Steering committee

November 10, moNday, 14:00 muratgermen.com KeYNOTe speAKer From Analog to Digital, Fictive vs. Documentary: An Ongoing Journey KeYNOTe speAKer abstract Paul Brown Paul Brown was a member of that group at the Slade School and isan artist and writer who has specialised in art, science &technology since the late-1960s and in computational & generativeart since the mid 1970s. His early work included creatinglarge-scale lighting works for musicians and performance groupslike Meredith Monk, Music Electronica Viva, Pink Floyd, etc... and he has an international exhibition record that includes thecreation of both permanent and temporary public artworks datingfrom the late 1960s. He has participated in shows at major venueslike the TATE, Victoria & Albert and ICA in the UK; the AdelaideFestival; ARCO in Spain, the Substation in Singapore and theVenice Biennale and his work is represented in public, corporateand private collections in Australia, Asia, Europe, Russia and theUSA. With Charlie Gere, Nick Lambert and Catherine Mason he was aco-editor of _White Heat Cold Logic British Computer Art 1960– 1980_ (MIT Press, Leonardo Imprint, 2009). Since 2005 hehas been honorary visiting professor and artist-in-residence atthe Centre for Computational Neuroscience and Robotics, School of Engineering and Informatics at the University of Sussex.Paul Brown Paul Brown was a member of that group at the Slade School and isan artist and writer who has specialised in art, science &technology since the late-1960s and in computational & generativeart since the mid 1970s. His early work included creatinglarge-scale lighting works for musicians and performance groupslike Meredith Monk, Music Electronica Viva, Pink Floyd, etc... and he has an international exhibition record that includes thecreation of both permanent and temporary public artworks datingfrom the late 1960s. He has participated in shows at major venueslike the TATE, Victoria & Albert and ICA in the UK; the AdelaideFestival; ARCO in Spain, the Substation in Singapore and theVenice Biennale and his work is represented in public, corporateand private collections in Australia, Asia, Europe, Russia and theUSA. With Charlie Gere, Nick Lambert and Catherine Mason he was aco-editor of _White Heat Cold Logic British Computer Art 1960– 1980_ (MIT Press, Leonardo Imprint, 2009). Since 2005 hehas been honorary visiting professor and artist-in-residence atthe Centre for Computational Neuroscience and Robotics, School of Engineering and Informatics at the University of Sussex. The work of Paul Cezanne, Georges Seurat and their contemporarieshad a profound influence on the art of the 20th century. Art asa formal analysis of it’s own internal processes became a commontheme of several inter-related art movements that, in the1960’s, overthrew the concept of art as object and replaced itwith one of art as process. The systems and conceptual artistsembraced and developed these ideas and then, in the 1970’s, anew generation of artists began to encode these concepts using theformal linguistics made possible by the new science ofcomputing. Computer art, as such, was not new: by 1970 it wasat least 20 years old and already in 1968 Jasia Reichardt, atLondon’s Institute of Contemporary Art (ICA), had curated amajor historical survey of the field called _CyberneticSerendipity_. But it was the young artists working at the SladeSchool of Art’s postgraduate Experimental and Computing Department from 1974 to 82 who were specifically applying theideas from both systems and conceptual art within the context ofthe emergent computational domain November 11, tuesday, 14:00 Photo by Francesca Franco paul-brown.com brown-and-son.com Notes Towards a History of Art, Code and Autonomy 16 17 presentations presentations The Substance of the Body in the Societies of the Contemporary Arts Emmanouela Vogiatzaki Open University of Cyprus, Department of Theatre Studies, Cyprus Artur Krukowski Intracom S. A. Telecom Solutions, R&D Unit2, Greece This paper observes the substance of the body in the Performance Art. By taking into account that the Art reflects social, cultural and sometimes political realities, we attempt to trace what kind of messages an artwork with advanced technological means transmits to us, the spectators or artists. This study concentrates on the Cyborg Theatre, in which the technology is a very important element in order for a performance to be staged. It is a technological performance, which cannot occur without the presence of a body. Here we refer to a cyborg body as an extended human organism, a cyborg being with mechanical parts, which integrates non organic means in order to obtain substance inside the artwork. Focusing at this kind of theatrical performance, we observe the relationship that develops between the performer and the spectator. It is an unusual interaction between those two parties, which deserves our attention. We claim that both the performer and the spectator take part in a social event that not only transmits societal realities, but also indicates future ones. keywords Technology | Performance Art | Body | Society | Cyborg Theatre Google DevArt: Following the Success of Google’s Android Market in the Visual Arts? JungHyun Anna Park | Sang-Yeal Han Graduate School of Innovation and Technology Management, Korea This paper describes the creation of SwarmVision, a system of autonomous robotic cameras that functions both as the basis for an art installation and as an instrument for generating novel engineering research. Through a series of interviews with engineers who examined the project, we illustrate how experimentation with the instrument could lead to potential new research directions in computer vision, machine learning, swarm robotics, remote collaboration, and visualization. This suggests that an unstructured and aesthetic approach to research can inform and inspire new engineering research directions, within and beyond the scope of this particular project. keywords Visual Arts | Platform | Innovation | Google | DevArt | Application Store November 10, moNday, 11:00 November 10, moNday, 11:30 Generation of Engineering Research Directions through Artistic Process (skype conference) Marco Pinter | Danny Bazo | George Legrady University of California, Santa Barbara, USA This paper describes the creation of SwarmVision, a system of autonomous robotic cameras that functions both as the basis for an art installation and as an instrument for generating novel engineering research. Through a series of interviews with engineers who examined the project, we illustrate how experimentation with the instrument could lead to potential new research directions in computer vision, machine learning, swarm robotics, remote collaboration, and visualization. This suggests that an unstructured and aesthetic approach to research can inform and inspire new engineering research directions, within and beyond the scope of this particular project. keywords Media Arts Methodologies | Computational Photography | Swarm Robotics Autonomous Robotic Cameras | Arts | Engineering Virtual Idol Hatsune Miku: New Auratic Experience of the Performer as a Collaborative Platform Jelena Guga University of West Bohemia, Czech Republic In this paper, the phenomenon of virtual idol Hatsune Miku will be analyzed in the context of critical theory, emerging technologies, and theory of digital art practices. The first part focuses on the phenomenon of the virtual ce-lebrity seen as Deleuze and Guattari’s concept of ‘body without organs.’ The second part examines how the state-of-the-art technologies have enabled the ex-istence of Hatsune Miku who is simultaneously a corporate software product, a pop icon, a performance artist, and a collaborative multimedia artwork. Based on the reading of Hatsune Miku as a hybrid product emerging from the fusion of arts and IT, the last part revolves around the concept of ‘aura’ (Benjamin) generated by virtual idol’s presence. Finally, the notion of hyperterminality is introduced not only to differentiate between entities/identities appearing on the surface of the screen and those virtual constructs co-existing with us in the spaces of physical reality, but also to explore how these newly emerging “phygital” entities transform the existing conceptions of body and identity. keywords Virtual Idol | Body | Without Organs | Hyperterminality | Hologram | Aura | Collaborative Art | Augmented Reality November 11, tuesday, 09:00 November 11, tuesday, 09:30 Angus Graeme Forbes University of Illinois at Chicago, USA 18 19 presentations presentations Traditional Painting Revised: The Ambient Intelligence Approach to Creativity Nikolaos Partarakis | Margherita Antona | Emmanouel Zidianakis | Panagiotis Koutlemanis Foundation for Research and Technology Hellas, Institute of Computer Science, Greece Constantine Stephanidis University of Crete, Greece Today, many forms of art are influenced by the emergence of interactive technologies, including the mixing of physical media with digital technology for forming new hybrid works of art and the usage of mobile phones to create art projected on public spaces. Many artists and painters use digital technology to augment their work technically and creatively. In the same context many believe that the time of transition from traditional analogue art to postmodern digital art, that is, to an art grounded in codes rather than images has arrived1. The research work described in this paper contributes towards supporting, through the use of Ambient Intelligence technologies, traditional painters’ creativity, as well as methods and techniques of art masters. The paper presents the design and implementation of an intelligent environment and its software infrastructure, to form a digitally augmented Art Workshop. Its practical exploitation was conducted in an Ambient Intelligence (AmI) simulation space and four feasibility studies were conducted. In each of these studies a