience the effects of cultural osmosis observed in multicultural societies: They impart some of their characteristics to the sounds of their new environment, while they themselves start adopting characteristics from the sounds of their new environment. Three very distinct types of sources were chosen for this piece: The flying calls of hundreds of swallows (marlins) flying above the city of Corfu in Greece recorded in July 2007 by the composer, the songs of Weddel Seals recorded in Antarctica by marine biologists, and the encoded messages broadcast by “Numbers Stations” for espionage purposes, recorded by short-wave radio amateurs all over the world. Orientation, mating, communication between peer groups and territoriality, are basic needs that lead to strikingly diverse, even alien sonic worlds, in the environments of a small town, the antarctic, and different countries during the cold war. When such different sounds are brought together, the boundaries between familiar and alien become blurred, and a search for new ways of discerning meaning in the maze of seemingly random meetings of different entities begins. The acoustic transformations of the sounds are performed in real time using spectral processing techniques implemented in SuperCollider, an object oriented realtime sound and music synthesis enviroment. This realisation of Osmosis is part of a larger project that involves realizations in interactive installations with different media (sand, water, graphics synthesis). In the installation version of the project, visitors can interact with the work via a multitouch surface, using cubes or other polyhedral objects whose surfaces are imprinted with patterns corresponding to sound samples and ways of processing them. The samples have been preprocessed by machine listening techniques ranging from basic amplitude, pitch and onset detection to psychoacoustically salient features such as MFCC (Mel Frequency Ceptral Coefficients) and other. The results of this processing are saved in a sort of electronic memory of the sound “heard” by the computer. The interaction of the visitors with the system provides an additional layer of memory, which modifies and complements the system’s “experience” of the sound world. In this way, a cumulative history of sound transformations is formed, an allegoric “cultural history” in this metaphoric world of sound exchange. Another layer of the work involves gathering of real-world environmental data connected to the forms of life and communication portrayed by the sound samples, and displaying these on video projections, together with a visual representation of of visitor’s actions. Thus, the purely metaphorical or poetic aspect of the work is linked to actual current “real-world” issues. This work is the result of collaborative work with graduate students and faculty members of the Department of Audiovisual Arts of the Ionian University as well as of the dialog with other scientists and artists.
Other Frames	Malcolm Levy	ISEA2011: 17th International Symposium on Electronic Art	Panel			Sabanci Center	Panel: The Big Bang of Electronic Art: Merging Abstraction and Representation in the Age of Digital Imaging Other Frames’ investigates issues of representation in photography and video within a digital framework, and specifically the issue of formerly unseen work being exposed through a combination of digital and analog means. In particular to my practice are the places where digital and analogue meet. This is an area of photography which I have found to be lacking in research currently, but emerging in practice at this time. The specific area of research that I have focused on is in looking at Constructivist Conceptualizations around Abstraction using the digital camera and computer as the tools. The focus of this has been on the computer chip within a digital camera, and how this can be manipulated with frames that are in between, or not really part of the actual logical frame rate pattern. Through practicing techniques of movement with a digital camera, I have focused on investigating the place where the digital chip stops working properly, where it cannot handle the workload it is being given. The importance of this issue is based on the current discourse around the photographic image, and post photographic context around the recording of memory. I have looked at commentary and work of artists within both digital and analogue spaces around abstractive photographic practice, and analyzed how these two areas of practice sometimes actually find areas of similarity, both with regard to methodology as well as the final result. In terms of the specific artistic practice related to this research, I have worked on creating pieces where the final outcome has been specifically focused on active work around a combined digital-analogue practice.
Other Landscapes, New Sites	Revue d’Esthétique	ISEA2000: 10th International Symposium on Electronic Art	Panel
Other Readings	David Cotterrell	ISEA2011: 17th International Symposium on Electronic Art	Panel			Sabanci Center	Panel: Data Disinformation After a residency in Helmand Province, Afghanistan, artist David Cotterrell experimented in subverting the hierarchy of documentary materials as exemplified in imagery of the representation of war. His particular concern was around the way in which images and ideas about communities, landscape and history have been mediated in the representation of conflct. More recently, Cotterrell has been incorporating a concern for the complexity of the issues presented by war that are often absent in media representation. This paper will explore mechanisms to challenge the most appropriated formats of narrative visualisation in order to question the validity of authoritative views. He will discuss how his work begins to transcend the representation of war to explore in constructed contexts the process of mediation and our complicit relationship with the screen. Through an interest in paranoia and dislocation he extrapolates existing commonplace conventions in documentary/journalistic photography and moving image, painting, cinematic, literary, simulation and gaming constructs. By shifting the context, questioning the authority of the content and by testing the limitations of the technology, Cotterrell seeks to create an environment that challenges our confident belief in our understanding of the extent of narrative vocabularies in documentary. By experimentally exploring the limitations and points of failure of modes of communication and data visualisation, Cotterrell seeks to shift critical focus from the mediated spectacle to the medium of communication itself.
Our relationship to natural and altered environments	Patricia Olynyk and Frank Bush	ISEA2012: 18th International Symposium on Electronic Art	Panel			New Mexico Museum for Natural History and Science	Panel: Synaptic Scenarios for Ecological Environments A technology mediated world is increasingly desensitized to physical sensation, my work calls upon viewers to expand their awareness of the worlds they inhabit, whether those worlds are their own bodies or the spaces they occupy. Through multi-media installations that that focus on modes of sensation, and offer magnified images of sense organs with macro-images of garden environments the hope is to heighten our sensate experience between ecology and us.
Out of Line? Archiving Internet Art Off-Line	Timothy Murray	ISEA2011: 17th International Symposium on Electronic Art	Panel			Sabanci Center	Panel: New Media Archives- New Intelligent Ambiances The Rose Goldsen Archive of New Media Art, in the Cornell University Library, has engaged in an aggressive program of producing and archiving internet art. In my presentation, I will rehearse challenges faced by the Archive in producing the internet art journal, CTHEORY Multimedia, which published finished pieces of internet art, often requiring the freezing on open data sets for the purposes of publishing and archiving. Compromises made in the production of internet art, for the sake of providing data sets that would be equally available to various browsers helped to shape the archivist’s curatorial philosophy in archiving both CTHEORY Multimedia and other large repository’s of internet art, particularly Computerfinearts.?com and Turbulence.?org. To be discussed with the pros and cons of the curatorial decision to archive large sets of internet art off-line, providing a stable backup and onset data set for otherwise economically unstable hosts of internet art. In considering whether off-line archiving is artistically “out of line,” I will cite the precedent of an off-line net art exhibition that I curated with Teo Spiller in Slovenia, INFOS 2000, in which we circulated internet art on CD-Rom to users and independent media centers whose economic position precluded access to high bandwith internet service. In this case the curatorial decision was a political one, more flexible platforms for greater access. How does these artistic and political paradigms shift in the case of onsite curating and preservation of large collections of internet art?
Out of Sight, Out of Mind	Charlotte Gould, Paul Sermon, and Jeremiah Ambrose	ISEA2019: 25th International Symposium on Electronic Art	Panel			Asia Culture Center (ACC)	This panel will present the outcomes of a two-week residency by a research team from the University of Brighton, School of Art and the University for the Creative Arts in September 2018 on the Mar Menor, a 170 km² saltwater lagoon on the south east coast of Spain. The team were invited to undertake practice-based research on the changing ecosystem of this unique natural landscape, resulting from damages caused by intensive agriculture, increased tourism and rising sea levels. The project and panel has been developed by a team of three artists, each bringing specific experience and knowledge of 360° video to undertake the research and create a unique understanding and manifestation of the changing ecosystem of the Mar Menor. This includes Paul Sermon who is currently working on collocated telematic experiences in 360° live video environments, Charlotte Gould’s work on developing immersive 360° animated augmented reality and Jeremiah Ambrose who is working on gaze controlled navigation through 360° video narratives. The overarching aim of this project is to create a unique interactive 360° video experience of the Mar Menor that manifests the anthropocene effects on this natural landscape as augmented surreal and metaphysical interpretations of the artist’s experiences during the residency. Through environmental, social, economic and cultural observations and encounters the team are creating an immersive 360° installation environment that incorporates both video and audio recordings with augmented imaginary and predicted realities transformed from scientific data in obscure and profound guises.
Out of the box: smart cities	Eva Kekou	ISEA2014: 20th International Symposium on Electronic Art	Paper			Zayed University - Dubai	As the British architect Cedric Price said in the mid‑1960s: Technology is the answer but what is the question? Smart cities today have embedded into their infrastructure information which allows citizens to interact and become also ‘smart’.Technology and culture have fused( arguably always had) and technological advances play an important role in the intersection of art, science and technology and its new expression possibilities. In the light of the rapid technological advances and the collaboration between art and technology questions are emerging:how do we orient ourselves, with regards to today’s particular technological cultures? How do we orient our cities as regards the network’s art practices in public spaces( locative media, public art) not only transcribe the activities of urban space into a semiological meta‑level but they mainly challenge the notion of public and private space which is also linked to subjective and phenomenological space as Henvri Lefebvre claims.Focusing on design as a means of creating meaning, it will also approach the notion of public space and how it can be re‑conceptualized and materialized by using play as an element of interaction.Furthermore, this paper will study by the use of media art projects how important is technology for interaction and mediator between the city and the citizens.
Outlining Presence, Punctuating Space	Aquiles Hadjis	ISEA2016: 22nd International Symposium on Electronic Art	Artist Talk			Run Run Shaw Creative Media Centre
Output Sufferings: After the Virtual	Cynthia Beth Rubin	ISEA94: Fifth International Symposium on Electronic Art	Panel		Rubin: Output Sufferings: After the Virtual		Panel Statement Panel: Output Sufferings For those of us who love color, texture, and form, but never quite developed a comfortable relationship with paint, canvas, wood, or other non-virtual materials, the electronic age promised to be our savior. We could be free muse over complex visual relationships and invent new meanings, and leave the dirty stuff to some one else. But the dream never came true, or hasn’t yet. We still have to show the images, somehow, either electronically, in projection, or in hard copy. And those of us who turned out backs on the problems of output paid a price. Our work just did not live up to its potential. Or rather, it did not live up to itself. We ended up exhibiting replicas of an electronic “original”, sharing a cheap (or not so cheap) imitation of something that otherwise was not sharable. Finally, we are up against the eternal and inescapable question: does the form of presentation carry meaning? Are we forever stuck in the world of art-objects? And if this is in fact the case, what is the best way to disseminate the work that we do? Are we in a risk of becoming too much a part of the mainstream art world that so many of us are happy to escape?
Outre-Ronde: research on a contra-intuitive interaction	Anne-Sarah Le Meur	ISEA2009: 15th International Symposium on Electronic Art	Artist Talk	2009 Overview: Artist Talks		Waterfront Hall	Artist Statement Keywords: perception, emotion, relationship, psychology, counter-intuitive, power, interaction, art, imperfection, experience, system. After a short description of Outre-Ronde and an introduction to it’s concepts (limitation in the power of seeing, circular ego-centred, fluid and counterintuitive interaction), I will analyse how interaction rules the associated image and the chosen screen can question and widen our perceptions and our relationship to the world. In Outre-Ronde, who acts on who? Who makes who move? Can interaction be reciprocated? (The viewer and the image, each in turn, attract and lose one another). What are the consequences of this? Can interaction make viewers question the power images have over them? Can it also make them question their desire to watch, modify, manipulate, to reify these images? The aim of the experimental interaction in Outre-Ronde is to lead the viewer to feel, to see, to move, to act, to relate and to think differently. This talk will consider the conception and aims of interaction rules, in order to understand what new means interaction gives us to communicate with an audience. How can one make best use of programming language procedures and construct an artistic interaction? Is it possible to avoid the superficial – and unequivocal – playfulness of interactive artworks? Should interaction always seek to please the viewer? Or rather should it destabilise and disturb him/her, and lead to unusual behaviour which is transforming? What kind of interaction touches the viewer most intensely? Can the programming artist enable the viewer to feel the ambivalence of the animated image, half artefact/half animal, half seductive/half wild? Can the artist make the viewer feel his/her presence behind the interaction rules? Can he/she also make the viewer feel the fragility of the interaction rules and their possible reversal, their possible reciprocity, their symbolic potential? Is there an unfinished, imperfect element in interaction, equivalent to that found in painting? Can an interactive system go beyond rigid formal logic, and reach its artistic goal without the viewer trying to understand, to elucidate the system (the famous ‘but how does it work?’) – this attempt at understanding making the viewer miss a more sensitive experience? The aim of Outre-ronde is to thwart direct and immediate power by valuing – and finding pleasure in – slowness, stillness, open contemplation and empathy. The talk will consider whether an artistic interaction has the potential to be sensitive, bilateral and fluid; reifying neither the image nor the viewer but rather being a surprising, transforming experience which impacts on the body.
Outside In	Delle Maxwell	ISEA94: Fifth International Symposium on Electronic Art	Paper				Abstract Outside In is a Mathematical Visualization Project from the Geometry Center. The video illustrates an amazing mathematical discovery made in 1957: you can turn the surface of a sphere inside out without making a hole, if you think of the surface as being made of an elastic material that can pass through itself. Communicating how this process of eversion can be carried out has been a challenge to differential topologists ever since. “Outside In” uses nontechnical language and computer animation to illustrate the process and to explain the concepts involved to a non-mathematical audience. Yet, the video retains mathematical depth: we introduce the concept of a “regular homotopy” from topology, which is traditionally not encountered until advanced undergraduate mathematics classes. The metaphor we use is that of a material that can stretch and pass through itself, but that self-destructs if punctured or even pinched sharply. Of course, there is no such material in real life! That’s where computer graphics comes in. The framework is a dialogue between a female teacher and a male student. In the first scene they work out between themselves the ground rules of what it means to turn a sphere inside out, but the student remains skeptical that the problem can be solved under these rules. If anything his skepticism increases in subsequent scenes, as the teacher persuades him that a circle cannot be turned inside out under the same rules. However, an idea that is introduced in connection with curves—namely, adding waves, or corrugations—turns out to be useful for surfaces as well. In the final scene of the twenty-minute movie, the student is shown how to turn the sphere inside out using this corrugation method. The process is shown a number of different ways to build up the student’s (and the viewer’s) intuition.
Overlapping boundaries: art, technology and storytelling	Flavia Caviezel	ISEA2009: 15th International Symposium on Electronic Art	Paper			Waterfront Hall	Abstract The paper discusses a project that explores the convergence of technological and social space in six urban centres in the Americas and Europe around issues of migration, nomadism and notions of a better life. Melding form and content to examine the mediation of everyday life, the project relies on ethnographic and journalistic practices and on the Internet as an interactive public broadcasting environment for the dissemination of ideas; a place of convergence for migrant citizens in today’s globally interconnected world. The work is inscribed within netart projects, an emerging practice in the late 90s where online visitors, or ‘users’, have the possibility to interact and participate by changing the material or contributing material. Often, one part of the project takes place outside of the Internet, where interaction is placed at the service of communication experiments designed to engaging reflection and dialogue, as in the case of Pat Badani’s project titled ‘Where are you from?_Stories’. The videos archived in the web-work are hyperlinked to a vocabulary of frequently used words (foreigner – accepted – familiarity – money – security…), extracted from these transnational, vernacular stories collected by the artist since 2002 in 6 global cities. ‘Where are you from?_Stories’ integrates interaction and narrative, but it is devoid of a plot present in conventional literary storytelling. The visitor’s aesthetic experience is not directed by the sense of inevitability existing in traditional, linear narratives. By blending strategies currently used in fields that converge with computers: interactive fiction, participatory gaming, and new conventions in storytelling in television and film; the work is structured so that visitors construct meaning through navigating and selecting archived videos at random (in a rhizomatic way), drawing individualized connections between the different stories. The heterogenous character of the samples shown in the digital platform and the presentation of the documentary stories in an interactive, web-based, non-linear environment, prevent us from taking the ‘talking heads’ for granted. New meanings are gleaned as each user/visitor selects at will and at their own pace, from the different viedeo-clips in the database. The project holds up a mirror to technologically mediated modes of communication today and to their impact on issues of identity. What the project reveals is not only questions about the relativity of national boundaries in physical geography, or in the virtual web-world understood since the ‘90s as a space with no national boundaries; it also reveals questions about how identity is expressed in recent young user platforms like myspace.com or mypix.ch. What is also at play in the work is the migration of people, languages, cultural imagination, and the hybrid rather than the single perspective of the Nation looking at others, where migration is seen as a main force for social change. The work reflects a ‘double bind’ phenomenon because the concept of boundaries has become relative in a geopolitical and ideological sense thanks to mechanisms allowing the free movement of people, while on the one hand border control has elaborated stricter measures through so-called ‘early controls’ or biometrical controls. Further, a ‘double bind’ is also evidenced in a vision of openness and interconnectedness that is counterbalanced with the fear of identity loss and a wish to reaffirm ‘local’ individuality – a pull in the opposite direction of post-national citizenship visions.
Owner of a Lonely Heart: (Danio rerio) Embryonic Heartbeats	Clarissa Ribeiro and Huanqi Zhu	ISEA2015: 21st International Symposium on Electronic Art	Paper				(Short paper) Keywords: Art and Science, Data Sonification, Problem of Measurement in Quantum Mechanics, Observer-observation relations in Quantum Mechanics, Heart Beating Patterns of Zebrafish Embryo. The work presented here was developed in collaboration between the media artist Clarissa Ribeiro and the scientist Huanqi Zhu, by the time they worked together as researchers at James Gimzewki lab, UCLA. The 8 (eight) screenshots and the derived (sonified) environmental sound that integrate the piece “Owner of a Lonely Heart”(2014), were traces of an observation – a scientist measuring the heartbeat of a zebrafish (Danio rerio) embryo’s lonely heart. After recording the data, using a microelectrode precisely prepared for the experiment, the scientist generated a series of graphs using the software OriginPro 8.1 and started zooming in different regions, looking for specific points where the patterns fit his expectations according to the main purposes of the research. Despite the procedures were initially part of a bigger project involving several labs and researchers, the actual collaboration was developed as a parallel experiment were the scientist joined the artist in a poetic reflection about the scientific procedures that became part of the artwork itself. Integrating the artist solo show at the Art\|Sci Gallery, UCLA (June/July 2014), the work invites the audience to reflect critically about the importance of observation in the creation of ‘truth’ in science, what plays a crucial role in the creation of ‘reality’, having radical influence in the ways we behave, in our survival strategies, in who we are.
P(l)aying (with) Attention: Distracted Reality Versus Augmented Place	Marcos Novak	ISEA2011: 17th International Symposium on Electronic Art	Panel			Sabanci University	Panel: Hybrid Spatial Experiences Locative media use our coordinates in space as keys into our information, ostensibly to bring that information to us where we need it. Augmented Reality ostensibly augments the reality we are in by overlaying this information on our perceptual field, the better to serve us. But do these technologies really serve to connect us to the places we find ourselves in, or, to the contrary, do they serve to further remove us from them? This paper will discuss the promises and problems of our ever-changing relation to space, mediated and otherwise, and will propose various responses and strategies for addressing them.
P2P Alternatives for a Sustainable Future	Michel Bauwens	ISEA2011: 17th International Symposium on Electronic Art	Panel			Sabanci Center	Panel: Re-rooting Digital Culture: Media Art Ecologies Bauwens argues for a provocative double (hypo)thesis, namely that for-profit production based on proprietary knowledge is inherently unsustainable, both at a micro, and a macro level, because it is designed to ignore negative environmental externalities, and mobilizes many different strategies, such as planned obsolescence, to achieve this end. By contrast, commons-oriented production that is centered around business ecologies working with open communities, is inherently sustainable. Open communities have no incentive to design unsustainable products, and the business ecologies working with them, have to build their for-profit activities on this foundation. In addition, non-proprietary design has a deep impact not just on the products, but on the very machinery of production (through the development of open and distributed manufacturing) and on consumption (through product-service ecologies that are specifically designed for sustainability and re-use). In this presentation, Bauwens will unpack the characteristics of peer production that are transforming production and consumption processes towards sustainability.
Pacific Rim New Media Summit (PRNMS)	Joel A. Slayton, Steve Dietz, Joichi Ito, and Roger F. Malina	ISEA2006: 13th International Symposium on Electronic Art	Meeting			Dr. Martin Luther King, Jr. Library	The political and economic space of the Pacific Rim represents a dynamic context for innovation and creativity. From experimentation in art, science, architecture, engineering, design, literature, theater and music, new forms of cultural production and experience are emerging that are unique to the region. The complex relations and diversity of Pacific Rim nations is exemplified throughout the hybridized communities that comprise Silicon Valley. As the 10th largest city in the United States, San Jose is an important portal on the Eastern edge of the Pacific region, which shares deep historical and cultural connections that range from Latin America, the South Pacific, and Southeast Asia to Asia. ZeroOne San Jose: An International Festival of Art on the Edge highlights the Pacific Rim as a central theme by presenting the most significant achievements in art, theory and research from throughout the region. The CADRE Laboratory for New Media at San Jose State University will host the two-day, pre-symposium Summit, co-sponsored by Leonardo. The Summit is intended to explore and build interpretive bridges between institutional, corporate, social and cultural enterprises with an emphasis on the emergence of new media arts programs in eight areas: Distributed Curatorial; Education; Place, Ground, and Practice; Urbanity and Location; Latin American-Pacific/Asia New Media Initiatives; Residencies/Symposia/ Directory; Piracy and the Pacific; The Invisible Dynamics of the Pacific Rim and the Bay Area. One of the primary objectives of the PRNMS is to examine and create new transaction spaces for creativity and innovation. With a purview encompassing all states and nations that border the Pacific Ocean, including all of Southeast Asia, Latin America, and the Pacific Islands, this trans-disciplinary event will address the developmental role and capacity of new media arts initiatives to foster greater mutual understanding. Summit objectives include the exploration of innovative models for cooperation among institutions, development of interaction strategies with technology corporations, investigation of radical responses to emergent cultural issues and conditions, engagement with diaspora communities, and the establishment of an on-going Pacific Rim network of new media educational institutions.
Painting as Programming: Casey Reas and the Aesthetics of Generative Code	Meredith Hoy	ISEA2011: 17th International Symposium on Electronic Art	Paper			Sabanci Center	Session: Code and Generative Art Software art has been frequently historicized in terms of the self-reflexive, philosophical, anti-aesthetic principles of conceptual art. Generative art is critiqued as being overly aestheticized, all about surface insofar as it conceals its algorithmic operations instead of bringing them to the forefront, as is the case in software art . In this paper, I consider the work of Casey Reas, an artist whose output hovers in an indeterminate range of picture-making between painting and computing, between surface and coded process. I propose that the seemingly insurmountable division between the conceptual and the aesthetic is not absolute , and argue that Reas’s practice, one that is fundamentally tied to the specific functions made possible by a digital computer, but whose designs exhibit a markedly painterly morphology, begins to offer an alternative to this artificial distinction. Not only does Reas up the ante of conceptual art by translating linguistic programs into a computationally executable form, but he also brings the emphasis back to the visual register. Reas’s programs, in all their visual richness, refuse the “dematerialized” anti-ocular ethos of 1960’s and 70’s conceptual art. Moreover, his desire to “minimize the technical aspects” of his work and to make working with software as fluid as drawing suggests a resistance to the determinate properties of computational media. Reas’s production hybridizes the analog and the digital; one the one hand, he is deeply invested in a computational, proceduralist logic, and on the other, the richness, ambiguity, and organic harmony of his output revel in painterly abstraction. Computers, taken both within and outside of an art context, are tools constructed to facilitate regular, repeatable, and efficient calculations. However, they are also tools that allow dynamic change to occur within their programmatic constraints. Reas addresses the question of what happens to information when it becomes painterly, and when that painterly quality becomes dynamic. Information becomes a living organism whose transformational capacities are revealed in the performative execution of code.
Painting in Virtual Space		FISEA'93: Fourth International Symposium on Electronic Art	Poster	1993 Overview: Posters			‘Towards an Alternative Aesthetic’ this poster session involved a discussion of the process of creating images with the interactive 3D Softimage software focusing on the relationship between form and content in the artist’s own work.
Paintings from the Louvre	Harold McWhinnie	FISEA'93: Fourth International Symposium on Electronic Art		1993 Overview: Posters			Use of the Golden Section and conceptions of symmetry to analyse and repurpose paintings from laser disc.
Painting Further Along the River	James Faure Walker	ISEA2011: 17th International Symposium on Electronic Art	Panel			Sabanci Center	Panel: The Big Bang of Electronic Art: Merging Abstraction and Representation in the Age of Digital Imaging I came of age as a painter in the 1970’s, and was also for a while a critic, editing the magazine Artscribe in the UK. Exhibitions of what we now term ‘conceptual’ art claimed to go ‘beyond’ painting. There was talk of painting being ‘over’. By the eighties painting seemed to be resurgent. The militant styles of minimal art were challenged by free-form genres – new image, neo-expressionist, pattern painting. Disputes between figuration and abstraction were set aside. Whether you put a fish, a triangle or blob of orange in a composition did not really matter. I came to computer graphics in the mid eighties, and was inspired by the freedom, the colour and the speed. I aimed to integrate all this with what engaged me in ‘regular’ painting, along with its developing culture. I still work in both modes most days. I think of it all as ‘just’ painting. A blue is blue, whatever the medium. I guard against the illusion that these wonderful new paints make you into an ‘advanced’ artist. Yes, we have the freedom to scan anything and throw it into a mix –I do this as irresponsibly as anyone else – but sometimes you just get Photoshop soup. I would like ‘digital’ painting to look unforced. It does not have to be photo-based, logical, weird, nocturnal, natural or unnatural. My own approach has been drawing-based and somewhat gestural. As for whether it is ‘representational’ or ‘abstract’, well I would prefer it to be just playful.
PAIR: The Xerox PARC Artist in Residence Program	Rich Gold	ISEA96: Seventh International Symposium on Electronic Art	Institutional Presentation	1996 Overview: Institutional Presentations			Abstract PAIR, The PARC Artist In Residence Program, is an ongoing activity that brings artists and scientists together, one on one, using technology as a common language. Embedded within PARC (The Xerox Palo Alto Research Center, a unique institution in its own right comprised of over 200 scientists and researchers from molecular engineers, to computer scientists, to linguists, to anthropologists), PAIR is about creating •marriages” between professionals in otherwise separated disciplines. PAIR currently has nine artists installed at PARC in PAIRings that are diverse in the common technology and in the scientist/artist relationship. This talk will explore some of the fundamental ideas of PAIR, how they worked out in practice, some of the things we learned, and an overview of the work of the marriages. Intro BEGINNINGS: PAIR (The Xerox PARC Artist In Residence Program) is an active procedure for bringing art and artists into Xerox PARC (The Xerox Palo Alto Research Center) which IS a facility originally founded to study and design ‘The Architecture of Information?’ and ‘The Office of the Future’. PAIR is a project not for creating wonderful art or exciting science, though because we are dealing with highly motivated people these things happen, but for creating better artists and better scientists. PAIR is a conscious attempt to boost and redirect the creative forces of PARC by providing alternative view points, theories, personal-rues and methodologies within the halls and long corridors of the community. PAIR IS an outstretched hand from PARC into the surrounding Bay Area (we almost exclusively focus on San Francisco artists) allowing PARC to become part of that community and to leverage off the creative forces that flow from the Golden Gate Bridge. PAIR is a way for two groups who consider themselves ‘outsider’ groups to the dominate culture (the artist’s primary concern is for expressing themselves while the scientist’s primary concern is to discover the truths of nature) to meet each other, artist to scientist. face to face. PAIR is a way for two groups who are the ultimate ‘insider” groups of the dominate culture (the artist’s primary patrons being the wealthy, the corporation and the government while the scientist’s primary patrons being the corporation, the government and the university) to meet, scientist to artist, face to face. PAIR is a fun house mirror into which two groups, artists and scientists standing In their jeans and T-shirts, can simultaneously stare at each other and see the super-imposed energy, creativity, quirks. flaws, hypocrisy and promise morphed together in an overlaid image. PAIR is a program based around the obvious. but often forgotten fact, that most artists and scientists are adults and can be treated that way.
Palindrom: Interactive Computer Dance	Robert Wechsler	ISEA98: Ninth International Symposium on Electronic Art	Paper				Palindrome is an inter-media performance group working exclusively with computer-controlled interactive human movement systems. Many artists today are using computers as creative tools. Others view the computer as a new medium and use it to instigate new kinds of images, projections, internet-art, etc. Perhaps, though, the computer’s greatest artistic potential lies neither in its use as a tool, nor as a new medium, but rather, for its unique ability to overlap and interconnect formerly independent forms of expression; indeed, for its ability to connect people together in new ways. Recent advances in software for music composition, sound generation, choreography, theatre lighting and graphic arts are making these disciplines ever-more “compatible”. Using an array of computers and cameras, as well as electrodes attached to the dancers’ bodies, our work brings music, sampled text, stage light and screen projections under the direct control of the dancers’ movements. The audience too is part of an interactive system. For example, by gesturing from their seats, or standing up, they control the music in part of the performance. (I have a 5 minute video demonstration). In their primitive manifestations, dance and music were considered to be one and the same art form. Even today there are African performance traditions which have only one word for both dance and music! Furthermore, the performers were not isolated from the audience, indeed a back-and-forth of impulses were essential to the event. Due n part to the cheap availability of recording, transmission and reproduction technology, interactivity has all but vanished from popular culture. Could the age of digitalization signal a return to interaction to the performing arts? Dance remains an area extremely slow to embrace the potentials of the computer. There are, I believe, some good reasons for this. (Theme of my paper “O body swayed to music (and vice versa)”, Digital Salon 1998, Leonardo Magazine.
Pallas of Vines: Branched and Nested Relationships in Video Game Performance and Play	Alexander Thumm	ISEA2015: 21st International Symposium on Electronic Art	Artist Talk	2015 Overview: Artist Talks	Thumm: Pallas of Vines: Branched and Nested Relationships in Video Game Performance and Play
Palm House Transect	Ed Osborn	ISEA2014: 20th International Symposium on Electronic Art	Paper			Zayed University - Dubai	This presentation discusses “Palm House Transect,” a large‑scale, site‑specific sound installation that opened in June, 2014. It is developed for the greenhouse at the Lyndhurst Estate in Tarrytown, New York and is one of the earliest and largest iron‑frame greenhouses in North America. The piece itself consists of a generative sound composition played through a set of three‑dozen loudspeakers spread irregularly throughout the greenhouse structure. The work is based around the idea of a line transect, which is the path along which an observer counts and records occurrences of the phenomena of study (e.g. plants). This very specific, attentive mode of moving through space provides a model for visitor engagement with the piece and the site. The movement of sound in the space is articulated visually by a set of brightly colored cables that run from point to point among the speakers and key structural elements of the greenhouse. These serve as a visual focus of the piece and outline the paths and trajectories of the sonic material. The cables also illustrate the idea of a transect as it functions within the space of the greenhouse and provide multiple ways of viewing and navigating the site. The sound composition is based on linear mapping of both the greenhouse structure and elements of the surrounding estate. The shapes of these lines and the spacing of elements found along them are used as the underlying framework for the piece, and is reflected in the timings, movements, and forms of the sounds heard in the piece.
Panel Intro Evolution 2.0	Colin Fallows, Pete Fulwell, and Michelle Wardle	ISEA98: Ninth International Symposium on Electronic Art	Panel				This panel will examine and contextualize recent work with generative systems. A Liverpool Art School research award has enabled the development and publication of the CD ROM entitled Evolution 2.0, an audio-visual anthology including history, current practice and debate around Generative Arts. Papers, presentations, audio/visual demonstrations and discussion will include a representation of the artists, programme creators and academics who have contributed to Evolution 2.0. The panel also includes a demonstration and discussion of SSEYO Koan^oasis, the online generative composition created by a networked community of Koan artists described by Brian Eno as “a kind of global music eco system. Each composer contributes a musical ‘life form’ with its own character and behaviour, and the music is the rich, ever-changing ecology of interactions between the life forms”.
Panel Intro Re-forming Narrative: Performance, Collaboration, Play	Noah Wardrip-Fruin , Adrianne Wortzel, Nina Sobell, Emily Hartzell, Carolyn Guyer, and Athomas Goldberg	ISEA97: Eighth International Symposium on Electronic Art	Panel				Six panelists — artists, writers, and researchers — discuss forms of narrative made possible by computing technologies and approaches that emphasize performance, collaboration, and play. Athomas Goldberg, at the NYU Media Research Laboratory, is creating systems for “story games” — ways that artists can use the fundamentals of games, storytelling, and improvisational theater to create dramatic experiences in which the user or participant occupies the central role. Carolyn Guyer uses Storyspace and the Web to create narrative from apparently unrelated parts, examine the problem of quality in its intercultural and intracultural dimensions, and approach interactive narrative design from the perspective of the reader or audience. Nina Sobell and Emily Hartzell, through their live Web performances and Park8ench kiosk project, use video, computers, telerobotics, and the Internet to create installations that bridge physical and cyber space—highlighting the role of collaboration in their work, the impact of mediation on experience, and dynamics of access, control, and expression. Adrianne Wortzel uses the Web, live internet broadcasting, and interactive robotic installations to explore the mixing and layering of programmed performance and improvisation, boolean possibilities in plot construction, the roles of remote participants, and methods of developing elements of scripting, mapping, and characterization. Noah Wardrip-Fruin, the panel organizer, uses multiscale interfaces and the Web to create writing networks in which themes of impermanence and constraint are at play.
Panel Intro: Digital Aesthetics	Michelle Wardle	ISEA98: Ninth International Symposium on Electronic Art	Panel				This panel will question the notion of a digital aesthetic. The debate will centre on the following: 1. Will digital photographers produce a new aesthetic? Is there an avant-garde in the digital arts? 2. Does the WWW provide a revolutionary ontology for art practice? 3. Is there a quest for greater verisimilitude in digital imagery? 4. What is the constructed reality of the digital image? 5. Is there a problem with the notion of a media specific aesthetic?
Panel Intro: Digital Print	Josephine McCormick	ISEA98: Ninth International Symposium on Electronic Art	Panel				This panel will question the notion of a digital aesthetic. The debate will centre on the following: 1. Will digital printmakers produce a new aesthetic? Is there an avant-garde in the digital arts? 2. Does the WWW provide a revolutionary ontology for art practice? 3. Is there a quest for greater verisimilitude in digital imagery? 4. What is the constructed reality of the digital image? 5. Is there a problem with the notion of a media specific aesthetic?
Panel Intro: Mediated Nations	John Byrne	ISEA98: Ninth International Symposium on Electronic Art	Panel				Using MED TV as an exemplar, this panel looks at the historical and contemporary uses of communication technologies which have sought to disrupt, subvert and/or revolutionise dominant and received notions of cultural identity. John Byrne, as a member of the MED TV Advisory Group, has developed the panel in liaison with Hikmet Tabak (MED TV, Director), Mamoste Musa Koval (MED TV, Zaningeha MED) and Joe Cooper (MED TV, Producer) MED TV is an independent satellite broadcasting company, based in London and licensed by the Independent Television Commission with studios in Denderleeuw on the outskirts of Brussels. MED TV represents the full cultural, political and religious diversity of a global Kurdish Diaspora. As the Kurds themselves have no politically recognised country, MED TV has increasingly provided a virtual identity for a historically, politically and geographically dispossessed community. Papers, presentations and demonstrations have been invited which provide similar examples of how broadcasting technologies (Radio, TV, Video, Digital etc.) have been used in the production, distribution and exchange of diverse racial, political, sexual and cultural identities. Mediated Nations will culminate in the screening of a unique broadcast of MED TV’s Zaningeha MED (University MED) programme. This will take the form of a discussion programme with live phone-in, fax and e-mail interactivity to be hosted at MED’s Denderleeuw studios in Brussels. The unique nature of this event will be that the broadcasting agency of a stateless nation will be participating in a section of an international conference, to which delegates can contribute, and which can be received across Europe, the Middle East, North Africa and large parts of the former Soviet Union. MED TV will be recording this programme for future broadcast in Kurmanci.
Panel Intro: Sonic Boom	Colin Fallows	ISEA98: Ninth International Symposium on Electronic Art	Panel				This programme of presentations and demonstrations investigates and celebrates the work of artists and inventors from across the twentieth century who have created, recorded and performed with electronic musical instruments – from analogue to digital and from the revolutionary to the eccentric. Papers, presentations and demonstrations have been invited from artists, inventors, academics and broadcasters concerned with experimental electronic music and its instruments of production – their design, manufacture and performance. A Liverpool Art School research award enabled the appointment of a Visiting Fellow in Sound, the UK based sound artist Robin Rimbaud (aka scanner) who will also make a presentation in Liverpool during ISEA98.
Panel Intro: Sound Government Always Lead to Revolution		ISEA98: Ninth International Symposium on Electronic Art	Panel				This panel will present a series of position papers designed to identify a vital mix of current theoretical íssues in sound-art. We shall examine the implications of sound oriented design for computer objects and the resonances of the new materialities of digital space – Get physical as we contemplate computers as organs of digestion and excretion, transmission and emission – Listen up to the ‘evolutionary’ relationship between sound, image, tactility in the age of multi media and get in touch with the very physical (and psychological) relationships established between Sound, the Body, Memory, History and Architecture. The papers will be followed by a combined panel and audience discussion structured around a series of highlighted topics, bring your own ear plugs. Nigel Helyer will also present a poster session concerned with the potential relationships of sound-art to ideology and politics. The poster entitled Metamorphoses in the Silent Forest will focus on two recent complex sound-installations which use metaphors of silence and silencing in the natural environment as a means to illuminate the politics of colonial expansion.
Panel Intro: St. Petersburg 3.0	Colin Fallows and Alexander Kahn	ISEA98: Ninth International Symposium on Electronic Art	Panel				This panel seeks to examine and contextualize the work of a group of radical St. Petersburg based artists, musicians and writers currently working with electronic media. Led by the artist/catalyst, Timur Novikov, the group will share the art and ideas of the New Academy in St. Petersburg with ISEA98. Papers, presentations, declamatíons, ideas and critical responses have been invited from the St. Petersburg based artists, musicians and writers described as “… the first manifestatíon out of the New Russia that actually impresses me … so weird looking, and it arises from such unique cultural and economic circumstances … This might become the first digítal art movement that really matters” (Bruce Sterling, Art and Corruption, WIRED 6.01, January 1998). This programme builds on links with St. Petersburg’s artistic cutting edge established more than a decade ago when Liverpool based ARK published the LP Insect Culture by Popular Mechanics (ARK Records, 1987) the large scale multi-media event Perestroika in the Avant Garde (involving Pop Mekhanika and the New Artists, Liverpool, 1989) and the first Russian techno 12 inch Sputnik of Life by the New Composers (ARK Records, 1990).
Panel Intro: The Art Mainstream as the Enemy	Paul Brown	ISEA98: Ninth International Symposium on Electronic Art	Panel				The art mainstream (academies, commercial and state galleies) ígnored the field of art & technology for almost 30 years. After it had become fashionable in the early 1990s they did adopt it but did it so in a way that ignored or undermined the ‘significant’ agenda and served only to perpetuate their own outmoded paradigm. In particular the art mainstream promote work where the value (whether aesthetic or monetary) is intrinsic to the work. This places the mainstream’s adoption of art & technology as an extension of modernism (and of the concept of the avant garde) rather than a change to an extrinsic value system (in the context of postmodernism). The panellists will address this theme from the point of view of: the academy, (Paul Brown); the museum (John Conomos); the practitioner as a subversive (Vuk Cosic and ®™ark) and the art & technology field as an establishment in its own right (Matthew Fuller).
Panel Intro: Virtual Interventions: Digital Avant-Gardes	John Byrne and Julia Knight	ISEA98: Ninth International Symposium on Electronic Art	Panel				This panel aims to critically and theoretically contextualize the use of electronic media in the production of radical and oppositional art practices which have sought to disrupt dominant notions of artistic production, distribution and exchange. The panel will be developed in relation to three key issues: 1. How have uses of analogic and digital reproductive technologies been deployed to disrupt dominant notions of art, artistic production, aesthetic experience and audience reception? 2. What have been the critical, political, racial, sexual and cultural impact of these media in the development of radical, oppositíonal and or revolutionary art practices? 3. How are contemporary uses of electronic and digital reproduction addressing, developing these themes and issues through radical and oppositional art practice? Papers, presentations, demonstrations, ideas and critical responses have been invited from historians, critics, philosophers, artists and curators who engage with this debate.
Panel Intro: Visual Languages	David Crow	ISEA98: Ninth International Symposium on Electronic Art	Panel				David Crow is currently involved in research projects based around the exploration of visual language in a typographic framework. His research partner is Yaki Molcho (Co-Director, Tel Aviv Centre for Design Studies). Earlier this year, a Liverpool Art School research award enabled David to initiate a programme of work on a dual alphabet font which will be realised through a publication entitled ‘Dialogue’. As part of this panel, the research team will present the work alongside discussion of the issues raised. This will follow an introductory session on the transitions in visual language. Artists, designers, academics and theorists will contribute to these developments and their interpretation at ISEA98.
Panel Intro: Work	Richard Williams	ISEA98: Ninth International Symposium on Electronic Art	Panel				The questions addressed by “Work” revolve around the nature of digital artworks. In what senses, for example, can they be said to exist? In what ways do they come into being? By whom are such works created? In what ways are they consumed? Some papers here concern themselves with notions of authorship, questioning whether the accessibility of digital art and its ease of distribution has replaced traditional relationships between producers and consumers of art. The historical sources of such notions include structuralist and semiotic thought, such as the critiques of authorship made by Roland Barthes and Michel Foucault in the late 1960s. They also include practices such as conceptual art, dating from the same time. By using common materials, mass reproductive techniques, and involving the audience in the production of the artwork, conceptual art and related tendencies set out to bypass conventional forms of artistic consumption. Consideration of these historical practices and debates is a major part of several papers here. Others present a more practical demonstration of the nature of the digital artwork.
Panel Statement	Derrick de Kerckhove	ISEA95: Sixth International Symposium on Electronic Art	Panel				Following a tour of the Sydney (Australia) Museum which is located in the basement of the old Governor’s mansion and which only has at its disposal archival documents, engravings and fragments of utensils, we come out thinking that, although poorly endowed, the institution succeeds in giving visitors a feeling of startling human riches and a true knowledge of the place and its history through the use of interactive technology. On this basis, I would like to examine the new modes of conservation which, in lieu of giving access to objects of memory, can now use technology to increase and accelerate the intelligence of their location.
Panel Statement	Gerald Gieseke	ISEA97: Eighth International Symposium on Electronic Art	Panel				For little more than a year now, ZDF-one of two nationwide public TV-networks-has offered an online program, supported by Microsoft.This online program is mainly oriented on ‘brand’ names, ZDF’s traditional shows and magazines. Among those is aspekte-the oldest and possibly most renowned weekly cultural magazine in German TV. aspekte aired for the first time more than 30 years ago! However, together with the magazine, its audience also grew older. Now, one of the reasons to ambitiously foster aspekte-online is to attract younger audiences. aspekte-online (zdfmsn.de/kultur/aspekte/index.htm) consists of-roughly said-two major streams of content: Contents accompanying our weekly TV magazine (preview, discussion, clips,”news from the editing room”, etc…. 2. independent”net-appropriate contents” Among other features (interactive galleries, contests, etc.), we there offer our… NOVEL IN PROGRESS. The idea of Nove In Progress, in short, is the following: We want to provide our online audience with the rare opportunity, to “watch over a well-known author’s shoulder”— while he is working and in an interactive way. Currently, we are working on the second edition of Novel In Progress, autopol by 110 Trojanow. When it is finished, autopol will have”lived” approximately 6-7 months, which is similar to Lametta Lasziv by Joseph von Westphalen, our first Novel In Progress. However Lametta Lasziv turned out to be quiet linear: the author sent us those scripts, key words, ideas, remarks, which he normally produces while preparing and outlining a novel. All those, step by step, evolved into a final version.This final version was printed by a Swiss publisher afterwards and sold out quickly. Nevertheless, our users seemed to appreciate this rather linear”evolution” of a book quiet a bit.They filled up the “guestbook,” and sent numerous e-mails to the author. In return, he answered a considerable part of the mail. As a result of these contacts, he changed the story and characters in Lametta Lasziv to a significant extent.The current Novel In Progress II has much less of a linear character. By using film clips, stills, audiofiles and, last but not least, written text, we turned autopol into an interactive online experience. Different streams of links allow one to follow just one character, or a specific stream of action in this”science fiction online road movie:These days (mid-July), it seems like we are approaching the end of autopol. After the author is finished, we are planning to develop additional interactive incentives, to encourage our users take part in a reflective discussion about—or contribute themselves to the soon existing complete story.At the Frankfurt Book Fair, mid-October 1997, autopol will be part of ZDF’s official Bookfair presentation. It will be presented, in cooperation with the “International Centre” of the Bookfair as part of a planned 5-day forum about Literature & New Media. In addition, autopol will be published as a linear version by a German publisher, sometime in September. At ISEA97, I would like to concentrate on Novel In Progress II (autopol), report about”cross promotion” between TV and internet, and discuss, among others, the following question: Is the term”net literature” appropriate for something like Novel In Progress?
Panel Statement	Pamela Jennings	ISEA97: Eighth International Symposium on Electronic Art	Panel				Narrative is a process of delivering information over time. Written and oral cultures traditionally view the continuum of time differently and therefore have created narrative structures, based upon seemingly opposing methods — the rigid linear progression and iterative, participatory looping of complex narrative elements. Brenda Laurel’s book, Computers as Theater, proposes to use the theories of Aristotle in the Poetics as a foundation from which software designers and computer engineers can create effective human computer interfaces. However, because of fixed definition of plot and discouragement of repetition and spectacle, in the Poetics, it is an inadequate model for the creation of computer-based interactive work. Challenging the Aristotelian model for the development of robust computer interactive applications, initiates a search for alternative structures for delivering information over time. A style that can allow for multiple climaxes, ambiguity, and the subtleties of tonality, imagery and digression, will amount to more relative means for the production of the complexity inherent in this genre. The Poetics’ cartesian-like execution of beginnings, middles and ends, can be replaced with transcendental multitasking of themes as practiced by traditional oral cultures.Creating an engine where ritual, play, and games are as important elements as the linear narrative; an engine which comes closer to mocking the ambiguities of life. The spoken presentation of traditional African storytelling implies that oral literature makes its appeal first through the sound of the words reaching the ears of the audience and secondarily through understanding the meaning and/or logic contained in those words. The orator’s themes overlap taking tangents in reaction to audience participation. Umberto Eco describes the “open work” as not having a single prescribed point of view. Rather, it is swathed in a whirlwind of movement and discontinuity that offers the participant an infinite potential for exchange rich in unforeseeable discoveries. This exchange of indeterminacy and immanence is the very core of post-modern discourse. Practitioners of chaos theory call this indeterminacy, nuance — the butterfly’s wings that trigger the monsoon on the opposite side of the world. Computer programmers are gradually adopting the concepts of fuzzy logic, a science of gray tones, that reveal crisp results for smart systems. There are common threads running through these disciplines of improvisation and multitasking. The development of new tools — or a rethinking of how we use the tools we already have — will be crucial to the development of interactive designs and experiences that push the horizons of computer applications past the linear gates of Aristotle’s Poetics. Using these tools, urge explorations of horizontal relationships among seemingly unrelated disciplines to produce an in-depth exploration of multi-dimensional narrative structure.
Panel Statement	Gundolf Freyermuth	ISEA97: Eighth International Symposium on Electronic Art	Panel				Since the beginning of the Industrial Age, technological advances are constantly producing new means of creating visual, acoustic and narrative effects; i.e., new ways of representing and distorting reality. While most artists and other creative professionals didn’t hesitate to adopt these new media to their own ends-or to adapt their ends to these new means of expression, cultural critics as a group didn’t cope as well. From the early days of, say, dealing with daguerreotype to present efforts to understand digital media, their discourse tends to follow a simple pattern of “sequential thinking”. The victory of photography had to be the end of painting; cinema had to finish off the novel and the theater; the phonograph left no future for concerts and opera; radio then killed the market for records; and TV, according to the fears of its critics and hopes of its producers, had to do away with practically every other media and art form. Right now, we’re experiencing, as spectators or participants, an updated version of this rather stubborn discourse. Enthusiastic friends of digital media are sure – and their foes fear – that online arts and particularly hypertext, its non-linearity and interactivity, will bring about the end of the old analog ways: the end of newspapers and printed books, the demise of reporting and the death of the novel, just to name the few victims I’m personally familiar with. Obviously, this critical discourse tries to understand cultural progress by the scientific paradigm: A new theory about the material world that better fits the experimental data proves the old one wrong and succeeds it. In the same way, progress in the arts is seen as a successional process. If something new shows up, it must either fail or replace the old. That was the logic of modernism, and that makes the history of the arts look like those graphics that illustrate human evolution, the “march of progress” from our crawling predecessor to us, the upright homosapiens. Even biological evolution, however, is no story of simple diachronic replacement. Evolution produces synchronic expansion — diversification and the occupation of niches by highly specialized forms. And in this respect, the realm of mêmes doesn’t differ from the realm of genes. In both adaptation rules. I will talk about its cultural function, how ideas and stories, similar fragments of reality, the same interests, obsessions and ideological discourses, the same artistic goals are continuously adapted to different forms of media and communication. And I will try to reflect on what that should mean for literature and traditional (including New) journalism on one hand and for on-line journalism and digital narratives on the other. However, I have to admit that my critical perspective is distorted. I’m no bystander, but an active participant in the never-ending process of adaptation that feeds the culture industries. I’ve rearranged and recycled intellectual material in different media for more than a decade, and still can find nothing wrong with it.
Panel Statement	Mark Amerika	ISEA97: Eighth International Symposium on Electronic Art	Panel				GRAMMATRON is an elaborate, multi-media hypertext created for the World Wide Web. The project presently consists of over 1000 text spaces, 1700 links, 40+ minutes of original soundtrack delivered via Real Audio 3.0, unique hyper-link structures by way of specially-coded Javascripts, a virtual gallery featuring scores of animated and still life images, and more storyworld development than any other narrative created exclusively for the Web. A story about cyberspace, Jewish mysticism, digicash paracurrencies and the evolution of virtual sex in a society afraid to go outside and get in touch with its own nature, GRAMMATRON depicts a near-future world where stories are no longer conceived for book production but are instead created for a more immersive networked-narrative environment that, taking place on the Net, calls into question how a narrative is composed, published and distributed in the age of digital dissemination. grammatron.com
Panel Statement	Sue Thomas	ISEA97: Eighth International Symposium on Electronic Art	Panel				The meat body in the throes of becoming cyborg. Imagining: wet~dry~cold~hot :1: steel/plastic/wire/skin :1: blood^current^fluid^light :1: open\|closed :1: yes\|no :1: in\|out :1: low\|high :1: true\|false :1: 1\|0 :1: flesh-bone-clipswitch — Aaahhhh! Our reliance upon the sense of sight combined with the notion of visual perspective has kept us trapped beside a window for five hundred years, literally gridlocked, looking out but never able to pass through. But now the computer uses the estranged detachment of the reading eye not to fix us, but as a vehicle to hook us in directly. There, inside the machine at last, we are cut loose to drift in our own and others’ imaginations, the bleeding and orgasmic body re-feeling the world through a different sensuality. My novel THE (+]NEI[+) OF DESIRE sets out to explore some of the sensual constructs which make cyberlife so different from real life. Virtuality engages our most intimate intellectual imagination but can we describe how it really feels? Is there a lexicon for the sensorium of the meat/machine interface? How can we use text to translate the cybersensorium for those who have never experienced it? This paper discusses the calls made by the cybersensorium upon our memory, imagination, and ability to fantasize, and looks at the problems of writing fiction set in text-based virtuality. You are invited to visit THE [-F]NET[+] OF DESIRE in its virtual location #87887 at LambdaM00.
Panel Statement	Mark Jones	ISEA97: Eighth International Symposium on Electronic Art	Panel				Presentation: Construct(s) and Même-ing: An Essay in Three Dimensions. Conceived and Designed by Stephen N. Matsuba, Edited by Mark J. Jones, Hosted by CyberStage Live. Construct(s) and Meme-ing is an essay in which its core arguments are presented not as text, but as a series of interactive visual images within five virtual spaces. Using VRML as its basic programming language, you as the “reader” explore the author’s argument by moving through the different virtual environments and interacting with their elements.The basic structure of the essay is comprised of five components: an introduction, three main points, and a conclusion. Each component is presented as a separate VRML world, and is downloaded as you progress through the essay. While the content of the essay itself examines the resistance to change and the fear of the unknown in new technologies, the chosen medium for the essay also plays a vitally important role in it, because it is the medium and the way in which we interact with it that challenges our notions of language and the construction of meaning within it. One of the ongoing points in discussions on culture and technology is that we are becoming a more visually sophisticated species. If one were to believe that argument to be true, one must also believe that our language therefore also becomes more visual. Certainly, whereas thirty years ago we put signs up on doors saying “Men’s Room” or “Ladies Room”; today we express those same ideas with generic icons. More and more of our language is becoming mediated through the use of icons, reticent perhaps of a culture whose language is moving back towards a system of hieroglyphics rather than simply linear text. The introduction of non-linear media into such a culture presents the possibility of extending the use of icons into the expression of complex concepts. Thoughts become images, images become arguments, and arguments themselves become a part of the sensorium. What was once, in McLuhan’s terms, a breakdown of the senses due to the introduction of text becomes a possible reunification of sensual communication, perhaps closer to what Jaron Lanier calles” post-symbolic communication” or what Mcluhan himself predicted when he wrote: “It is now possible to program ratios among the senses that approach the condition of consciousness”. Construct(s) and Même-ing was designed to push the notion of “visual vocabulary” to one possible extreme. Would there be a common vocabulary from which people could draw, one which would enable them to decode the author’s original arguments in the essay, and give reasons for its support or rebuttal? Perhaps the new media aren’t about convergence as much as it is about collision – nations collide into globalism; competition collides into partnership; the private collides into the public; and the roles of writer, editor and reader suddenly collide into the roles of architect, multimedia producer and actor respectively.
Panel Statement	Artur Matuck	ISEA97: Eighth International Symposium on Electronic Art	Panel				De-scripting utilizes the computer as co-author in the process of recreating words. A software configured to work as a “broken typewriter” produces a series of alternatives to letter sequences. The complete language transformation process follows two steps. A disorganizing computational procedure entitled De-script is followed by a re-organizing procedure entitled Re-script, performed by a human agency. The objective is to renew language codes, creating new terms for poetical, political, linguistic, theoretical, or scientific purposes. De-script can be thought of as a means to de-scribe written languages. In this experiment, English is the language being de-scripted through a process of computerized semi-random letter substitutions causing purported misspellings. De-script is a computer generated anti-language. It undermines the idea that languages must be protected by institutions from possible changes. In De-script, language is seen, otherwise, as a living entity, in transformation, absorbing influences and reflecting social forces and technologies. The process utilizes English in a generative mode, to surpass it, to enlarge it, to open it up to new technologies and modes of thought. The most immediate effect De-script has in a language is to enlarge it, to actually infinitize the paradigmatic level of the word unit, opening up a field of unheard-of, unthoughtable possibilities of letter re-combinations. However, if one wants to construct meaning or neo-meaning, De-script has to be followed by Re-script, dissociation by re-association. The purpose is to constantly learn from a de- scripted level, so that one can break free from paradigmatic limitations in order to re-script a new text.
Panel Statement	Reinhard Kaiser	ISEA97: Eighth International Symposium on Electronic Art	Panel				Having worked as a translator for many years, occasionally writing a book of my own, I have made reading and writing my profession. So when I heard, some two years ago, of a new accessible universe of information, of some kind of new electronic library, I became curious. I even felt it was sort of a professional duty to have a look at what the Internet was and to see if it could be put to use in the service of my writing, my translating, my permanent search for words, facts and information. My initial fears at stepping into that foreign territory which some praised as a new heaven of multiple joys, while others depicted it as a mere desert of trash, dissolved quite quickly. Of course I came upon much trash, waste, and junk, but I also found some valuable things, even treasures. And what was more, I soon felt that, as a reader, I was well prepared to handle the online-world of electronic arts, literature and information – at least better prepared than that allegedly ideally equipped net-person, the so-called surfer. My confidence did not result from technical know-how, but from something like a little twist of imagination:What I heard and read about the virtues and vices of the Internet, I then contrasted and compared to my own reading experiences and to what I knew about the world of books, about their history and about the art of reading. I did so in order to find out if the highly praised novelty of the online-world was really as new as many maintained it to be. As far as I can see, this little trick worked and still works and often the results are somewhat reassuring: the air-filled hype and the lofty hopes, all kinds of trendy exaggerations on the marvels or the dangers which lurk behind the computer screen, become a much more manageable something if they are contrasted to the sphere of the printed page (e.g.the warnings against losing one’s own identity within a dream-world or against becoming addicted to virtual contents, were voiced in the same vein two hundred years ago by well-meaning educators and clerics speaking on the pitfalls of novel-reading.) During the panel I would like to say a bit more about this imaginative twist which perhaps is something more than a trick, certainly not a theory, but perhaps a rule of thumb for reading and book-loving people who go online, and a wholesome antidote to that curious ability of the computer and especially of the Internet to turn almost everybody who gets in touch with it into some sort of a “broadcaster,” if only for themselves.
Panel Statement	Susan Davis	ISEA2013: 19th International Symposium on Electronic Art	Panel			The University of Sydney	Panel: Future Nature, Future Culture[s]: Reflections on Balance-Unbalance
Panel Statement	David Howes and Jennifer L. Biddle	ISEA2013: 19th International Symposium on Electronic Art	Panel			The University of Sydney	Panel: Mediations of Sensation: Sensory Anthropology and the Futures of New Media Practice
Panel Statement	Elizabeth Eastland, Chris Henschke, and Erica Seccombe	ISEA2013: 19th International Symposium on Electronic Art	Panel			The University of Sydney	Panel: Sensation, Meaning and Affect in the work of art / science / technology collaborations
Panel Statement	Troy Innocent, Andrew Burrell, and Kuai Shen	ISEA2013: 19th International Symposium on Electronic Art	Panel			The University of Sydney	Panel: Transdisciplinary Transreal: Mixed and Augmented Reality Arts (MARart) Research Scoping Forum
Panel Statement	Angelina Russo and Amanda Slack-Smith	ISEA2013: 19th International Symposium on Electronic Art	Panel			The University of Sydney	Panel: Curating and Collecting the New: Resistance is Futile Angelina Russo will speak to her research, which focuses on the connections between cultural communication and media from a design perspective. Angelina is currently the Director of Higher Degrees Research in the School of Media and Communication at RMIT University, Melbourne. She has spent the past six years leading two major Australian Research Council projects in conjunction with 10 national and international cultural organisations. This research investigated digital content creation and multi-platform distribution and the impact of social media on learning and communication. Angelina is a former Australian Research Council Post Doctoral Fellow (2007-2010) and Queensland Premiere’s Smithsonian Fellow (2005). She is a co-founder and Director of Museum 3, a not-for-profit organisation established to explore the future of cultural organisations. Amanda Slack-Smith is Assistant Curator, Australian Cinémathèque at the Queensland Art Gallery/ Gallery of Modern Art. In 2008 the Queensland Art Gallery initiated the first of three acquisitive award exhibitions at the Gallery of Modern Art surveying contemporary new media practice in Australia. Funded by the Queensland Government, the project comprised a $75,000 acquisitive award and a $25,000 scholarship for an emerging Queensland-based practitioner. The project enabled the Gallery to engage with a wide range of practitioners working with media art, develop this collection area for the museum and focus on issues surrounding the ongoing installation, conservation, and preservation of media art. It was also an important opportunity for the Gallery to develop new audiences and understanding for practices under represented within the art museum context. Reflecting on these challenges and experiences, QAGOMA curator (and co-curator of the 2012 Award) Amanda Slack-Smith will discuss the award series and the ongoing conservation and presentation of works held in the QAGOMA collection.
Panel Statement	Michael Day, Roger Haigh Mills, Daniel Scott, and Sam Spurr	ISEA2013: 19th International Symposium on Electronic Art	Panel			The University of Sydney	Panel: Visualising Gesture and Effect
Panel Statement	Brenda L. Croft, Jenny Fraser, r. e. a. saunders, and Esteban García Bravo	ISEA2013: 19th International Symposium on Electronic Art	Panel			The University of Sydney	Panel: Re:imag(in)ing Indigenous media art histories
Panel: E-mobileart lab	Nina Czegledy, Annick Bureaud, and Christiana Galanopoulou	ISEA2009: 15th International Symposium on Electronic Art	Panel				Panel Statement Panel: Dublin Forum E-mobileart lab + MediaLab Prado present their projects and discuss collaborative art-science practice. European Mobile Lab for Interactive Media Artists (e-MobiLArt) is a project tailored around the process of collaboratively creating interactive installation artworks. Such mediated environments may involve the use of ubiquitous computing, communication networks and mobile or locative media technologies. Participants in this project are artists and scientists who are active in creating interactive media art or pursuing innovative interdisciplinary research and wish to collaborate in order to create interactive media artworks. Project Coordination: University of Athens (Greece), Faculty of Communication and Media Studies, Laboratory of New Technologies in Education, Communication and Mass Media. PARTNERS: University of Applied Arts, Vienna (Austria) University of Lapland (Finland) Curatorial Advisors: Nina Czegledy Annick Bureaud Christiana Galanopoulou Associate Partners: Leonardo/OLATS State Museum of Contemporary Art, Thessaloniki (Greece) Academy of Fine Arts – Gallery, Katowice (Poland) Cycling74 (USA) 1-CubeX (Canada) Haute Ecole `Groupe ICHEC-ISC St Louis-ISFSC’ (Belgium) The e-MobiLArt Project has been funded with support from the CULTURE 2007 Programme of the European Union.
Panel: Medialab-Prado	Laura Fernandez and Marcos Garcia	ISEA2009: 15th International Symposium on Electronic Art	Panel				Panel Statement Panel: Dublin Forum E-mobileart lab + MediaLab Prado present their projects and discuss collaborative art-science practice. Medialab-Prado is a program of the Department of Arts of the City Council of Madrid, aimed at the production, research, and dissemination of digital culture and of the area where art, science, technology, and society intersect. Their primary objective is to create a structure where both research and production are processes permeable to user participation. medialab-prado.es The event is realised in association with IADT (Dun Laoghaire Institute of Art, Design and Technology)
Panoplie	Bruno Samper	ISEA2000: 10th International Symposium on Electronic Art	Poster				This is a mutation of the net, a new type of magazine, an ‘Organic’ magazine. It is above all organic because of its design, the aim being to eliminate as much as possible the technological side in favor of a more light, poetic aspect. It is an interactive magazine which through its different issues will test the means of establishing the foundations of what could become a true interactive and multimedia written language. This is a laboratory experiment.This magazine, created for the general public, does not accept the limitations imposed by technology, preferring instead the limits of the imagination. Panoplie’s goal is to be a critical or enthusiastic mirror of a constantly changing world, whether it be socially, artistically or scientifically, always careful not to put technology before humanity. Human beings are essential because of their creativity and imagination. Panoplie’s team is composed of Bruno Samper, Laurent Rodriguez, Siegfried Rouanet, Sylvain Duigou, Elisabeth Klimoff, Caroline Muheim, and Patrick Perry.
Paradigm Shift Interruptus: An Anecdotal History of Hungarian Media	Diana McCarty and Janos Sugar	ISEA97: Eighth International Symposium on Electronic Art	Paper				The new, unprecedented media, is a product of the combination of technical progress and a booming specialization, because of this it has no cultural references, past or history of any kind. The avant-garde has the tradition of radical use of (any) established media, and this experience (the so-called didactic message of the avant-garde) appears in the usage, testing and research of the new media. Looking for and charting the borders, finding a limitless self-expression —the avant-garde discipline of total competence, vital in the days of global symbiosis and the growing complexity. In the medialized public world, the research (browsing, surfing) becomes the symbol of existence — the subversion becomes the obligatory tool of perception. The role of art in the net just begins to open up new ways and possibilities and the culture follows; tries to manifest in a didactic way the unused possibilities. It is didactic as the classical avant-garde was didactic: it educated the cultural perception.The culture functions always as a blueprint for an information society: context is the content (wrong context = no contrast, new context = content)… in other words, to shuffle the information until it finds the biggest contrast — to be efficient.
Paradigm-Busters: Complexity at the End of the Enlightenment	Simon Penny	ISEA94: Fifth International Symposium on Electronic Art	Panel				Panel: Eliza’s Children The new scientific disciplines of Nonlinear Dynamics, Complexity, Artificial Life carry within them paradigm-busting power which is eroding the foundations of the scientific method, the central idea of the last two centuries of Western Culture. It is potently ironic that this busting should emerge from the paragon product of the scientific method, the digital computer: out of the extremes of determinism bursts forth the destruction of that very paradigm! This occurrence in the sciences runs parallel with similar developments in other aspects of Western Culture which can be characterized as a general movement away from reductive, vertical, hierarchical, serial, and linear structural models towards plural, inductive, rhizomatic, parallel and horizontal models. In this there is a vindication for art practice. In its rejection of determinism, art has always understood complexity, but in a holistic way that was marginalized by the cultural force of the scientific paradigm with industrial production as its henchman. Art has defined its identity in opposition to science. Now Complexity theory, in addition to challenging basic scientific procedures, resonates and reaffirms art methods. It is a tenet of Artificial Life that life occurs at the cusp of order and disorder. Similarly an artwork is energized to the extent that it inhabits this cusp between the determinism of the rigid grid structure and the free-for-all in which meaning dissolves in a chaos of signs. Artwork is invigorated by internal inconsistency. Complexity and Artificial Life are deeply relevant to artists for two reasons, the first being the general change of philosophy and the philosophy of science in particular. The second, more pragmatic reason is the potential of manipulating behavior esthetically. Emergent behavior liberates interactivity from the bondage of linked data structures and Pavlovian response. The challenge to artists now is to negotiate what it esthetics of behavior might mean.
Paradiso Artificiale Rehearsals for Death: Avators and the Post-Biological Experience	Yannis Paniaras	ISEA98: Ninth International Symposium on Electronic Art	Panel				Avatars and the present social and cultural phenomena they generate indicate that the first waves of avatar populations are increasingly penetrating the barrier that divides the physical from the virtual status. Avatars are successfully establishing virtual societies in networked virtual communities and they represent the first immigration waves in the territories of networked virtual reality. Are avatars a temporary fashion destined to be consumed from the public curiosity or are thay representing a real revolution in how humans will establish agency in virtual environments? This panel will focus on the subject of avatars, user representation and avatar centric user behaviour in online virtual communities, analyze how avatars function as a personality interface and throughout a discussion and demonstrations try to draw a descriptive framework for the displaced self as it becomes manifested through its confrontation with the revolutionary forces of networked virtual reality. If identity is being revolutionised by becoming exposed to the forces of multiuser technologies – an identity which becomes temporary and custom-tailored within the context of the virtual society – does this situation represent a revolutionary exodus that opens the doors of rampant transformation as it becomes apparent that there are no fixed boundaries for the representation of the self? Are avatars truly revolutionary? Towards what avatar design genres should we be aiming for? What are the alternative narrative ways for agency and user interaction within networked virtual societies?
Paradoxical Bodies: Animal Human and Machine	Ingrid Bachmann	ISEA2016: 22nd International Symposium on Electronic Art	Long Paper and Paper		Bachmann: Paradoxical Bodies: Animal Human and Machine		Many age old assumptions and practices are coming into question, long held views about nature, human nature, about the definition of life are being re- examined and in many cased abandoned in what has been termed, the emerging BioTech Century. The proliferation of new technologies and media, advances in biotechnologies and genetic engineering are provoking a re-examination of the constitution of the terms “nature”, “human” and “machine”. Subsequently, the re- examination of these “essential” categories are likewise reshaping notions of self, society and other, and provoking some new and potent configurations of what constitutes life. One boundary to be breached in addition to organism/machine is the distinction between animal/human. Current developments in biotechnologies – xenotransplantation, michrochimerism – suggest that biology does matter and that the machine/human coupling is expanding into the machine/human/animal hybrid. In this paper I would like to explore a more thoughtful awareness of the complicated connections between bodies -human, animal, machine, and material bodies. I will look at some early examples of humananimal hybrids and then discuss an interactive and kinetic sculptural art project entitled Pelt (Bestiary) that explores some of these ideas. In Pelt (Bestiary) I wanted to give digital technology back its pelt. To bring the bestial and the messiness of the world back into the realm of digital technology; to continue my work in grounding the digital experience in the material realm.
Parallax: Dancing the Digital Space	Megan Beckwith and Professor Kim Vincs	ISEA2015: 21st International Symposium on Electronic Art	Paper				(Long paper) Keywords: 3D, stereoscopic, dance technology, choreography, multi-media dance, trans-media dance. Parallax is a contemporary dance work that integrates live performance and stereoscopic illusions. This performance work was designed to demonstrate the transformative potential of stereoscopic technology for contemporary dance. Parallax explores how the technology can change the traditional theatrical idea of space. We propose that the theatrical space is overlaid by a stereoscopic space that is best defined as a square pyramid. The stereoscopic image within the theatre environment creates a new area for the, choreographer, dancer and audience to experience dance and opens new creative possibilities. First, the choreographer needs to negotiate a different form of perceived space, and to work with both live and animated bodies. Second, the dancer may become less central and more part of a technical system, and s/he is required to negotiate digital environments and objects that are invisible to them. Finally, the audience experience of the stereoscopic dance performance is significantly different from, and potentially more immersive than, other forms of dance that use technology. This paper proposes that the inclusion of three-dimensional (3D) scenography requires a reorganizing of the conception of space in the creation and performance of contemporary dance and theatre.
Parallel Cinema, Necrorealism and Video Art in St. Petersburg	Andrey Ventslov	ISEA94: Fifth International Symposium on Electronic Art	Paper
Parcival XX-XI Goes Digital: New Media as Part of a Gesamtkunstwerk	Johanna Dangel and Gesa Friederichs-Büttner	ISEA2011: 17th International Symposium on Electronic Art	Paper			Sabanci Center	Parcival XX-XI (2010/2011) is a transdisciplinary political dance-theatre production by the Company urbanReflects. It interweaves elements of New Dance, Digital Media and socially relevant questions and unites them to a gesamtkunstwerk. In Parcival XX-XI, we investigate possibilities and limitations of Digital Media in a participatory performance. We actively include the audience into the creation of the play. Passive spectators merge into active performers and can thus collaborate in designing the experience of Parcival XX-XI for oneself and the other spectators. Possibilites: First, we introduce how in our production a.) the dancer and b.) the audience can interact with digital content as they perform with and through responsive technology-based interfaces. Second, we discuss to what extent digital media can significantly support and enhance the performer’s ‘abilities’ in the context of aesthetic experience and narration / dramaturgy. Limitations: On the one hand, we evaluate the rehearsal process of Parcival XX-XI and reflect on why we excluded certain digital media elements. On the other hand, we explore how the integration of selected digital media affects a) the performer / the production and b) the audience / reception during the performance. To do so, we focus on the following questions: What happens in case of failing technology? What happens if the user (performer or audience) is incapable of properly using the offered technology? What happens if the selected digital medium does not produce catchy moments? The presentation is planned as a dialogue. While Gesa Friederichs-Büttner exposes the possibilities of participatory digital media elements in performances, Johanna Meier reflects on the limitations.
Park View Hotel	Ashok Sukumaran	ISEA2006: 13th International Symposium on Electronic Art	Panel				Park View Hotel provides focused optical communications, or “shooting’; opportunities between the Park and the Fairmont Hotel, neighbors in downtown San Jose. Using devices mounted in the park, the audience can “light up” interior hotel spaces in their line-of-sight. In response, these interiors leak out their properties: onto the exterior of the building, onto other “properties” public and private, and into the park below. This work was developed in collaboration with Sun Microsystems Inc., Menlo Park, using SunSPOT® embedded technology, and is a residency project commissioned by ZeroOne San Jose and the Sally and Don Lucas Artists Programs at the Montalvo Arts Center.
Part Human, Part Animal, Part Machine	Doo-Sung Yoo	ISEA2012: 18th International Symposium on Electronic Art	Artist Talk	2012 Overview: Artist Talks		Hotel Albuquerque	Doo-Sung Yoo’s Organ-machine Hybrids project series have reused and transformed discarded animal organs within artworks since 2007. Disembodied animal organs were combined with electronic devices to become the conceptual artificial hybrids as part human, part animal, and part machine, which illustrate metaphors for the human body’s ongoing tendencies and attempts to physically and biologically transform itself through technological augmentation. For the artist talk, Yoo will introduce the project concepts and the processes and talk about his artistic purview of the ongoing scientific issues associated with the human-animal hybrid and human-machine hybrid.
Partially Buried University	Karen Patricia O’Rourke	ISEA2011: 17th International Symposium on Electronic Art	Paper			Sabanci Center	Robert Smithson realized one of his first works of Land Art at Kent, Ohio in January 1970. “Partially Buried Woodshed” was an example of the process he called “entropy made visible”. At the time, Smithson said he had always wanted to bury a building.?For my part, I have always wanted to unearth a Smithson. He never had the time to bury other buildings. He died in a plane crash in 1973. Or did he? What if a man going by the same name were to show up here in Europe? Suppose that the University of Paris 1 invites him to realize an earthwork on its campus. The Centre Saint Charles has a problem with rain water collecting on the roof and infiltrating the lecture hall just below. Inspired by two of Smithson’s projects, “Partially Buried University” involves creating a garden on the roof terrace to absorb the residual water, reduce our carbon footprint and contribute to sustainable development. Since the roof was never intended to support the weight of growing trees and shrubs, it is likely to collapse. The garden can then develop on its own, with weeds springing up throughout the building. A 3-D model of the roof was built, simulating weather conditions and plant growth, thanks to models developed by scientists at the ECP-INRIA. The visitor stands in front of a 3-D VR projection of the building, on the second floor overlooking the roof which has been made into a garden. She chooses a seed, moves through the garden to plant it. After a number of people have sown poplars, cypresses, pines, maples and chestnut trees, the garden grows quickly, the roof just may give way and visitors suddenly find themselves climbing over rubble in the lecture hall below. I will document the creation of PBU from preliminary research on Smithson’s conception of entropy, and the early public reception of his earthworks, to the collaborative process at work here, involving artists, scientists and developers.
Participatory (Counter-)Surveillance and the Internet	Annina Rüst	ISEA2015: 21st International Symposium on Electronic Art	Paper				(Long paper) Keywords: Internet, Internet art, surveillance, participatory, countersurveillance, detournement, humor, hacking This is a text about Internet art projects dealing with Internet surveillance. In the paragraphs below, I will describe a web service that floods the Internet with fake websites, another web project that allows users to create email accounts in the names of villains that send conspiratorial emails to each other, and a solar‐powered disco ball on which YouTube dance videos are projected. What connects these seemingly disparate projects? It may sound absurd, but these projects may help us understand our complicated existence as surveillant and surveillee within networked communications. Since the projects described in the text were made over more than a decade, the article may also reveal some aspects of how the Internet has changed over time.
Participatory Art as Inner City Workshop: The Urban Remix Sound Project	Michael Nitsche, Carl Francis DiSalvo, and Jason Freeman	ISEA2011: 17th International Symposium on Electronic Art	Paper			Sabanci Center	UrbanRemix is a collaborative and locative sound project to reinvigorate inner city communities through their participation in a public art event. It grows from within these communities and their specific surroundings. UrbanRemix enables participants to explore, develop and express the acoustic identity of communities, based on sounds they discover, record and remix in their neighborhood. The project consists of mobile and web-based software applications that allow users to document the obvious, neglected, private or public, even secret sounds of the urban environment. The collected sounds, voices and noises provide original tracks for musical remixes that reflect the community in a novel form. All events are designed around existing communities. Each event typically begins with a period of sound and image collection during which citizens explore their neighborhood anew. After collection is complete, DJs prepare a public performance in the neighborhood, using only the contributed content in their remix. In parallel, the public is invited to explore and remix the content online, both during and after the event. Final sound mixes, from DJs and other participants, can be shared online. UrbanRemix stands in the tradition of other pioneering locative sound projects such as Sonic City, Tactical Sound Garden Toolkit, or [murmur] but focuses on the participating citizen on every level from sound recording, to mixing, to shared listening. This emphasizes the role of participatory digital art practice as reinvigorating process in urban neighborhoods. The paper reports on the design and implementation of the software and on the results of various artistic installations. This includes an overview over the web, Android, and iPhone applications. The discussion of artistic results includes performances in collaboration with Glide Memorial Church, an active community church in San Francisco, projects with public schools in Atlanta and with the Beltline project, a major inner city transportation development in Atlanta. They present examples for public participatory sound art and how its production as well as its results reframe existing urban spaces.
Partition	Pervaiz Kahn	ISEA98: Ninth International Symposium on Electronic Art	Panel				From the ‘inner’ cities of Britain to the ‘outer’ cities of the ‘third world’ the promise of new technologies is hailed as the way forward. This will be an exploration of issues raised by the ‘new technologies revolution’. “The genius of an inventor like Leonardo da Vinci lay in his ability to recombine the then separate systems of biology, mathematics, engineering and art. He has not so much an originator as a synthesiser. There have been few people like him over the centuries, because the ability to hold that much data in one’s own biological memory is rare. Now however, the technology of recombination is available in the computer. The problem now for would-be cultural producers is to gain access to this technology and information. After all, access is the most precious of all privileges, and is therefore strictly guarded…” -Critical Art Ensemble
Participating in Participation: Politics and Citizen Power	Seeta Peña Gangadharan	ISEA2011: 17th International Symposium on Electronic Art	Panel			Sabanci Center	Panel: Tyrannies of Participation Similar to the cultural zeitgeist in the 1970s, the past several years have been marked by an optimistic discourse about the technologies of political participation in American government. From electronic town hall meetings to President Obama’s Citizen Briefing Book to the Facebook pages of politicians and political institutions, the current political climate is committed to instantiating ideals of participatory democracy in technological tools for citizens. But what power have these tools created? In this presentation I apply a seminal discussion of participatory politics written in the 1970s in relation to modern day experiences of citizen participation. Written by Sherry Arnstein, A Ladder of Citizen Participation, looks at the palliative effects of participatory projects, citing the problem of “participating in participation”. Seen in relation to current efforts to harness citizen power in political decision making, the problem of “participating in participation” unmasks the superficiality of participatory projects and practices. Examples will be drawn from the Unites States’ premier regulatory body for media, communications, and information policymaking.
Passing and Peril on the Information Super Highway	Kóan Jeff Baysa	ISEA2008: 14th International Symposium on Electronic Art	Panel
Passive / Reactive / Interactive: Strategies That Unify Experimental Art, Artists, and Audiences	Susan Kukucka, Jonathan Parsons, Lubi Thomas, and Nicky Pastore	ISEA2019: 25th International Symposium on Electronic Art	Paper			Asia Culture Center (ACC)	This panel will discuss a framework that brings together experimental artists with new audiences through a combination of curatorial strategies that revolve around passive, reactive, and interactive forms of engagement between artworks and publics. By first presenting the conceptual and theoretical underpinnings of this approach, the panel will discuss its practical applications in the context of work undertaken by Australian media arts organisation, Experimenta. Through a thirty years history developing and presenting experimental art, and fifteen years touring media art exhibitions around Australia, Experimenta has fostered artistic processes and participatory formats that blur the boundaries between artists and the audience and bring experimentation and the unexpected to traditionally fixed gallery environments. The panel will address the logistical challenges of commissioning and touring complex, technologically driven artworks, and will reflect on galleries and audiences’ reception of such artworks. In particular, the panel speakers will focus on a curatorial approach of cocreation, whereby audiences are required in the realisation of an artwork, and on collaborative methodologies with galleries to expand logistical and critical capacities in presenting media art.
Patchingzone	Anne Nigten	ISEA2009: 15th International Symposium on Electronic Art	Institutional Presentation	2009 Overview: Institutional Presentations		Waterfront Hall
Pathogenic Vectors	Francesca da Rimini, Josephine Starrs, Virginia Barratt, and Julianne Pierce	ISEA94: Fifth International Symposium on Electronic Art	Artist Talk				Artists Statement Log In: VNS Matrix Password: aberrant Now connecting to host network RAMpage. RAMpage: bentnet belladonna.stone.plant. 666 ? Welcome to CorpusFantasticaMOO! ? Running Version alpha of CorpusFantasticaMOO CorpusFantasticaMOO is a colonised body, where entities without number meet. You may not understand some of the language you encounter in this body, and it would be advisable to familiarise yourself with other methods of constructing meaning. Never assume that you are speaking to a member of a privileged class, race, gender or species. We provide mindnet access for entities with particular needs. What resident or guest entities say or do may not always be to your liking. Beware – there is no moral code in this place. Type: ‘connect ‘ connect to your character ‘connect Guest’ connect to a guest character ‘@who’ see who’s currently logged in connect Geneva Convention xtreme Okay. Geneva Convention is in use The Limen You are at the threshold of the corpusfantastica. Seemingly infinite and infinitely small, neither here nor there, with half remembered snatches of your Iife or is it? It is darkly seductive here, and you could stay, but you choose to slide through the cartesian reality grid and enter the spaciousness of the corpusfantastica. @who BigBrain is in the Thymus Bar sociopathic cyberslut is in the Lung Lounge Manko is in the Wandering Womb Matrix Green Guest Wandering Womb Matrix Oracle Snatch is in the Wandering Womb Matrix FireWalkWithMe is in the Wandering Womb Matrix @look socio You see before you a walking pincushion, hardly a piece of flesh that hasn’t been pierced. The jewellery is a cross between Cyberdada circuitry and fishing tackle, useless, meaningless with a strange retro allure. The three breasts are a turnoff, mostly because they are eyeing you nastily. There is a permanent scowl on her face, and her pupils are the size of bowling balls. @join sociopathic cyberslut
Patterns of Nature: The Spiral and Interconnectedness	Claudia Kleefeld	ISEA2012: 18th International Symposium on Electronic Art	Artist Talk	2012 Overview: Artist Talks		Hotel Andaluz	This discovery will enhance our own lives with a deeper sense of place and wonderment. So enjoy the “lure of the local” as Lucy Lippard wrote about our own close environments.
Pause	François Coulon	ISEA2000: 10th International Symposium on Electronic Art	Poster				I’ve often wondered about the natural inclination we have toward presenting all those situations as voluntary or as the result of our own deliberate choosing, when, for the most part, we undergo them without being able to do much about them. If we could control the consequences of the freedom we do have, if each failure did not cost us a thing, literature, whether interactive or not, would be useless. Therefore it is not so much the character or behavior of Dominique and Marjorie, the characters of Pause, that change forms under the influence of the reader as the past and the daily environment in which he or she sees them evolve. This always leads the reader to take a new look at…
Paying One’s Respect to a Mountain	Astrid Almkhlaafy	ISEA2011: 17th International Symposium on Electronic Art	Paper			Sabanci Center	Over the last three years I’ve climbed and mapped sacred mountains in Asia, as well as man-made monuments that refer directly to the cosmological Mt. Meru and Mt. Sumeru of Buddhist and Hindu tradition. As an artist I fuse archaeology, legend, history and the site specific pilgrimage together — exploring on foot — while documenting with video, photography and GPS and react to the location through performance. The mountain pilgrimage has become my lens into deciphering aspects of my new home. To share I create participatory art that attempts to poetically embody and translate my own experience to new audiences. In this artist talk, I will introduce my mountain treks in China, Indonesia and Cambodia and also discuss the challenges and successes I encountered in translating these site specific projects and performances into installation pieces.
Pedagogy of the Oppressed Panel Notes	Brenda Laurel	ISEA94: Fifth International Symposium on Electronic Art	Panel				Panel: Pedagogy of the Oppressed Among the brain based differences between males and females that we know about, differences in aspects (of) spatial cognition are most significant. Differences among cultures in everything from mathematics to cosmology also tend to hinge on differing understandings of space. Accommodating differences among people in the design of anything would seem to require a great deal of flexibility in spatial understandings and metaphors.
Pedagogy of the Oppressed Panel Notes	Rob Tow	ISEA94: Fifth International Symposium on Electronic Art	Panel				Panel: Pedagogy of the Oppressed There are many representations of spatial relationships in human culture, art, and science, both now and through history. All are abstracted tools of situations, and all work better for some people better than for others. Rectilinear coordinate systems, and their close cousin Renaissance perspective, are examples. Recognizing these differences, we should NOT strive for the mediocre ideal of some sort of “androgeny of geometry”, but must instead build instrumentalities and interfaces that are richly multimodal in the way they empower people who are differently endowed.
Pedagogy of the Oppressed Panel Notes	Joan Staveley	ISEA94: Fifth International Symposium on Electronic Art	Panel				Panel: Pedagogy of the Oppressed The Computer Graphics model for three dimensional Cartesian coordinate space is an implementation of an invented method for the description of “real” space. People have been using 3D interactive computer graphics for a little over thirty years. This model for describing space is used in computer graphics because it works; it’s practical. A lot of quality 3D computer graphics have been produced over the past 30 years, but no descriptive language is absolute. Cartesian coordinate space has its biases; it does some things very well and it neglects others. For a variety of reasons Western cultural and capitalist attitudes tend to falsely empower Cartesian coordinate space as absolute, and if not absolute then at least superior to other descriptive visual systems. A White heterosexual male point of view is dominant in this space and the pressures to create spaces, images, movement and narratives in a few limited styles reflecting the White male voice are great.
Peeping Tom and Nosey Parker	Julie Myers	ISEA98: Ninth International Symposium on Electronic Art	Paper				The aim of the presentation is to talk in very practical terms about how an artist generates, content and participation on-line, and how our initial expectation might differ from reality. I use the net as an on-line sketch book, a place to exchange information and an arena in which to exhibit – my first site, Peeping Tom went on-line in April 1996. The sites use traditional techniques of storytelling and theatre as basic structures on which to build interactive screens, with an element of play and humour used to explore wider issues of gender, pornography and identity. I love its anonymity, its minimal feel and its open ended nature. I think much of the debate around “Terror” and “Revolution” stems from the unknown, my own way of dealing with this is to ease myself into cybersapce through very ordinary exchanges that develop and expand organically. All the work is accessible on-line. “Julie Myers uses traditions of storytelling and popular culture to draw participants into her playfully subversive fictional spaces.” -Lux Catalogue 97. In the two previous net sites, Peeping Tom and Nosey Parker, I used traditions of story telling and Pantomime to create interactive spaces. For me the sites are empty shells before they are launched and don’t really become live until people feed into them. The project I hope to present at ISEA, Fi Fi La Boo, explores how on-line participation can be fed into the site both during and after its construction. The presentation will concentrate on how artist generate content and response from the on-line community.
PEGASYS: an interactive panoramic cinematic presence generating art system	Sarah Moss and Ernest Edmonds	ISEA2009: 15th International Symposium on Electronic Art	Paper			Waterfront Hall	Abstract The desire to experience other places through audio-visual means has long been of interest to humans and as technology advances so too has the formalisation of systems for exploring time, space and location based engagement. Research into developing an artifact for a practice-based PhD has led to the production of an interactive panoramic cinematic presence generating art system. This computer based art system engages participants within a panoramic audio-visual landscape. The aims of this research assist in determining best practice and technologies for creating and exhibiting a presence based computer mediated experience through a real-time video networked system. It integrates multimedia technologies, human computer interaction (HCI) and digital networked systems drawing from research into digital immersive environments, augmented reality, cinema and aspects of Cybertherapy. Digital art permits the artist to re-create new spaces from ‘real-life’ places. The system hereby referred to as PEGASYS provides the participant with three exploratory experiences of a natural environment. The footage provides content for all three stages of interaction within the system. This digitally reconstructed landscape provides a close encounter with the Australian bush, with running water, wind and flora. Crystal Pool is a private sanctuary buried deep within Sydney’s Royal National Park and PEGASYS provides a panoramic reproduction of this peaceful habitat re-distributing it for public exhibition.
Pelt (bestiary)	Ingrid Bachmann	ISEA2016: 22nd International Symposium on Electronic Art	Artist Talk			Run Run Shaw Creative Media Centre
Pendula	Nancy Lee and Kiran Bhumber	ISEA2015: 21st International Symposium on Electronic Art	Artist Talk	2015 Overview: Artist Talks
Perceiving Physical Media Agents: Exploring Intention in a Robot Dance Partner	Greg Corness, Jinsil Hwaryoung Seo, and Kristin Carlson	ISEA2015: 21st International Symposium on Electronic Art	Paper				(Long paper) Keywords: 3Performance, Media Objects, Robot, Perception, Intention, HCI, Spatial Interaction, Interactive Performance. The use of media in interactive performance is continually developing. Performers are exploring increasingly complex relationships with media agents including robots. One common approach to developing performer-media relationships is to base the interaction on pre-set patterns and direct control of the media. However, performance theory shows that performer-performer interactions incorporate elements of improvisation. Two key elements are trust and the perception of intention, which provide the basis for reciprocal communication. Recent research has developed models for performer-media interaction that incorporate reciprocal communication in the context of performer improvisation with ephemeral (audio/ light based) media agents. This project explores whether these same principles of embodiment apply to physical (robotic) media in performance. One might expect that a performer senses (sees or hears) the movement of media object and responds to it regardless of the form of the media (ephemeral or physical). However, research in performers’ cognitive process suggests that their intersubjective and cross-sensory perception produces subtle differences in the perception of ephemeral and physical media. We suggest these differences could have a great impact on their experience. We present our findings from two pilot studies exploring robots as interactive dance partners that use principles of embodiment as cues for interaction.
Perception, Art and Illusion	Brian Rogers	ISEA2013: 19th International Symposium on Electronic Art	Keynote	2013 Overview: Keynotes		The University of Sydney
Perception, Momentum and Continuity in Generative Systems	Mat Wall-Smith	ISEA2008: 14th International Symposium on Electronic Art	Artist Talk	2008 Overview: Artist Talks		Nanyang Technological University	The old testament tells us that God created the human being in his image. That text thus sets the bar for human ascendence- not as God’s progeny, but as his rival upstart. Its all about mastery. Creating a form in my image affirms my potential for self-control and the possibility of an autonomous self-creation or re-creation – I am god. But the created will be endowed with all those qualities the creator perceives as self-defining. We are God’s photoshopped self-image. Our own attempts at creating an active or generative intelligence, or an autonomous system, are similarly motivated and tend to follow this pretense to a divine status. Richard Doyle writes in Wetware about the the way this dynamic plays out as a form akin sexual selection (Doyle, 2003). The most desirable, most affirming, reflections of life and intelligence are replicated while the most challenging and alien are marginalized. Viral and distributed intelligence is marginalized in preference to the unified and central. The intense and relational is framed by its extensity and interiorized. This paper examines this dynamic in the contemporary new media ecology. It examines the notion of a spirited technics suggested by Bernard Stiegler and the Ars Industrialis group of which he is a founding member and argues that redefining intelligence might suggest ways to approach a generative or improvisational art capable of extending human intelligence rather than simulating or referencing it (Ars Industrialis, 2005). In the process I speak to New Robotics and a-life, Munster and Murphie’s Asssemblage of Collective Thought (1996), John Zorn’s Game Pieces (1974-1990), James Turrell’s Between that Seen (1991), Shaw and Del Favero’s work toward an interactive cinema, and my own experiments in generative composition the results of which will underscore my presentation.
Perception: Fast Forward	Isabelle Chemin and Guido Hübner	ISEA95: Sixth International Symposium on Electronic Art	Paper	1995 Overview: Paper Presentations			Drawn from their experience in recent years in installations and performance, Das Synthetische Mischgewebe presents a conference/ performance on the subject of collaboration between artists, scientists and technicians. The conference/performance is based on sound, text, and still and moving pictures from our own Fragmented source material from various sources is mixed together resulting in an overall coherent character that enhances and transmits our personal experience of multimedia. In addition, two artists/performers will lead the conference in unsynchronized French and English, a manner of presentation that goes far beyond simple translation.
Perceptual Correspondences of Abstract Animation and Synthetic Sound	Adriano Abbado	FISEA: First International Symposium on Electronic Art	Paper				I started to be interested in ‘musique concrete’ and electronic music in 1974. In 1975, I began to study electronic music at the Conservatory of Milan. My music compositions since then have been conceived together with images. At first, in order to have a visual counterpart, I used simple tools such as slides and lights, but soon realized that a dynamic medium would be necessary to match the time-based structure of music. Therefore, I decided to paint a Super8-mm film by hand: I exposed a blank film to light without a camera and painted the transparent result with different inks. The final film was a very fast sequence of spots changing colors and shapes. The film was then coupled with a soundtrack containing a similar sequence of events. Even though there was not a one-to-one correlation between the audio and visual events, the effect was striking and successful.
Percussion and Live Electronics: Composition and Performance	Roland Auzet	ISEA2000: 10th International Symposium on Electronic Art	Paper				Roland Auzet’s approach to percussion reflects the movement of contemporary music, while nonetheless drawing its inspiration from the African and Middle-Eastern traditions of storyteller-percussionnists. For several decades, the expansion of the performance techniques has renewed gesture; the voice, often internal, participates in this musical practice. In the traditional performance of storyteller-percussionists, musical discourse, serving the dramaturgy of the tale, is simultaneously borne by voice, percussion and gestures intrinsically tied to them. Coupling percussion with a computer device leads the composer/ performer to redefine his relationship with the instrument. Roland Auzet chose to draw on this internal voice accompanying performance: he materializes the gesture and reveals it musically through live electronics.
Performance Art and Technology	Kathy Marmor	ISEA98: Ninth International Symposium on Electronic Art	Paper				For the past three years I have written about and created art work that focuses on the integration of performance art and technology. My primary interest has been the role that gender plays in the constitution of the subject and subjectivity. I am interested in how these issues of gender and identity are addressed by combining performance and technology. Performance art is defined by its disruption of subject and object relations. It emphasizes a present embodied subject, that is antithetical to technology’s representation of the body. Technology represents the body as once was, and reinforces the Cartesian paradigm that suggests the superiority of the mind over the body. For some women artists especially in the 70’s and 80’s performance art was used as a strategy to redefine themselves as subjects. It was a vehicle through which women could speak about their personal experiences and focus on issues concerning the female body. This process called into question the terms of their objectification. As notions about the constitution of- the subject and the role that gender plays in the construction of identity changed, some women artists turned from performance and started working primarily with technology. For these women this type of media allowed them to explore their subjectivity from a different perspective and offered a way to circumvent gender. However, I maintain that embodiment is a form of epistemology and the significance of gender should not be down played. I suggest that our interaction with technology is of critical importance. Interactivity specifically addresses embodiment. Emphasizing our embodiment and understanding the political networks that play across our bodies suggest that accessibility is fundamental to revolutionizing our perceptions about technology.
Performativity and Computer Art: Towards a DIY Society	Paz Sastre Domínguez	ISEA2016: 22nd International Symposium on Electronic Art	Artist Talk			Run Run Shaw Creative Media Centre	The presentation analyzes the figure of the prosumer from the visual studies perspective, mixing the speech act theory and the new media theory. The aim is to assess whether the distinction between producers and consumers, strategies and tactics of Michel de Certeau is still useful on the global information culture of the 21st century’s graphic interfaces of Scott Lash. With this purpose it distinguishes between two types of speech acts: software top-down performativity and bottom-up performativity of language games and forms of life. These types are applied to the discourse analysis of slogans taken from “open” and collaborative economy websites. The former are engaged in the production of intangible goods and the second in the production of tangible goods. The analysis show how the two types of performativity transform textual analysis of literary and film studies on a methodology capable of investigating material actions, human and not human. The conclusion describes the emergence of new conventions for non-fiction narratives of power and control pointing to a “DIY society”.
Performer vs Electronics: Performing Music For Instrument and Electronics	Panayiotis Kokoras	ISEA2011: 17th International Symposium on Electronic Art	Paper			Sabanci Center	More and more today performers are asked to perform compositions for instrument plus electronics. Are they ready to do so? A great deal of knowledge is required by a performer which at first looks like alien to what a performer is supposed to know. What a performer should know to accomplish such a project? How far a performer can go and how much a composer can ask for? How much a concert hall can offer? The focus of this research is on works for one instrument and electronics. They are not considered cases where the performer collaborates with the composer and researches in an institutional environment, or cases where ensembles or orchestras hire or have a person responsible for the electronic part. At the beginning of this research a large number of professional new music performers completed a questioner about their knowledge on computers, music technology, sound engineering , about the relative equipments they own like computer, keyboard, speakers, microphone and finally about their interest and will to program such a kind of works. Then, the paper investigates the challenges face a performer when he/she has to collaborate with a composer during the composition process, practice at home alone, and perform at concert hall. The analysis of the survey concludes to a mixture of high marks and the same time incapability to play a work with electronics. The second part of the paper takes as a case study my work ‘Hit the Beat’ for snaredrum and electronics (live and fixed). It explains shortly the way the piece uses the electronics and in more detail the way the score and the performance instructions provide enough information to a performer in order to practice and play the piece alone. As a result this analysis could work as guide for composer to illustrate and explain fully and simply the electronic part and the way the two can collaborate effectively. Finally, a number of ideas will be proposed to be considered in the music school curriculums in order to prepare future musicians to play properly and with no frustration works with instruments and electronics.
Performing Identity through Wearable Sensing	Camille Carol Baker and Kate Sicchio	ISEA2016: 22nd International Symposium on Electronic Art	Paper and Short Paper				The current technology fervour over wearable technology that collects user’s intimate body data, under the pretense of medical or fitness monitoring, highlights that it is time that critical questions were raised. The ethics of corporate ownership of body data for consumerist agendas is rarely discussed beyond the fine print on these devices [5]. More awareness and education on these issues, would potentially allow more access, ownership, and creativity in the use of one’s own body data, and ways to express personal identity through this data. This paper highlights these issues, through discussion of a new collaborative project by the authors, which brings performers together to help address the ethical issues around identity and data ownership when using wearable technology in performance. The project develops methods to use and hack commercial wearable devices, as well as making handmade etextiles sensing devices for performance. As such, we aim to engage performers to access their own physiological data for personal use, but also to create unique and interactive performances.		body data, personal identity, wearable device, etextile, performance, and privacy
Performing The Body And Space With Somatic Sound	Stahl Stenslie	ISEA2015: 21st International Symposium on Electronic Art	Poster	2015 Overview: Posters			Keywords: Somatic Sound, Somaesthetics, sound cloud, holophonic, interactive sound, electronic skin, haptics, touch interface. The paper explores embodied experiences through moving, interactive and somatic sound. Somatic sounds presents a new approach as to how the body of the user can become a dynamic material to shape embodied, corporal sensations. The project represents both an incremental improvement to full-sphere, immersive spatial audio sound experiences and a new take on embodied sound letting users touch sound and feel space.
Peripatetic Visualizations	Christina Nguyen Hung	ISEA2011: 17th International Symposium on Electronic Art	Paper			Sabanci Center	In Mapping the Empire v.1, four HD video cameras are strapped to my wrists and ankles as I traverse a rock formation. A “map” of the terrain emerges from the process that suggests a mode of perception that is distributed, and polyvalent. This work is inspired in part by Umberto Eco’s essay, On the Impossibility of Drawing a Map of the Empire on a Scale of 1 to 1 and the “map” I create nonsensical — more accurate as a record of motion defined by the logic of living flesh, rather than a systematic grid-like construction of space and time. The project also includes an installation of multiple video projections, creating a semi-immersive environment that requires viewers to use peripheral vision and maintain an awareness of projections that are beyond their field of vision in order to fully experience the piece. At different times, moments of visual and aural correspondence between projections allow the viewer to see/understand that the video streams must be understood through their relation to a body and its movements (my body), rather than through traditional visual composition. This project must be understood within the context of my work with scientific imaging processes, and microscopy in particular. For example, in my work with chick embryo neurons, hundreds of photographs are shot through a microscope and stitched together to represent the in-vitro environments that house live specimens. In another work, A Bad Hand (Acer palmatum, fall 2010), the leaf of a maple tree is cut into .5cm squares. Each square is photographed at 4x magnification through a microscope. The process of photographing the samples is time consuming, the samples decay over time. All the images are then compiled and the maple segments “reassembled” in the computer. The final work is a large format image of the cut leaf segments spaced evenly into a grid. Taken as a whole, my work functions as a critical intervention into contemporary mapping and scientific imaging practices and viewing interfaces like the Visible Human projects of the 1980s-90s, Google Earth and Gigapan.
Peripato Telematikos	Greg Giannis	ISEA2011: 17th International Symposium on Electronic Art	Paper			Sabanci Center	This paper describes my current project “Peripato Telematikos”, an experiment in social cartography and public authoring, drawing influences from performance studies and art. The project relies on public participation to ‘map’ a locale or neighbourhood. The mapping process requires participants to undertake guided walks and use a mobile phone to send images of interest during the walk. As the images appear on the web site in close to real time, there is a performative aspect to the work. The images are sent to a custom hardware and software system, composing a gsm/gprs modem, sms/mms gateway software, php scripts and a mysql database. All entries are stored in the database and await approval. Once approved the images are immediately available for viewing and manipulation through an applet at the website peripato.net. The applet implements an experimental interface developed by the Human-Computer Interaction Lab (HCIL) at the University of Maryland that allows ‘zooming’ of all content. This allows the content to be manipulated by visitors to the site, allowing for an emergent montage of media elements.
Permanent Headwind	Shaleph O’Neill	ISEA2016: 22nd International Symposium on Electronic Art	Artist Talk		O’Neill: Permanent Headwind	Run Run Shaw Creative Media Centre	Abstract Permanent Headwind is a collection of data-driven aesthetic experiments that explore the concept of ‘cycling as art practice’ through the lens of data visualization. The advent of mobile devices that can capture motion tracking data has allowed the artist to develop a new approach to making art. The resulting body of work is therefore the outcome of a process of ‘research through practice’, where the subject is the experience of being in a landscape and the artists tools are his bicycle, his iPhone and his limited ability to programme . Cycling, Data, Art Permanent Headwind is a collection of data-driven aesthetic experiments that explore the concept of ‘cycling as art practice’ through the lens of data visualization, and is inspired by the works of Richard Long and Hamish Fulton. The works presented here are similar to Long and Fulton in regards to their relationship with the experience of being in, and moving through, a landscape. However, as the focus is on ‘cycling’ through a landscape rather than ‘walking’, that experience is significantly different. Range, speed and physical effort, are all amplified by the bike, and become important considerations for making work. In the 1970s, Fulton famously stated “An object cannot compete with an experience”. [1] One of the key questions O’Neill confronts is whether or not this is still the case. The advent of mobile devices that can capture data about being in a landscape can, arguably, say more about that experience than perhaps one of Long’s or Fulton’s Photographs. While the concern with documenting the experience remains the same, dealing with data rather than photography moves us, semiotically speaking, from an iconic visual representation of what it looks like, to a symbolic representation of what it feels like. Data such as the location, altitude, speed and heart rate of the artist are all utilized in the works presented here, sometimes along with other motion tracking information. This then poses another set of questions: How does one make art with such data? How does one visually represent what it feels like to have moved through a landscape? What kind of visual language lends itself to the symbolic representation of such data? How can the computational manipulation of this data be made aesthetically understandable? These are all research questions that are at the heart of O’Neill’s developing art practice. Each work presented represents an incremental, experimental approach to art making that is heuristically evolving through trial and error. As well as drawing on key concepts from Land Art, O’Neill reaches for ideas from domains as diverse as Way finding, Experience Mapping, Art Concrete, Data Visualization, Software Programming, Semiotics and the Philosophy of Embodiment. The resulting body of work is therefore the outcome of a process of ‘research through practice’, where the subject is the experience of being in a landscape and the artists tools are his bicycle, his iPhone and his limited ability to programme. [2]
Permanent Revolution: Flame Wars	Derek Richards	ISEA96: Seventh International Symposium on Electronic Art	Poster	1996 Overview: Posters			Poster Statement Conceptual design, music, programming and video by Derek Richards Still image generation by Mark Perry Programming assistance, Estella Rushaija Permanent Revolution part 2 is an exploration of the role that convergence of migrating peoples and the resulting fusions play in the development of new cultural forms. It poses an alternative to the groping for representations of cultural purity and homogeneity within the reactionary construct of a race as a response to oppression. It proposes that all cultures are born out of the fusions of those of migrating peoples- whether such migrations are voluntary or enforced. With Permanent Revolution I have attempted to create a piece of work which straddles both the areas of entertaining work at the cutting edge of interactive technology and content rich, issue based material.
Perspective and the Appearance of natural Scenes	Edwin Blake	FISEA: First International Symposium on Electronic Art	Paper
Perte De Signal	Robin Dupuis and Patrick Henri Harrop	ISEA2015: 21st International Symposium on Electronic Art	Institutional Presentation	2015 Overview: Institutional Presentations
Performing Democracy: Fine Art as a Prototype for Participation	Karin Hansson, Thomas Liljenberg, and Johanna Gustafsson Fürst	ISEA2011: 17th International Symposium on Electronic Art	Panel			Sabanci Center	Panel: Mind the Gap This thematic art project in a suburb of Stockholm is a means to generate problem areas in focus for a research project on multimodal communication and democratic decision-making at Stockholm University. Artists’ actions, installations and mediations create a direct confrontation with the place and its inhabitants, and explore the dynamic global & local relationships that constitute its context. The art project is a collaborative process where notions of democracy are examined in order to investigate, expose, enhance and / or remodel relations of the site.
Performative Spaces and the Body as Interface	Sonia Cillari	ISEA2011: 17th International Symposium on Electronic Art	Panel			Sabanci Center	Panel: VIDA: New Discourses, Tropes and Modes in Art and Artificial Life Research My work aims to emphasize both the physical and the metaphorical ways in which human beings relate with each other and with their environment, mainly indicating the fundamental relationships between our internal and external worlds. These are all of our experiences that determine how things exist to us and how we make experience of the immense not void that surrounds us, in which we are immersed as body and as agents of emotions. Over the years, my work has fused all these fundamentals into the creation of sensorial and perceptual mechanisms, immersive spatial works that are at the intersection of architecture and performance art; they are what I refer to as performance-space expression – the creation of physical spaces, perceptible to the senses, each segment of which contains potential realities, some revealing natural phenomena, some not. My artistic investigation examines how patterns of consciousness, perception and identity emerge in such settings. I use participation as a continuous mutation of the initial spatial conditions, to reinforce the external-to-you as continuously variable. Over the last years I have been specifically interested in a field of research related to the Body as Interface, therefore investigating bioelectricity and biomagnetism. My concern was to show that the boundaries of the self extend beyond our skin. Specifically, I was interested in what skin consciousness is, and how presence, proximity and touch can redirect the way we understand ourselves and others, exploring experiences of bodily expansion. A mutual element in these works is an experimental practice revealing a sense of instability and impermanence. From our individual subjective position we gain access to undiscovered shared phenomena.
Phallaina	Pierre Cattan	ISEA2017: 23rd International Symposium on Electronic Art	Artist Talk	2017 Overview: Artist Talks		University of Caldas	At the crossroads between graphic novel and animation films, Phallaina is the very first scrolling graphic novel for tablets and smartphones. Made with effects of scales and transitions, this app in horizontal scrolling is enriched by parallax effects and a heady sound creation. In a world similar to ours, Audrey enrolls in clinical trials. She tries to understand the origins to her hallucinatory crises, during which her field of vision is invaded by a shoal of cetaceans. Intimate adventure along the path of a personal transformation, combining cognitive sciences and mythology, this free French-English app is available on iOS and Android for an hour and a half of reading.
Phantom Limbs: Affect and Virtuality	Patrick Lichty	ISEA2011: 17th International Symposium on Electronic Art	Panel			Sabanci Center	Panel: Virtual Doppelgangers: Embodiment, Morphogenesis, and Transversal Action This essay addresses the issues of performance, affect, and virtuality in terms of interventions in online environments, and the phenomena of affect in virtual performance. Brian Massumi, in the foreword to Deleuze & Guattari’s A Thousand Plateaus, wrote of the affective as different from feeling or emotion in that affect is prepersonal, or before the personal aspects of feeling and emotion. This leads one to believe that affect is as much hardware as wetware as far as the brain is concerned. Neuroscientitst V.J. Ramachandran popularized the discovery of “mirror neurons,” or a network of neurons dedicated to empathetically projecting the actions of others into the individual. The functioning of this set of neurons explains any number of behaviors such as distress for another’s trauma or projection when playing with dolls. This is why the mirror neurons are also nicknamed the “Gandhi neurons.” But what of virtual performance? During the rise of performance art, the object had observed the Greenbergian implosion to pure form, and with Fluxus and conceptualism, the object itself as necessary part of art praxis had been obliterated. The body had become the repository for direct expression in art with the coming of performance art. However, with the recontextualization of seminal works by Marina Abramovic, with her Seven Easy Pieces, the meanings of the works as immediate, site-specific happenings became circumspect. This was further compounded by artists Evan and Franco Mattes, self-proclaimed “haters” of performance art, who remediated other seminal works, including those of Abramovic in the online virtual world Second Life. The process of draining the site of performance through decontextualization, then disembodiment, should have destroyed the event of meaning, but the performances of Mattes, Second Front, Kildall, et al retained some element of impact. This presentation will explore the epistemic arc of performance art from Fluxus to Gazira Babeli, and discuss the importance of affect as intrinsic criteria of performance and where is has been retained in the virtual.
Phase3, College of Fine Arts and Design, University of Sharjah	Colin Reaney and Isak Berbic	ISEA2008: 14th International Symposium on Electronic Art	Institutional Presentation	2008 Overview: Institutional Presentations		The Salon
Phi Territories: Neighbourhoods of Collaboration and Participation	Alexandra Antonopoulou and Eleanor Dare	ISEA2011: 17th International Symposium on Electronic Art	Paper			Sabanci Center	The Phi Books Project is a collaborative endeavour between Alexandra Antonopoulou, a designer and children’s book writer-illustrator and Eleanor Dare, a computer artist. We would like to present the development of the Phi Books Project, showing its different stages, from the initial formulation of algorithmic fictions to technologically mediated and embodied systems for collaboration. The paper will outline how the Phi Books have used the house as a metaphor for interdisciplinary collaboration and how the two researcher-artists use narrative, making and performance to explore how borders, walls and doors facilitate collaboration. This has lead to the production of books and interactive material produced by the authors and the participants, which are both fictional and imaginative while also being methodologically reflective. These mediums have been presented and produced in conferences and symposia in the form of performances and interactive installations in which the Phi Books deploy recursion and collective re-mediation. We have also developed performative and collborative software, enabling us to explore and critique notions of consent and participation. Now we are merging the physical with the virtual by asking participants to perform their own stories via a motion capture system. With this system we map participant’s movements as mathematical vectors from which we can extrapolate new layers of embodied narrative and subjective articulation. Our common practice, therefore is grounded in a reconsideration of the ways in which interactivity and collaboration can be deployed and defined. These issues will be outlined and clarified in an interactive and participatory presentation.
Photonic Webs in Space Time: The Aesthetics of Holography	Eduardo Kac	ISEA95: Sixth International Symposium on Electronic Art	Paper	1995 Overview: Paper Presentations			This paper formulates a critical vocabulary with which to understand holographic art. The aesthetics of holography, from the point of view of theories of perception and representation, are discussed. The paper challenges the assumption that holographic art is synonymous with kitsch and novelty items said in specialized stores. It also challenges the notion that holography is exclusively an art of space, revealing it as a time-based medium.
Photography, Reality, and Digital Expression	Orhan Cem Çetin	ISEA2011: 17th International Symposium on Electronic Art	Panel			Sabanci Center	Panel: The Big Bang of Electronic Art: Merging Abstraction and Representation in the Age of Digital Imaging Photography, contrary to general belief, is in my opinion a superficial representation of the actual human experience of a particular moment, becoming even more superficial when considering a longer time span. In comparison to perceived reality, we experience photographic images as shocking and surreal. The power of photography as a medium, in fact, is derived from this distorted connection between reality and representation. Taking this disconnect between reality and photographic representation a few steps further into abstraction and/or manipulation of the image is a natural extension of the medium, considering that even in its purest forms, photography remains a dramatic abstraction of reality. I have been using digital media for creative photographic applications since 1993. Always interested in discovering new ways of exploring the expressionist possibilities of photography, by the 1990s I was already using alternative imaging, including printing and displaying techniques such as Polaroid image transferring, emulsion lifting, fax-prints, hand coloring paper negatives and shooting with homemade diffuse lenses. The new digital medium provided possibilities of full creativity and ways of integrating into the image further aspects of my personal human experience of the moment, but at the same time, the image was still a photograph with its strong ties with the real, physical world and a moment or moments which definitely happened in the past. Beginning with early black and white scanning, I have developed a mode of working that expanded my creativity. In much the same way that painters are free to explore the expressionist qualities of imagery, I found that through digital manipulations the same freedom from the constraints of viewer expectations of depicting reality.
Phylotic BodyScapes / Entheogenic Gardens: poly-scalar heterotopic	Gheorghe Dan and Alisa Andrasek	ISEA2006: 13th International Symposium on Electronic Art	Paper				Phylotic is a computational system employing dynamically relational assemblages for analysis, synthesis and cataloguing of cultural and biological phenotypes into a library of seeds or DNA, which may be hybridized and grown upon infinite topographies. In Phylotic, the human body becomes the most intimate heterotopic space, the breathing landscape onto which the computational system grows elaborate and sensuous bodyscapes/gardens.
Physical Cinema: Memory, Schema and Interactive Video	Michael Leggett	ISEA2011: 17th International Symposium on Electronic Art	Paper			Sabanci Center	Session: Cinema after the Digital The research project completed recently addressed the paucity of design evident in popular video databases such as YouTube and GoogleMovies, where the viewer has a television-like experience made up of selected individual movie productions. These are assembled by guessing words used in metadata registration of uploaded material and interaction with the movie database, thereby following in the sequential tradition of analogue video and film. Digital video however, enables access to individual frames of a motion picture recording, where in an interactive system, the participant is able to define both duration, and relational ordering of individual ‘scenes’ and shots. The process of interaction can be compared to hypertext linking in Web-based systems, the documents instead being video files. Hypervideo is an appropriate term, though the Mnemovie experimental system is not currently accessed using a web browser or indeed, the internet. The research project was focussed on: the syntactical ramifications of relational ordering; the role of mnemonics in this process; and the practical aspects of the interface, the performance place in which participants interact with the full-screen motion picture image. Film Lane (1974): A 3-minute extract from a 12-min 16mm film made as part of a series, Sheepman & the Sheared (1970-1976). The film series was made within the workshops and the theoretical context of the London Filmmakers Co-operative and structural / material film. In the series, the coincidence of flora, fauna, other objects, processes and activities, with the film frame are in no way paramount to an inspection of the total film process by which an observation of this kind is made possible- specific conditions to do with both Nature and human activity with Nature are recorded with the camera, but is essentially subject to the observation and reaction of the filmmaker.
Physical Grainclouds: Granular Sound Art in the Physical World	Jim Murphy	ISEA2020: 26th International Symposium on Electronic Art	Paper				Compositions and sonic artworks focusing on microsounds and granular systems have, since the emergence of these concepts, remained largely realized within digital environments. This paper focuses on a number of works that may be examined in the context of such granular/microsound systems. General definitions of microsounds, sonic grains, and grainclouds are provided, after which three characteristics common to physical grain clouds are discussed. From these three characteristics, artistic elements that appear in many physical grain cloud artworks are presented, including a focus on materiality, spatio-temporality, and audiovisual emergent behavior. The paper concludes with close examinations of three selected works: Céleste Boursier-Mougenot’s clinamen, Pe Lang’s moving objects \| nº 692 – 803, and Tectonic, a new work created by the author as a case study inspired by the physical grain cloud artworks discussed throughout this paper.
Physical Manifestations of Online Spaces	Jeanne Jo	ISEA2008: 14th International Symposium on Electronic Art	Artist Talk	2008 Overview: Artist Talks		Singapore Management University, Seminar Room	My artwork explores the theoretical and historical intersections between craft practices and technology. Starting with the foundation of modern computing within the art of weaving, I make historical connections between the feminine and digital media. I hypothesize that there has been a resurgence of craft practices over the past decade that is in direct correlation with the public dissemination of the Internet that began in the 1990s. This argument is developed with examples in both popular culture and DIY (do-it-yourself) communities and through contemporary art practices that respond to digital media through craft. By using quotidian objects and performative actions as primary starting points, connections are articulated through my own work, which incorporates sculpture, performance and video. Much of my work involves yarn or needlecraft, which are coded structures that I reference to computer programming languages. Crocheting is an incremental system, a way of marking time. Janet Koplos, writing about Oliver Herring, who works in both knitting and stop motion video, says, “A knitted line is, in effect, endless, since a new filament can be imperceptibly spliced in; at the same time, it can be subdivided into innumerable repetitive actions. These individual stitches in time can be compared with the photographic frames that are the integers of films; both stitches and frames remain distinguishable, even as they build into a larger whole.” As stitches build into larger wholes, so does computer code. Code is written linearly, each line building upon the next. Code can repeat, endlessly loop, or be created in sections and then combined. Like software, crocheting has an underlying subtext. It is built upon a coded language; loops follow loops, building upon themselves like words follow words. In my metaphorical translation of computer programming into crocheting, the terminology of crocheting patterns is the code behind the software of computers. My artwork makes these ideas visible. It creates physical objects and actions out of the inherently ephemeral.
Physical Space and Virtual Space in Electronic Culture	Lev Manovich	ISEA95: Sixth International Symposium on Electronic Art	Panel			Hôtel Le Méridien	Electronic culture is obsessed with spatialization of all representations and experiences: consider, for instance, VR, VRML, computer visualization, or the very concept of cyberspace. What is the visual and experiential specificity of space as represented through computer graphics in contrast to the representations of space in traditional visual arts? What are the consequences in adapting particular models of physical spaces to represent a virtual space? What are the different possible relationships between a physical space of a user’s body and a virtual space inside a computer? In answering these questions, I will discuss a number of recent artists’ installations as well as military and commercial research in virtual reality and telepresence.
Physical Web Interfaces	Jonah Brucker-Cohen	ISEA2002: 11th International Symposium on Electronic Art	Poster				Physical Web Interfaces is a concept that attempts to change our relationship to conventional Internet interfaces by providing a framework for bringing virtual processes into the real world. By attaching new physical inputs to things we perceive as truly virtual, we add a socio-critical dimension to the interaction of people and machine. This infiltration helps to augment our understanding of data pathways, explore virtual handicaps, regain control of how we access information, manifest metaphors as real entities, and integrate the Internet into already familiar interfaces. Combining form with function, these projects illustrate how simple interaction can lead to complex outcomes. Full text (PDF) p. 187
Physicality and Spatialization in Sound Art	Bridget Johnson	ISEA2020: 26th International Symposium on Electronic Art	Paper				This paper identifies a trend within the field of spatial sound art in which artists are attempting to draw the audience’s attention to the physicality of moving sound. It discusses the history of virtualization and simulation of moving sound that has led to this phenomenon. As evidence of this emerging trend, four case studies of recent sound art pieces are discussed. The artistic works are from both performance and installation contexts with examples of both the author’s creative work and the works of others. All take new approaches to spatialization through the physical movement of sound sources.
Piad: UFS Festival	Ricardo Peach	ISEA2018: 24th International Symposium on Electronic Art	Institutional Presentation	2018 Overview: Institutional Presentations			Piad: UFS Festival
Picturing ideas as art: the visualisation of philosophical and political ideas using computer-generated imagery	John Russell	ISEA2009: 15th International Symposium on Electronic Art	Paper			Waterfront Hall	Abstract My presentation evaluates the critical and aesthetic implications of the ‘picturing’ or ‘visualisation’ of philosophical and political ideas, using computer-generated imagery. In particular, examining how might the contemporary virtuality and dematerialisation of the image, and the mutability of digital form relate to the ‘virtual’ nature of philosophical ideas? This will develop from an assessment of an ongoing AHRC funded project (with the same title as this paper) which has involved the production of a series of digital images visualising Deleuzean remodellings of pre-existing philosophical and political ideas, culminating in the presentation of a large-scale backlit print at the EAST International exhibition at Norwich Gallery (July 2009) and an artist’s project published in Frieze Magazine (September 2009). The project has also involved dialogue with specialists in the fields from which the ideas are drawn, as well as artists and theorists concerned with ideas of mental imagery and visualisation. To describe the context of this research two points should be emphasized here: Firstly, the suggestion that ideas might be ‘visualised’ is obviously contentious. Within the fields of philosophy, cognitive science and psychology there is an extended debate regarding the ‘imagist’ potential of ideas and the role imagery plays in thought processes, in particular, whether it provides the semantic grounding for language or whether the idea of mental imagery, ‘seeing with the mind’s eye’, is merely a ‘theoretical-folk’, habit-formed-assumption. My research draws upon these debates and contemporary theorising of expanded conceptions of visualisation and imaging, for instance Lyotard’s theorising of the ‘figural’, and Deleuze’s concept of the ‘diagram’. Secondly, the idea of ‘virtual’/’virtuality’ (see the second sentence above) is not used in the sense of ‘virtual reality.’ That is, as a less-than-real but rather in relation to the distinction Gilles Deleuze draws between the ontological categories of existent/possible and actual/virtual. Whereas the possible is opposed to the real – and requires ‘realisation’ to become real, the virtual possesses a full reality by itself. There is only the real, and every (conceivable and inconceivable) element or relation subsists within it. The notion of possibilities, of possible worlds or events, is refigured as unactualised worlds or events, which are distinguishable only insofar as they have real effects in this world (whether in the territories of dreams, fiction and speculation, or in those of mathematics or quantum physics). This, in turn, has art historical resonance. The idea of virtuality might be connected to the ideas of ‘dematerialisation’ proposed problematically in the 1960/70s where, playing on the supposed immateriality of ideas, the claim was made that the art object could be replaced by ideas (as art). This move involved different performances and configurations of art-as-idea. To give two examples, Joseph Kosuth’s artwork One and Three Chairs (1965) involves the presentation of a photograph of a chair to scale; a wooden folding chair; and a photographic enlargement of dictionary definition ‘chair’, comprising three different representations of the object. The idea being that ‘chair’ is an ideal meaning that is equally well signified in linguistic or visual signification. Here ‘idea’ is positioned as ideal (and ‘meaning’ linguistic). Lawrence Weiner’s work however presents a different performance. In his ‘Statement’ works his use of language is precise; the use of the past participle is significant, allowing simultaneously, for the conclusiveness of the descriptions as well as the prospect of their future realisation. For example: MANY COLOURED OBJECTS PLACED SIDE BY SIDE TO FORM A ROW OF MANY COLOURED OBJECTS (1969). Although not seeming to convey an ideal conception of ‘many coloured objects placed side by side to form a row of many coloured objects’ (in the manner of Kosuth above) Weiner’s language also seems to suspend the localisation or actualisation of the obje cts indicated, avoiding specification of a particular (predicted or author-designated) historical instance of many coloured objects placed side by side to form a row of many coloured objects. It is in the sense of Deleuze’s conception of virtual/actual that Weiner’s language seems to have sculptural existence. His statements exist as virtual as opposed to possible sculptures (as an event of sense). If, as Weiner suggests: the sculptures could be actualised (depending on the viewer’s intentions) ) but they are no less real or material or sculptural in their linguistic or conceptual form (and as, for instance, paint on the wall). The question here is where is the sculpture located? What form does it take? And in the context of this paper what (or how) does it look like? This paper revisits these ideas in the context of digital imagery. As D.N. Rodowick (after Deleuze) proposes (Reading the Figural, 2001), within the contemporary context of globalised electronic and digital communication, where ‘the analogue has been replaced by the digital,’ there is the possibility of a dynamic figurality that cuts across the visible and the expressible and disturbs the ‘collateral relation’ that divides figures and text, visibility and expressibility into two separate realms. Deleuze describes it as an ‘audio-visual archive’ – a dynamic field in perpetual movement that calls upon the resources of both text and image, but is reducible to neither. This paper asks whether these conditions suggest new forms of production and reception as art (and non art) which contest the binary oppositions of ‘content’ versus ‘form’ and ‘linguistic’ versus ‘visual’ which continue to dominate (and set limits upon) the discourses of contemporary art. ) 1 This relationship between production and reception is precisely given in his famous ‘Statement of Intent’ (1969) which was intended to act as a guideline for the operation of his work: ‘ THE ARTIST MAY CONSTRUCT THE PIECE. THE PIECE MAY BE FABRICATED. THE PIECE NEED NOT BE BUILT. EACH BEING EQUAL AND CONSISTENT WITH THE INTENT OF THE ARTIST, THE DECISION AS TO CONDITION RESTS WITH THE RECEIVER UPON THE OCCASION OF RECEIVERSHIP.’
Pieces And Parts	Paola Lopreiato	ISEA2016: 22nd International Symposium on Electronic Art	Artist Talk			The Hong Kong Polytechnic University
Pile blocks and bar code	Maggie Orth	ISEA2009: 15th International Symposium on Electronic Art	Paper			Waterfront Hall
Ping	Antya Umstätter	ISEA95: Sixth International Symposium on Electronic Art	Panel			Hôtel Le Méridien	Developed in collaboration with Steffen Meschkat, Ping is a virtual landscape created interactively by the users of the Internet. A virtual camera device called the eye agent automatically renders a flight through that landscape, and this flight is broadcast on TV. Like a self-generating movie, the Ping-Project is the visualization of the Internet and the generation of a real-time movie created on a world-wide basis by Internet users. Originally, Ping was intended as a visual ride through the Internet during the programmed free time of various TV stations. Internet as a world-wide medium created an interdisciplinary structure by merging science, entertainment, arts, politics and other disciplines. The goal of Ping is to make this structure visible and to create a crossculture communication basis. Film was the esperanto for the world. The esperanto of the network may be datascapes.
Piracy and the Pacific Working Group	Steve Cisler	ISEA2006: 13th International Symposium on Electronic Art	Meeting				The abstract notion of intellectual property emerged in Europe during the late medieval period and early Renaissance as artisan guilds protected their members? power by restricting access to the knowledge about technical processes and operations of machines rather than the products. Those who made unauthorized copies of books were known as “land-pirates.” Now, anything of value can be copied, and this has resulted in a vast unauthorized trade in ideas, knowledge, creative works, and manufactured objects. This working group will explore the many facets of the pirate culture and the increasingly rigid laws regarding intellectual property which has become a pillar of American foreign policy. While most think of the conflict over Chinese products, a significant development is the enforcement of these laws against individuals who are using the Internet to share protected works on P2P networks. As in the past, corporations are battling over these issues, with the so-called ‘legacy disseminators’ being threatened by new organizations and new technologies. We are looking at more than knock-off watches, handbags, software and DVDs in the market place but also counterfeit drugs, airline parts, the difficulty media producers have in securing permissions for reuse of other material and new IP regimes that contribute to an increased pool of knowledge and content rather than more restrictions.
PirateMaps: disruptive WiFi map server on Raspberry Pi	Josh Harle	ISEA2015: 21st International Symposium on Electronic Art	Artist Talk	2015 Overview: Artist Talks	Harle: PirateMaps: disruptive WiFi map server on Raspberry Pi		In this talk Dr Josh Harle will introduce his PirateMaps project: an easily deployable, disruptive WiFi map server running on the Raspberry Pi platform. PirateMaps are a tool for creative/ vernacular/ radical cartography. They present radical alternatives to the ubiquitous Google map; different modes and priorities of representation outside of the usual productive logic, e.g. by displaying a child’s hand-drawn map of the area showing their favourite spaces. These maps are offline and localised; they challenge the relevance of global, monolithic models of the world, and instead inhabit their own localities with their own spatial narratives. A PirateMap appear as open WiFi networks in your vicinity, and on connecting directs the user straight to the interactive map. The map has the same functionality as Google Maps (GPS-based geolocating, touch-gestures for moving and zooming), but display whatever map tiles the creative cartographer has decided to share. The maps servers take about half-an-hour to set up from a Raspbian base install. Harle provides step-by- tep instructions on the set-up of PirateMaps, as well as tools for creating your own map tiles. Beyond their use as open alternative maps, PirateMaps offer the possibility of a network of localised community maps across the world, with a standardised name and password. For example, squatMap’s WiFi password might be shared to offer a protected map of local squats that doesn’t require an internet connection. The talk will include an open discussion of possibilities for creative and socially disruptive uses.
Pirates of the Pacific Rim	Steve Cisler	ISEA2006: 13th International Symposium on Electronic Art	Paper				The term piracy once referred simply to crimes at sea but now also refers to widespread crimes by which intellectual property is copied and sold or given away through electronic networks and in kiosks, shops and flea markets. Countries such as the U.S.A,, whose origins were based on technology piracy, are now the most protective. Companies that were once sued for infringement are now suing others. Piracy is cited as a source of income for criminal and extreme political groups. Cultural appropration of traditional herbs, songs and art is not easily combated. Fake drugs and airline parts create safety issues that are not encountered with pirated books or DVDs. Some scholars and legal experts have called for abandoning copyright or have proposed alternative schemes for intellectual property.
Pixel Perfect: Performativity and Self-Portraiture	Erin Ashenhurst and Thecla Schiphorst	ISEA2011: 17th International Symposium on Electronic Art	Paper			Sabanci Center	With the increasing number of mobile devices equipped with camera technology, many urbanites have the means to spontaneously document moments of the everyday. Digital images are used as evidence to construct identity and illustrate personal histories on blogs, photo-sharing and social networking sites. While these images are framed as representations of lived experience, they are fraught with fabricated cues. Vamping for the lens, or averting their gaze towards a fictional distraction to suggest ‘candid’ shots, subjects use performance to compose their preferred visual narratives. This paper looks at contemporary cultural and technological influences that come into play during the making of amateur self-portraits, and offers a case study of the web-based photography projects, At Arm’s Length and Viewing Pleasure. In the context of social media, the ‘profile picture’ calls for the production of a thumbnail-sized self. As building and tending to an online identity is often a solitary activity, the individual may act as both subject and photographer. Without the aid of a tripod, self-portraits are experiments of head and body angles framed by the confines of the subject’s own reach. Viewed through a web browser, At Arm’s Length begins with a set of self-portraits reflecting those commonly found in online profiles. Clicking on these initial images reveals the matching series of wide-shots exposing the contrasting environments existing beyond the boundaries of the subject’s framing. A sultry gaze is shown to be cropped out a backdrop of clutter and flannel pajamas. Bikini straps and sunglasses seem miscast on a cloudy autumn beach. A glamourous headshot is revealed as an instance of reflection in a dreary apartment lobby. Building on the theme, Viewing Pleasure contrasts stills from a woman’s seductive video chat session with wide-shots of her unlikely surroundings. In contemporary culture, narratives can be assembled from clusters of mobile uploads to build a documented, social self—independent of the lived experience of the subject, and made fluid through the filters of Adobe Photoshop. Looking at cultural archetypes and the visual cues chosen for online identity, this research works to provoke a discussion around subjectivity, performativity and the construction of visual narrative in digital photography.
Pixelated View: Investigating the Pixel in Light of Substantial Motion	Azadeh Emadi	ISEA2013: 19th International Symposium on Electronic Art	Paper			The University of Sydney	Keywords: Pixel, time, motion, moving image, Persian-Islamic philosophy, Mulla Sadra, substantial motion, Gilles Deleuze This paper considers creative approaches engaging the body of digital video in relation to the outside world, drawing on Persian Islamic philosopher Mulla Sadra’s (1571–1641) theory of “al-harakat aljawhariyya” (Substantial Motion). For Sadra, the world is constantly changing in its substance. Substance is not fixed, as other philosophies suggest; rather, it is an act of existence, a process. Resisting fixity, this process emphasizes time and motion. Sadra’s theory, alongside Deleuze’s approach toward the point of view of non-human subjects, suggests new possibilities for the moving image.
Pixels in the Material World: Making Marching Cubes	Jesse Colin Jackson and Luke Stern	ISEA2020: 26th International Symposium on Electronic Art	Paper				In 1987, researchers at General Electric pioneered a method for generating computer graphics from medical scan data that featured an underlying language of faceted cubes. Widely adopted, Marching Cubes: A High Resolution 3D Surface Construction Algorithm has become a seminal visual language for virtual environments. We wanted to make this computational procedure tangible, into something people could build with. We translated the algorithm into 3D printed construction units that permit users to act out its logic. We also created a user’s guide: input any object — a 3D scan or model — and a custom computer script outputs assembly instructions. Every one of these Marching Cubes interactive performances and installations are unique; the units can make anything. Assemblies are created in collaboration with the audience: together, we perform the computer’s process. Sometimes, we simply play: with humans doing the work, the procedure’s strict logic is optional. By enacting a ubiquitous algorithm in the real world, this project generates dialogue about how information technologies create the building blocks of contemporary culture.
PLACE (Book Launch)	Danny Butt	ISEA2008: 14th International Symposium on Electronic Art	Institutional Presentation	2008 Overview: Institutional Presentations		The Salon
Place in Mind: Towards A Dynamic Memory Palace	Adrianne Wortzel and Damon Loren Baker	ISEA2011: 17th International Symposium on Electronic Art	Paper			Sabanci Center	What is the form of memory? Is it a place? Can we go there? What can we bring back with us from this journey? We propose to devise a dynamic mnemonic structure that serves as a functioning model for visiting and re-visiting short and long term memory. The project is being developed in collaboration with the Artificial intelligence Laboratory, University of Zurich, Switzerland and StudioBlue, NYC College of Technology, Brooklyn NY. This memory habitat will be based on morphology in nature related to robotics research in the AILab, and a spatial mnemonic device, texts will be retrievable through virtual travel through the spaces in every direction, affording a journey through a sequence of texts that are responsive to their “neighbors.” The machine would be built both as virtual in the AILab’s pre-existing Wonderland 3D virtual environment plus the Spatial Hypertext Editor under development at StudioBlue and also as a physical scaled architectural model. .The content of this structure will be diverse original and preexisting text fragments with relationship to their contexts. Language has become abbreviated, and as digital matter, broken down into tweet or text pulses. Our minds, histories, and imaginations situated in memory can potentially put forward a plethora of stories evolving over time. Fragmented texts, or phrases, will be re-purposed as “avatars” dynamically moving in relationship to each other and to the environment devised for them. This paper will discuss interdisciplinary work on memory between psychologists, biologists, roboticists, neurologists, linguists and discuss archetypical models gleaned from those disciplines. This will include historical memory palaces, neural networks, linguistic structures, and biological systems.
Place of Place in Telematic Society	Andrew Starner	ISEA2014: 20th International Symposium on Electronic Art	Paper			Zayed University - Dubai	Technologically‑mediated theatre makes the resources of performance—the ability to model social relations and critique them, reflect mental constructs and mottle them—available again, in a new way. Media theatre not only incorporates frames as frames within the frame (the proscenium arch); it exerts a pressure on the space of the stage, and begs the question of the place of place in ‘telematic society,’ a term I borrow from Czech philosopher Vilm Flusser. In his 1985 Into the Universe of Technical Images (first published in English in 2011), Flusser offers a conceptual archaeology of the space of Western thought from the Pleistocene to the near‑future that explores the effect of increasing levels of abstraction on how humans relate to their environment and to each other. Importantly, he uses various performance traditions to develop his arguments. I will be examining his use of these forms from a performance studies perspective while discussing the work of intermedial pioneer Robert Whitman, whose work interestingly complicates Flusser’s idea of telematics. Media culture evacuates place, merges all places in a continuous corporate mediaverse, the debased residue of four‑dimensional concrete existence (of pre‑historic, pre‑literate humans). But in this zero‑dimensional surface‑life (Flusser calls it ‘visionary, superficial thinking’) of our digital near‑future, performance might remain a key ‘terrain’ for negotiating and interrogating the new spaces of telematic society.
Place, Ground, and Practice Working Group	Jason De Santolo, Cheryl L’Hirondelle, Nova Paul, Lisa Reihana, Danny Butt, and Jenny Fraser	ISEA2006: 13th International Symposium on Electronic Art	Meeting				The Place, Ground and Practice Working Group undertakes cultural and artistic investigations at the limits of collaborative practice. Central to the Working Group is an interest in the critique of imperial power and innovative practices that foster progressive change in the new media environment. Recognition of Indigenous practices and cultural politics suggest alternative ways of thinking about location-specific new media work, and influence our understanding of the Pacific Rim as a geographical formation with a rich pre-European history of cultural exchange. Through curatorial, artistic, media and residency activities, the Working Group draws inspiration from this history to propose alternative visions of dominant new media themes (global culture, intellectual properties, disembodied knowledge), with a commitment to politics that is critical, progressive, and reflexive, while maintaining a vision of optimism and enjoyment. As well as sharing experiences and collaborating on work relating to thematic issues, in December 2005 most of the group converged in Auckland for a symposium entitled Cultural Futures: Place Ground and Practice in Asia Pacific New Media Arts. The symposium was held at Hoani Waititi, an inter-tribal urban marae in with a strong educational and artistic kaupapa, which firmly grounded the dialogue in a local context, responsive to the issues of indigenous self-determination and cultural development. Documentation of the event (including a broadsheet publication) is available from the symposium website.
Place-based, Somatic Augmented Reality as Critical Practice	Meredith Drum	ISEA2014: 20th International Symposium on Electronic Art	Paper			Zayed University - Dubai	As new augmented reality software has made production more accessible, there has been a surge of mobile AR projects produced by artists interested in place and situation. A subset use the virtual to make critical statements about social, cultural and political phenomena embedded in physical locations. As new forms of public art, the works engage aspects of a participant’s experience of place generally negated by mobile devices. Exploring the physical setting, the built and natural environment, as well as the events and functions centered there, is often a main goal. Participants are not only asked to attend to the spatial and the corporal, they are invited to consider and enter critical discourse on the history and future of unique spaces ‑ how they are used and might be used. The virtual forms point back to the material. Telesthesia, to perceive things at a distance without use of known bodily sense organs, is a favorite theme for scholar McKenzie Wark. In a post‑capitalist age we have entered the era of the vector. Our commodity economy has moved beyond manufacturing and centers on controlling information flow experienced telestheticly by the consumer (1). Re‑engaging the body, place‑based somatic AR may release users, however temporarily, from immaterial vectors that push consumer culture. Using the same devices that normally distract us from our environment, these projects help us establish dialogue with sites and lives, human and non‑human, that are often rendered invisible by vectors of work and leisure. Artists researched include Teri Rueb, John Craig Freeman, Sarah Drury, and Mark Skwarek.
PLANETART	Kees de Groot and Viola van Alphen	ISEA2008: 14th International Symposium on Electronic Art	Institutional Presentation	2008 Overview: Institutional Presentations		The Salon
PlantConnect and Microbial Sonorities: Exploring the Intersection of Plant, Microbial and Machine Agencies	Carlos Castellanos	ISEA2020: 26th International Symposium on Electronic Art	Paper				This paper discusses the intersection of human, non-human and machine agencies via the analysis and description of two artworks that feature novel interfaces between humans, plants, bacteria and computational intelligence. Two projects are discussed: Microbial Sonorities, a real-time generative artwork that explores the use of sound and machine learning to investigate the bioelectric and behavioral patterns of microorganisms and PlantConnect, which explores humanplant interaction via the human act of breathing, the bioelectrical and photosynthetic activity of plants and computational intelligence to bring the two together.
Plastic Brains in the Post-Digital World	Gordana Novakovic	ISEA2011: 17th International Symposium on Electronic Art	Paper			Sabanci Center	The concept of neuroaesthetics has recently attracted attention, and this paradigm has opened an entirely new area in which both artists and neuroscientists look at the neurobiological basis of creating and experiencing the plastic arts. Mostly working within the scientific concept of the visual brain, neuroaesthetics is strongly focused on vision and static objects. But the area of contemporary artistic practice that neuroaesthetics leaves unexplored is that of multi-sensory experiences within the growing body of process-based arts enabled by digital technologies, in particular interactive art. These art forms, engaging multiple senses, operate in an entirely different conceptual, aesthetic, and methodological framework from traditional plastic arts by substituting objects with processes, and introducing a fundamental shift by replacing a passive observer with an active participant in the act of collective creation in network-based artistic concepts, or in an active role in the final unfolding of an art work in an interactive installation. A possible new direction could be found within the science of brain plasticity, the study of the ways in which the brain can radically reconfigure itself under certain conditions. This has conclusively shown that the brain can no longer be regarded as a fixed, closed, passive receiver of information from the senses – a mere processor for the information that is controlling our body through a kind of one-way communication. We are now seeing the recognition of growing scientific evidence that the brain is in fact almost nakedly open to external influences, and is capable of rapid and radical change by these insights to be extended and explored in the context of art, perhaps in the ways outlined in my Manifesto for Neuroplastic Arts (Novakovic, 2007). But will neuroscience bring the final answers to all perception-related questions, including those arising from digitally enabled artefacts?
Plasticity and Feedback: Schemas of Indetermination in Cybernetics and Art	Ksenia Fedorova	ISEA2016: 22nd International Symposium on Electronic Art	Long Paper and Paper		Fedorova: Plasticity and Feedback: Schemas of Indetermination in Cybernetics and Art Fedorova: Plasticity and Feedback: Schemas of Indetermination in Cybernetics and Art	Run Run Shaw Creative Media Centre	Abstract (long paper) The paper addresses the problem of representation of the processes of change in dynamic systems, specifically focusing on the mechanisms of feedback and plasticity. How adequately can diagrams and schemas explain temporal relations and predict behavior in exceedingly complex systems? How can we know and render visible what happens in between the discrete moments in which decisions are made? How does the material medium of signal transference affect the resulting mechanisms and schemas that represent them? The aspect of representation forms here a special tension with what Andrew Pickering (in reference to cybernetics) names performative epistemologies and ontology of unknowability. In this paper I explore the ways of describing the mechanisms of signal transference and feedback loops in three different types of systems – neuronal network, electro-chemical assemblage, and live organism, each of which represents different scale and principles of biophysical organization. In particular, I consider Warren McCulloch’s diagrams of neural circuits, Gordon Pask’s and Stafford Beer’s experiment with chemical computers developing new senses, and a work by a Russian art collective “Where the Dogs Run”, in which the activity of a live mouse in a labyrinth is determined by the movements of its virtual doppelgangers.
PlastiCity: A Cybrid Crawl	Mathias Fuchs	ISEA2006: 13th International Symposium on Electronic Art	Artist Talk	2006 Overview: Artist Talks			PlastiCity is a computergame for multiple users which allows players to reshape Bradford’s city centre according to their own, or a shared, vision. The game is inspired by the English architect Will Alsop’s design for a new Bradford (Bradford Masterplan). The project is a complete modification of UnrealTournament with new wands (weapons) developed to build, demolish, repaint, rescale and rotate buildings. The project started in the summer of 2004 as an investigation into urban planning aspects, as a research into the current, past and possible future of urban structures and into the history of visions of “cities of the future” (Charles Fourier, Le Corbusier, Fritz Lang, Sci-Fi, Computer Games, Archigram, Will Alsop…). The project currently consists of a prototype of the final game, with realistic architectonic models, basic gameplay and a set of functions developed for the purposes of creating buildings, redecorating them, destroying them…) The project is currently in phase 2: In close contact with Alsop the project team designs specific “possible buildings” and urban planning strategies for the game. At the same time it implements ethnic specifica and age/ gender-specific gameplay elements. The team is about to model different player pawns (avatars) and create an interface for the game which is easy to use, fun and rich in the possibilities for interaction and collaboration. PlastiCity is an experiment in the employment of gaming technologies for social and cultural ends. It takes an innovative approach to engaging the citizen with the decisions and process of urban planning. This project: creates a detailed, multiplayer environment based upon a meticulous modelling of a city centre . creates a range of tools with which architecture and the built environment may be transformed in various ways creates a social/democratic context in which the game may be used to promote constructive discourse . creates a template by which the process may be repeated in other cities, at schools, universities and in planning departments There is a number of other projects which explore similar territory but have not yet developed representations of 3D environments or complexity of interaction approaching the sophistication of PlastiCity. These include: Urbis’ Create Your own Supercity, a drawing game Jeanne van Heeswyk and Dennis Kaspori’s Face Your World (faceyourworld.nl) a project with shared similar aspirations to PlastiCity in which an area of downtown Columbus, Ohio was modelled and can be manipulated in various ways And last not least – but not completely in the line of individual customization – SimCity PlastiCity can be considered a serious game insofar as it is based on careful research into the City Council’s planning, The City Centre Masterplan, the wishes and aspirations of the local population and the history of utopian cities of the future. However, our intention is that the game should firstly and foremostly be fun to play. To this end, it is our intention that the game will contain additional playful elements (sub-games and “easter eggs”) which will add to the playability, longevity and relevance to the District’s citizens of the game experience. Buildings like the City Hall, Magistrates Courts, the Alhambra Building or the Police Station are rooted in the city’s history. Visions of the planned Lightwave Building, “Alsop mushrooms” and the soon to come central lake provide with glances to a futuristic Bradford. With these buildings introduced the serious games becomes seriously ludic. Mushroom buildings grow from the ground, the lake’s water level falls and rises with the tide and allows the users to change Bradford into a Venice of the North, a subaquatic town or an island in the polar sea.
Plateaus: Computation, Geology, Ontology	Rebekah Blesing, Zach Kaiser, and Gabi Schaffzin	ISEA2017: 23rd International Symposium on Electronic Art	Artist Talk	2017 Overview: Artist Talks		University of Caldas	“The smooth skin of the device demands gore to feed its gloss.” _Benjamin Bratton In this Artist Talk, we will present a recent work, entitled, Plateaus: a meditation on the geological nature of mobile technologies and the socio-political and environmental implications of the mining of minerals for those technologies. Plateaus seeks to elicit an understanding of the relationship between humans, geology, and media technologies: media not as immaterial but as geological. Plateaus itself is an interactive transmedia system: a topographical model of a region of the Congo in which some of the minerals for our mobile devices are mined sits atop a stainless steel sifting tray. Meanwhile, a device inside the pedestal on which the landscape sits tracks mobile devices searching for WiFi networks and, in response, shakes the topographical model with a force proportionate to the total number of WiFi devices it counts, causing the landscape to erode and be sifted through the steel grate. The structure into which visitors enter in order to view the work references temporary shelters -ranging from those of peoples displaced by environmental crises to those of ancient civilizations- as well as Faraday cages, which are used to block electricity or WiFi signals.
Play	Juan José Díaz Infante	ISEA2013: 19th International Symposium on Electronic Art	Panel			The University of Sydney	Panel: Latin American Forum #3 PLAY! Festival: An experiment in augmented reality. Artistic Director Juan José Díaz Infante. This presentation shows via a series of slides different examples of the pieces that were shown, how they were presented and how the public reacted. Play! is in its third edition: Silence! Invisible Poets. The festival is based on the lack of translation of the word “play” into Spanish. Each year the festival has a theme that is explored. For this year´s festival we decided to explore the telephone as the interphase of reality. The festival was a great success; this is a brief description of the different pieces that were shown.
Play Acting	Merja Puustinen	ISEA2011: 17th International Symposium on Electronic Art	Panel			Sabanci Center	Panel: Playing for Keeps: Social Empowerment Through Physically Interactive Artworks This paper is a review into experiences with creating participatory physical play areas as interactive art works within the semi-public spaces of museums and galleries. The audience improvised play takes place within an art work employing sound environments, robots and bouncy castles with interactive audioscapes. Art historically, the practise incorporates strategies from political activity to visual, performative, sound and media arts as well as role playing games. It is closely related to various forms of time, site and locatation based genres like happening, performance, social forms of art, and larping – as much as media arts practises. In this setting, art turns into a stage, a platform for improvised social and physical interaction. In this approach, the media technologies are given a secondary, supplementary task in enhancing the audience interaction rather than a primary focus as the reason d’étre in channelling the aesthetical experience. The audience role has radically changed from the conventional oculo-centric Cartesian viewer position to a social and multi-sensory agent who is both a participant and a performer in action. The act of becoming visible, taking a central stage within the art work and the context of institutionalised practise of art posits is a radical shift in the socially normative public spaces. As a topsy-turvy active situation, it challenges and transforms the discursive power relations sustained and renewed in daily practise by the institutional order.
Play and Counterplay in Urban Spaces: Exploiting the City Through Location-Based Gaming	Dale Leorke	ISEA2011: 17th International Symposium on Electronic Art	Paper			Sabanci Center	Over the last 5 years or so, there has been growing scholarly interest in the potential for players of mainstream, commercial videogames to intervene in or ‘exploit’ the algorithmic architecture or code which structures gameplay. In particular the concepts of counterplay and countergaming are used to characterise gameplay practices that run counter to the intentions of their designers. In this paper, I argue that these terms also provide useful categories for evaluating the objectives of ‘location-based games’ which aim to challenge and disrupt the policies and rules imposed by the authorities of cities and public space. Location-based games use networked technologies such as mobile phones, WiFi, GPS tracking, and smart phones to enact fictional game scenarios and rules within a physical location – the streets, shopping centres, and public spaces of cities. Although they have not come remotely close to matching the popularity or commercial revenue of the mainstream videogame industry, location-based games occupy a notable niche with their goal of taking games to the streets and embedding them within the public spaces of cities and urban areas. With a few exceptions, most studies of location-based games have focused on their potential to ‘disrupt’ public spaces and extend digital gameplay into the physical environment. As a result, they overlook the formal elements of the game itself and the relationship between participants of location-based games, established via ‘rules’ imposed on them both by the goals of the game as well as the material conditions of the physical locations in which they take place. In this paper, I argue that Alexander Galloway’s claim that videogames can be read as ‘allegories for our contemporary life under the protocological network of…’control’ (2006: 106) can be extended and adapted to location-based gaming projects, and explore the implications the concepts of counterplay and countergaming may have for studies of locative media and urban play.
Play and Fortune	Michael Filimowicz	ISEA2008: 14th International Symposium on Electronic Art	Artist Talk	2008 Overview: Artist Talks		Singapore Management University, Seminar Room	In his presentation Michael Filimowicz presented the art work Stepping on the Light. Stepping on the Light explores two extremes of video display scales, that of pocket video and large scale projection. The protagonist of this video is modeled on the notion of an avatar in a virtual space, only this avatar is wandering ‘real space’ (downtown Chicago) in a semi-virtual environment (video footage). The approach of the protagonist in Stepping on the Light is to highlight the embodied and pleasurable aspects of navigation. The noise in the imagery, an effect of the technology of portable image capture, is reproduced in the soundtrack, which marries noise and video game soundscapes. youtube.com/watch?time_continue=4&v=pW3M3zTe0_c&feature=emb_logo piim.newschool.edu/journal/issues/2009/03/pdfs/ParsonsJournalForInformationMapping_Filimowicz-Michael.pdf
Play Connected: an online media game	Simone van Groenestijn (Cym)	ISEA2014: 20th International Symposium on Electronic Art	Paper			Zayed University - Dubai	A paper presentation about the project ‘Play Connected’. The project consists of a series of workshops with children in different places. Children in each location get a similar workshop in which they learn basic computer skills and basic HTML and in which they go out to explore their own neighbourhoods. With the material that they create during the workshop they make a simple online presentation, a website, in which the material from all children in the group is connected together. The same workshop is repeated at different locations with different groups of children. The materials from all different workshops are connected together into one website. In this way the children can virtually connect together. By adding several game elements to the website, the children are motivated to also look at the materials that the children at other locations made.The project ‘Play Connected’ took place in 2013 in two small towns in Austria and two small towns in Slovenia. 24 children created material, which was connected together in a website and two games. By playing the games you will come across the materials from all different locations.In the project children are encouraged to go outside and look at their own environment from a different perspective. In connection with learning basic computer skills children gain self‑confidence. By connecting their work to the work of children in other cities they are encouraged to look at the work children of their age in other locations create.The project ‘Play Connected’ took place in July‑October in 2013 in Austria and Slovenia. In January‑September 2014 Cym will do a similar project in The Netherlands. Currently media artist Cym (Simone van Groenestijn) is working on further developing the concept of the ‘Play Connected’ project.
Play with Fire: A Real-Time Video Experience for Sustainability	Mónica Mendes, Nuno Correia, Valentina Nisi, and Pedro Ângelo	ISEA2011: 17th International Symposium on Electronic Art	Paper			Sabanci Center	Play with Fire is an exploratory research project that proposes an interactive installation to engage the audience senses in unconventional ways. It is a performative, immersive experience that invites people to interact with real-time video from selected forests by playing with virtual fires through gestural interaction. We envisage the installation triggering controversial feelings by combining the “beauty and danger” of a forest on fire. This duality becomes part of the experience, and raises concerns in the audience mind, such as the pleasure and excitement of playing with fire versus its effects on a natural resource such as a forest. The experience concludes with visuals of a forest virtual regeneration process underlining the message: the forest will eventually grow again, but what is the price to pay? This audiovisual setup is cross referenced with online data – videos, photos, news headlines – of the most recent forest fires of the covered area. This approach contributes to explicit its dramatic potential, enhancing the emotional entanglement – “shouldn’t we actually act?” The outcome of the “play with fire” experience takes two forms: immediately, as a final visual outline displaying data on what would have been the effective destructive consequences of the participants’ actions of playing with virtual fire. Later, feedback will be given through their own mobile devices, by a generative application that displays the slow regeneration process of the (virtual) damaged forest, stimulating awareness and ultimately care. Living in places that have always been extremely exposed to forest fires, makes us very sensitive to the destruction of the forest patrimony by fire hazards, which also applies to a world scale. This interactive experience paradoxically encourages playing with fire to stimulate awareness and prevention of fire related damages to the forests. Ultimately, we seek to pose a constructive approach to the destructive dynamics of fire that aggravate climate change. Can art foster awareness and respect for nature? Collaboratively developed by artists, activists and technologists, Play with Fire is an innovative approach – with a challenging technological component – that comprises a strong dimension on social and natural sciences converging New Media Arts and Sustainability.
Play-ability?: A Taxonomy of Art Games	Troy Innocent and Steven Conway	ISEA2016: 22nd International Symposium on Electronic Art	Artist Talk			Run Run Shaw Creative Media Centre	Playability is a phenomenon that transforms its subject. Introducing playability changes the rules that frame how we relate to a place, a situation, an object, one another – or an artwork. In this context, play is a productive cultural force, that is, it contributes to creative process. However, play has a difficult relationship with art. Culturally, play and electronic games in particular are often perceived as ‘low’ culture – as not for adult consumption or critically engaging. Contributing to this misunderstanding, some art games use signifiers and gestures from games without incorporating playability. The boundaries that define art and play are constantly in flux. Serious games apply principles of game design to real world situations; play in art galleries shift relations between viewer, object and space; game designers seek to innovate through new aesthetics and critical engagement; games situated in cities encourage playability in daily life. Via a study of playful interventions in cities this paper outlines a taxonomy of encounters between play and art, articulating opportunities for critique, aesthetics, performance and signification in each. An understanding of playability, and the ways in which it transgresses boundaries between art and game, public and private, individual and collective, will be explored to identify links and common ground between art games and electronic art.