DASH Archives - April 2011

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Synthetics, by Stephen Jones

From: Paul Brown <paul@PAUL-BROWN.COM>

Date: Sat, 2 Apr 2011 07:40:21 +1000


New Leonardo book from MIT Press

Synthetics by Stephen Jones
http://www.leonardo.info/isast/leobooks/books/jones.html

New technologies continually arise, offering repeated opportunities to artists in search of the technologically novel. Stephen Jones calls this phenomenon the “rolling new,” and in Synthetics he describes how artists in Australia used new technologies in their art, from the early days of digital computing in the 1950s to a landmark exhibition in 1975. Jones looks at not only the artists and the artworks they produced but also at the evolution of computing technologies and video displays as these new forms of media developed into tools that artists could use. He also examines the collaborations that sprang up between artists and the technologists who taught them how to use these new devices. The process, he finds, was reciprocal: the offerings of the engineer could inspire the artist as much as the needs of the artist could inspire the engineer.

Jones discusses the constraints imposed by the limitations of new technologies as they developed and shows that different types of output and display technologies made for the production of very different kinds of images. [He explores the development of computer graphics, the use by artists of such new conceptual paradigms as post-object art, and the emergence of video art in the late 1960s and early 1970s.] By 1975, the art and technology movement in Australia reached something of a watershed. The work itself became established as an art form just as funding dwindled and a popular and supportive left-wing government left office. And yet, Jones writes, the early electronic artists laid the foundation for today’s burgeoning culture of new media art in Australia.

About the Author

Stephen Jones is an Australian video artist and electronic engineer.

March 2011
The MIT Press
A Leonardo Book
ISBN: 0-262-01496-3
464 pp. 108 figures, 1 table

====
Paul Brown - based in OZ February to September 2011
OZ Landline +61 (0)7 3391 0094 == USA fax +1 309 216 9900
OZ Mobile +61 (0)419 72 74 85 == Skype paul-g-brown
====
Synapse Artist-in-Residence - Deakin University
Honorary Visiting Professor - Sussex University
====
 











Forwarded from olatsnews:   http://mailman.mit.edu/mailman/listinfo/olatsnewse

New Leonardo book from MIT Press

Synthetics by Stephen Jones
http://www.leonardo.info/isast/leobooks/books/jones.html

New technologies continually arise, offering repeated opportunities to artists in search of the technologically novel. Stephen Jones calls this phenomenon the “rolling new,” and in Synthetics he describes how artists in Australia used new technologies in their art, from the early days of digital computing in the 1950s to a landmark exhibition in 1975. Jones looks at not only the artists and the artworks they produced but also at the evolution of computing technologies and video displays as these new forms of media developed into tools that artists could use. He also examines the collaborations that sprang up between artists and the technologists who taught them how to use these new devices. The process, he finds, was reciprocal: the offerings of the engineer could inspire the artist as much as the needs of the artist could inspire the engineer.

Jones discusses the constraints imposed by the limitations of new technologies as they developed and shows that different types of output and display technologies made for the production of very different kinds of images. [He explores the development of computer graphics, the use by artists of such new conceptual paradigms as post-object art, and the emergence of video art in the late 1960s and early 1970s.] By 1975, the art and technology movement in Australia reached something of a watershed. The work itself became established as an art form just as funding dwindled and a popular and supportive left-wing government left office. And yet, Jones writes, the early electronic artists laid the foundation for today’s burgeoning culture of new media art in Australia.

About the Author

Stephen Jones is an Australian video artist and electronic engineer.

March 2011
The MIT Press
A Leonardo Book
ISBN: 0-262-01496-3
464 pp. 108 figures, 1 table

====
Paul Brown - based in OZ February to September 2011
mailto:paul@paul-brown.com == http://www.paul-brown.com
OZ Landline +61 (0)7 3391 0094 == USA fax +1 309 216 9900
OZ Mobile +61 (0)419 72 74 85 == Skype paul-g-brown
====
Synapse Artist-in-Residence - Deakin University
http://www.deakin.edu.au/itri/cisr/projects/hear.php
Honorary Visiting Professor - Sussex University
http://www.cogs.susx.ac.uk/ccnr/research/creativity.html
====
3D: digitise, deliver, discover

From: Andy Land <Andy.Land@MANCHESTER.AC.UK>

Date: Tue, 12 Apr 2011 08:54:43 +0000

    Re-rooting digital culture - media art ecologies.

    From: marc garrett <marc.garrett@FURTHERFIELD.ORG>

    Date: Fri, 15 Apr 2011 19:20:21 +0100

    Sorry for any cross posting...

Re-rooting digital culture - media art ecologies.

A Furtherfield Unconference event.
TO BOOK YOUR PLACE NOW please email ale[at]furtherfield[dot]org

Over the last decade the awareness of anthropogenic climate change has 
emerged in parallel with global digital communication networks. In the 
context of environmental and economic collapse people around the world 
are seeking alternative visions of prosperity and sustainable ways of 
living.

While the legacy of the carbon fuelled Industrial Revolution plays 
itself out, we find ourselves grappling with questions about the future 
implications of fast-evolving global digital infrastructure. By their 
very nature the new tools, networks and behaviours of productivity, 
exchange and cooperation between humans and machines grow and develop at 
an accelerated rate.

The ideas for this trans-disciplinary panel have grown out of 
Furtherfield's Media Art Ecologies programme and will explore the impact 
of digital culture on climate change, developing themes adopted in 
grass-roots, emerging and established practices in art, design and science.

http://www.furtherfield.org/event/re-rooting-digital-culture-media-art-ecologies

Chair: John Hartley
Speakers: -

Michel Bauwens - On how Peer to Peer thought and technology point 
towards alternative production methods and a sustainable future. 
http://p2pfoundation.net/

Catherine Bottrill - On working with producers and consumers to consider 
the environmental long-tail of digital culture.
http://www3.surrey.ac.uk/resolve/view_profiles.php?teamMember_ID=22

Ruth Catlow - On ecological approaches to tools, networks and behaviours 
in a digital art community. http://www.furtherfield.org/user/ruth-catlow

The discussion will inform a second event in September at ISEA 2011 
where we will be joined by artists Tom Corby http://tinyurl.com/6fblopc 
and Helen Varley Jamieson http://www.creative-catalyst.com/.

Who this is for: any interested members of the public, 
cross-disciplinary (science, art, technology) practitioners, academics, 
students, researchers with an interest in digital culture, technology, 
sustainability.

TO BOOK YOUR PLACE NOW please email ale[at]furtherfield[dot]org

Where: CREAM (Centre for Research in Education Art and Media), 
University of Westminster
Building: 309 Regent Street Campus
Room: RS 152 Cayley Room
Date/ Time: Friday May 13, 2011 from 6:00pm to 8:00pm
Maximum Seats: 60

Re-rooting digital culture is part of Furtherfield's Media Art Ecologies 
Programme http://www.furtherfield.org/programmes/media-art-ecologies. 
This unconference event is partnered by CREAM (Centre for Research in 
Education Art and Media) http://www.wmin.ac.uk/mad/page-569
    cfp: CONFERENCE OF THE AUSTRIAN ASSOCIATION OF ART HISTORIANS

    From: Paul Brown <paul@PAUL-BROWN.COM>

    Date: Sat, 16 Apr 2011 09:01:57 +1000

    DAS DEPARTMENT FÜR BILDWISSENSCHAFTEN IST PARTNER UND GASTGEBER DER 
16. TAGUNG DES VERBANDES ÖSTERREICHISCHER KUNSTHISTORIKERINNEN UND
KUNSTHISTORIKER, 30. SEPTEMBER – 2. OKTOBER 2011 IN KREMS AN DER DONAU



- THE DEPARTMENT FOR IMAGE SCIENCE IS PARTNER AND HOST OF THE 16TH
CONFERENCE OF THE AUSTRIAN ASSOCIATION OF ART HISTORIANS, 30 SEPTEMBER
– 2 OCTOBER 2011, KREMS



CALL FOR PAPERS    (English version below)

„Ornament und ...“
Über die Ränder ästhetischer Theorien und Praktiken   

„Je tiefer die Cultur, desto stärker tritt das Ornament auf. Das
Ornament ist etwas, was überwunden werden muß.“  Adolf Loos’
Invektiven gegen das Ornament und alles Ornamentale in Kunst und Kultur
sind gleichzeitig Höhepunkt wie vorläufiger Abschluss einer intensiven
Auseinandersetzung mit dieser gemeinhin wenig beachteten, eher
randständigen Kategorie. Zwar war keiner von Loos Vorläufern je zu
einer vergleichbar abfälligen Einschätzung des Ornaments gelangt, doch
in ihren Analysen nahm es einen ähnlich zentralen Platz ein: Für John
Ruskin etwa wurde die spezifische Gestaltung eines Ornaments zum
Gradmesser der geistigen und moralischen Verfasstheit einer Epoche, dem
Wiener Kunsthistoriker Alois Riegl war es Leitfossil in der
Veranschaulichung unterschiedlichen Kunstwollens, und der englische
Architekt Owen Jones versprach sich aus dem Studium des Ornaments gar
eine Erneuerung der Kunst und verfasste zu diesem Zweck eine Grammar of
Ornament.

Möglicherweise verdankt das Ornament seine Bedeutung in thematisch so
unterschiedlich ausgerichteten ästhetischen Diskussionen um 1900 just
seinem an sich prekären Status: Eben weil es immer schon als Supplement,
als "parergon" erachtet wurde, das dem eigentlichen Werk sowohl
ästhetisch wie semantisch untergeordnet war, ließ es sich leicht von
diesem ablösen; umso mehr, als es sich meist ohnehin an den Rändern
befand, ja als Zierleiste, Bilderrahmen, Gewandsaum die Grenzen des
Werkes häufig allererst konstituierte. Und war das Ornament seit jeher
zwar kein unspezifisches, gleichwohl aber universelles Phänomen, das
sich allen Gattungen und Genres anheftete, so brachte die maschinelle
und massenhafte Herstellung von Waren es auf eine Weise zum Wuchern, die
seinen Einsatz immer beliebiger werden ließ und seinen Status damit noch
weiter problematisierte. Zweifellos also lässt sich die Präsenz des
Ornaments in der ästhetischen Theorie und Praxis als Reaktion auf diese
historische Entwicklung verstehen, und zweifellos provozierte gerade
seine Dekontextualisierung und semantische Entleerung jene Fragen, die
nach und nach zu einer Neuaufteilung des ästhetischen Feldes führen
sollten. Fragen wie etwa die nach dem Verhältnis von freier und
angewandter Kunst und deren unterschiedliche theoretische Fundierung;
Fragen nach der Relation der einzelnen Medien zueinander und ihrer
jeweiligen Spezifität, nach dem Verhältnis von Form und Funktion, von
Wert und Aufwand, von Mode und Stil, u.v.a.m. Kurz: Das Ornament wurde
zum Geburtshelfer der Moderne, allerdings um den Preis, selbst entweder
als überflüssig verdrängt zu werden oder als abhorresziertes Gegenbild
der Abstraktion ein mehr oder weniger dürftiges Dasein zu fristen.

In letzter Zeit jedoch scheint das Ornament wiederum aus der Latenz zu
treten, denn sowohl die theoretische als auch die künstlerische
Auseinandersetzung haben zugenommen: Das Semper’sche Modell vom
Ursprung der Baukunst in der Bekleidung aufnehmend, taucht das Ornament
etwa immer häufiger als Motiv oder Muster auf den Oberflächen von
Gebäuden auf; gleichzeitig steckt es als digital bearbeitete Struktur
nicht nur in den Bauplänen einzelner Gebäude sondern in denen ganzer
Städte. Doch auch außerhalb der Architektur hat das Ornament eine
Präsenz in der Gestaltung von Oberflächen, die sich im avancierten
Design ebenso bemerkbar macht wie in der billigsten Verpackung, und
schließlich ist es auch wieder in die bildende Kunst eingezogen, in der
Dekorativität offenbar kein pejoratives Attribut mehr ist. Sind es also
in einem Fall neue technische Möglichkeiten, die eine Renaissance des
Ornaments befördern, so mag im anderen Fall auch der globalisierte
Kunstmarkt hiefür eine Rolle spielen. Kontinente und kulturelle
Differenzen durch- und überquerend scheint das Ornament als abstraktes
Muster weiterhin eine Universalsprache zu verheißen, die sich
gleichermaßen als traditionell und modern verkaufen lässt – ein
Motiv, das nicht zuletzt auf der documenta 12 eindringlich beschworen
wurde.

Diese Befunde sind Ausgangspunkt einer Tagung, die das Ornament nicht
allein von seiner ästhetischen Funktion in Theorie und Praxis der
Moderne her denken möchte, sondern in einem weiteren Blick nach seiner
Rolle als ein theoretisches "token" fragt, über das sich historische und
kulturelle Differenzen und Interferenzen reflektieren lassen. Eine
mögliche Auswahl an Themenbereichen findet sich in unten angeführter
Liste. Für die einzelnen Vorträge ist ein Zeitraum von 40 Minuten
vorgesehen. Eine Auswahl der Vorträge wird 2012 in einem Tagungsband
publiziert werden. Bitte schicken Sie Ihre Vorschläge in Form eines
Exposés von max. 2.000 Zeichen zusammen mit Ihrem Namen, Adresse und
gegebenenfalls Ihrer institutionellen Anbindung an:

VERBAND ÖSTERREICHISCHER KUNSTHISTORIKERINNEN UND KUNSTHISTORIKER;
KÜNSTLERHAUS, KARLSPLATZ 5, 1010 WIEN oder contact@kunsthistoriker.at.

Einsendeschluss: 29.April 2011

# Ornament und Abstraktion: Definitionen, Vergleichbarkeiten,
Differenzen, Referentialität, Fragen der Einheit und der Vielheit,
Fragen der Grenzen, Ornament als Widerlager der Abstraktion, Ornament
zwischen Mimesis und Abstraktion

# Ornament und Ökonomie: Folgen der Industriellen Revolution:
Demokratisierung der Kunst oder Vermassung des Ästhetischen?, Mehrwert
des Ornaments, Poetik und Politik des Überflüssigen, bildimmanente
Ökonomie, Verwaltung pikturaler Ressourcen

# Ornament und Politik: Rolle in der Ästhetisierung von Politik,
Ornamentalität politischer Symbole, Ornamente der Massen,
Universalismus, Gemeinschaftsbildung

# Ornament und Religion: Visualisierung des Göttlichen bzw.
Transzendentalen, bildtheologische Implikationen des Ornamentalen, Rolle
des Ornaments in den verschiedenen Religionen

# Psychologie des Ornaments: horror vacui, Wiederholungszwang, Ornament
als hysterisches Symptom, Ornament als Risse und Brüche überdeckende
Form, als Zähmungsfigur

# Ornament und Zeitlichkeit: Wiederholung, Serialität, Rekursion,
Ornament als zeitlicher Index, Historizität vs. Universalismus

# Ornament und Raum: Situierungen des Ornaments, Ornament als
Grenzartikulation, Ornament als Zwischenraum, Fläche: Raum, Ornamente
im Bildraum, Bildraum als Ornament

# Ornament und Bedeutung: Bedeutungsproduktion ergon : parergon, 
funktionaler : semantischer : dekorativer Wert

___________________________________________________________________

CALL FOR PAPERS

“Ornament and . . .”
On the Edge of Aesthetic Theories and Practices

“The lower the culture, the higher the prevalence of ornament.
Ornament is something that must be overcome.  Adolf Loos’ invectives
against ornament and everything ornamental in art and culture represent
both the highpoint and the conclusion of a period of intense discussion
and exploration of a category “on the edge” that generally enjoys
little serious attention. Although none of Loos’ predecessors had
arrived at a comparably disparaging evaluation of ornament, it had often
occupied a comparably central position of importance: For John Ruskin,
the specific design of an ornament was an indicator of an epoch’s
spiritual and moral soundness. For the Viennese art historian Alois
Riegl, it was an index fossil for demonstrating and comparing the
manifestation of Kunstwollen in various cultures. The English architect
Owen Jones even believed that the study of ornament would bring a
renewal of art, and thus he compiled a Grammar of Ornament.

It may well be that ornament owed its significance in such diversely
oriented aesthetic discussions around 1900 to its precarious status:
because it was always seen as a supplement, as a parergon that was
subordinated both aesthetically and semantically to the actual work, it
was easy to detach it from that work, all the more since it generally
was found at the edges, often constituting the perimeter of the work as
a decorative border, a picture frame or a seam on an article of
clothing. Although ornament had since time immemorial been a universal
phenomenon – albeit not an arbitrary one – appended to all almost
every type of artwork or handcraft, the mechanical and industrial
production of everyday articles caused a proliferation of ornamentation
that became ever more indiscriminant and problematic. The new centrality
of ornament in aesthetic theory and practice can clearly be seen as a
reaction to this historical development. There can be no doubt that it
was precisely this decontextualization and semantic vacuation that
provoked questions which would by degrees lead to a new parceling of the
aesthetic field: questions such as that of the relationship between fine
and applied art, and of their diverging theoretical foundations;
questions regarding the relationships of individual media to one another
and of their specificities; questions involving the relationship between
form and function, value and effort, fashion and style etc. Pointedly:
ornament became the midwife of modernism, but at the price of being
thrust aside as superfluous or of leading a vilified existence as the
abhorred antipode of abstraction.

Recently, ornament seems to have emerged from latency, enjoying the
increased interest of both aesthetic theory and art practice. In the
tradition of Semper’s model of the origin of architecture in
“cladding,” ornament appears with increasing frequency as a motif
or pattern on the surfaces of buildings. At the same time, it is often
present as a digitally manipulated structure not only in the blueprints
of individual buildings, but also of entire cities. Beyond architecture,
ornament plays a significant role in the handling of surfaces, evident
just as much in prestigious designer merchandise as in the cheapest
packaging materials. Last but not least, ornament has also returned to
the “fine arts,” where decorativity is no longer a pejorative
attribute. While in many cases this renaissance of ornament has been
promoted by the possibilities of new technology, the globalized art
market has likely played a role in others. Across continental boundaries
and cultural differences, ornament seems as an abstract pattern to hold
the promise of a universal language, which can be proffered as both
traditional and modern – this trend was readily apparent at documenta
12.

These developments are the point of departure for a conference that
will endeavor to think about ornament not only in terms of its aesthetic
function in the theory and practice of modernism, but also take a
broader look at its role as a theoretical token, through which
historical and cultural differences and interferences can be explored. A
selection of potential areas of discussion is found in the list below.
The time allotted for the presentation of each individual paper is forty
minutes. A selection of papers will be published in a conference volume
set to appear in 2012. Please submit your idea in an abstract of max.
2,000 characters together with your name, address and institutional
affiliation, if any, to:

AUSTRIAN ASSOCIATION OF ART HISTORIANS
KÜNSTLERHAUS
KARLSPLATZ 5
1010 VIENNA
or contact@kunsthistoriker.at 

Submission deadline: 29. April  2011


# Ornament and abstraction: definitions, comparabilities, differences,
referentiality, questions of unity and multiplicity, questions of
boundaries, ornament as a counterweight to abstraction, ornament between
mimesis and abstraction

# Ornament and economy: consequences of the Industrial Revolution,
democratization of art or the commoditization of the aesthetic?,
ornament as an increaser of value, the poetics and politics of the
superfluous, image-immanent economy, management of pictorial resources

# Ornament and politics: the aestheticization of politics, the
ornamentality of political symbols, ornaments of the masses,
universalism, community building

# Ornament and religion: visualization of the divine or the
transcendent, ornament’s theological implications, ornament’s role
in various religions

# The psychology of ornament: horror vacui, the compulsion to repeat,
ornament as a hysterical symptom, ornament as a form disguising tears
and cracks, ornament as a taming figure

# Ornament and time: repetition, seriality, recursion, ornament as a
temporal index, historicism vs. universalism 

# Ornament and space: situating ornament, ornament as an articulation
of border, ornament as an intermediate space, surface/space, ornament in
the picture space, picture space as ornament

# Ornament and meaning: meaning production ergon/parergon,
functional/semantic/decorative value


====
Paul Brown - based in OZ February to September 2011
mailto:paul@paul-brown.com == http://www.paul-brown.com
OZ Landline +61 (0)7 3391 0094 == USA fax +1 309 216 9900
OZ Mobile +61 (0)419 72 74 85 == Skype paul-g-brown
====
Synapse Artist-in-Residence - Deakin University
http://www.deakin.edu.au/itri/cisr/projects/hear.php
Honorary Visiting Professor - Sussex University
http://www.cogs.susx.ac.uk/ccnr/research/creativity.html
====
    Performing Arts Digital Collections for the New Millenium, International Workshop, Bruxelles, 9-10/06/2011

    From: Perla Innocenti <Perla.Innocenti@GLASGOW.AC.UK>

    Date: Wed, 27 Apr 2011 11:11:44 +0100

    ***Apologies for cross-posting***

     

     

    PERFORMING ARTS DIGITAL COLLECTIONS FOR THE NEW MILLENNIUM

    International Workshop, http://bpnet.eclap.eu/drupal/?q=en-US/node/3502

     

    9-10 June 2011

    La Bellone – Maison Du Spectacle

    Rue de Flandre 46

    B-1000 Bruxelles

     

    Performing Arts Digital Collections for the New Millennium is the first in a series of international workshops planned by the EU-funded Project ECLAP, E-Library for Performing Arts.

     

    This event will take place in Brussels on the 9th and 10th of June, 2011, with the support of La Bellone Maison du Spectacle.

     

    The exciting programme features leading experts and practitioners who will provide an overview of their state-of-the-art Perfoming Arts digital collections. Each workshop session is lead by one internationally-renowned guest speaker reflecting on the central session topic and best-practice case studies.

     

    The event will include sessions on:    

     

    $B!|(B          Tools for Performing Arts Digital Libraries;

    $B!|(B          Theatrical Education and training on e-tools for education and research;

    $B!|(B          e-Tools for Virtual Perfomances and reconstruction;

    $B!|(B          IPR issues for educational use;

    $B!|(B          IPR and Business Models

     

    If you are interested in state-of-the-art technologies in the performing arts sector - particularly if you are an archivist, librarian, IT manager, artist, policy maker, manager, researcher, practitioner, or educator - then this worskhop is for you.

    ________________________________________

    PERFORMING ARTS DIGITAL COLLECTIONS FOR THE NEW MILLENNIUM

     

    See the program outline here:

    http://bpnet.eclap.eu/drupal/?q=en-US/node/3502

     

    Kindly register here:                  

    http://bpnet.eclap.eu/drupal/?q=en-US/node/3906

     

    Registration Deadline: 

    Registration is open through June 6, 2011. Participation in the workshops is free of charge but space is limited.

     

    For more information on the Event:

    http://bpnet.eclap.eu/drupal/?q=en-US/node/3778

    ________________________________________

    ABOUT ECLAP PROJECT:                   

    Performing Arts are one of the great pillars of European culture. Their development has facilitated the birth of national literary traditions and spurned the evolution of languages and traditions in all member states. There is a rich heritage of film collections, video and audio tapes, images, sketches, notes in the field of performing arts, many of which are scattered about various archives in Europe, forming an invaluable, but hitherto largely untapped, repository of knowledge.

                The ECLAP Project is a best practice network co-funded through the ICT Policy Support Programme of the European Commission. ECLAP$B!G(Bs goal is to enable access to these resources, made available in digital form in an integrated online environment, providing guidelines and using metadata standards for searching and browsing. In its creation of a seamless and centralized online database, ECLAP is providing access to the performing arts collections and archives of the ECLAP project partners, which includes leading institutions in this area. These resources will be progressively accessible through a common, multilingual, easy-to-use ECLAP e-Library for the Performing Arts. The ECLAP e-Library will become part of Europeana, the multi-lingual online collection of millions of digitized items from European museums, libraries, archives and multi-media collections.

               

    For more information:   

    Visit: www.eclap.eu

    Info: info@eclap.eu

     

    Best wishes on behalf of the ECLAP Project team

     

     

    _________________________________

    Perla Innocenti

    Research Associate

     

    History of Art

    School of Culture and Creative Arts

    University of Glasgow

    8 University Gardens

    Glasgow, UK, G12 8QH

     

    Email: perla.innocenti@glasgow.ac.uk

    Web: www.gla.ac.uk/historyofart

    Phone:  +44(0)141 330 7308

    Fax:  +44(0)141 330 3513

     

    ***Apologies for cross-posting***





PERFORMING ARTS DIGITAL COLLECTIONS FOR THE NEW MILLENNIUM

International Workshop, http://bpnet.eclap.eu/drupal/?q=en-US/node/3502



9-10 June 2011

La Bellone - Maison Du Spectacle

Rue de Flandre 46

B-1000 Bruxelles



Performing Arts Digital Collections for the New Millennium is the first in a series of international workshops planned by the EU-funded Project ECLAP, E-Library for Performing Arts.



This event will take place in Brussels on the 9th and 10th of June, 2011, with the support of La Bellone Maison du Spectacle.



The exciting programme features leading experts and practitioners who will provide an overview of their state-of-the-art Perfoming Arts digital collections. Each workshop session is lead by one internationally-renowned guest speaker reflecting on the central session topic and best-practice case studies.



The event will include sessions on:



$B!|(B          Tools for Performing Arts Digital Libraries;

$B!|(B          Theatrical Education and training on e-tools for education and research;

$B!|(B          e-Tools for Virtual Perfomances and reconstruction;

$B!|(B          IPR issues for educational use;

$B!|(B          IPR and Business Models



If you are interested in state-of-the-art technologies in the performing arts sector - particularly if you are an archivist, librarian, IT manager, artist, policy maker, manager, researcher, practitioner, or educator - then this worskhop is for you.

________________________________________

PERFORMING ARTS DIGITAL COLLECTIONS FOR THE NEW MILLENNIUM



See the program outline here:

http://bpnet.eclap.eu/drupal/?q=en-US/node/3502



Kindly register here:

http://bpnet.eclap.eu/drupal/?q=en-US/node/3906



Registration Deadline:

Registration is open through June 6, 2011. Participation in the workshops is free of charge but space is limited.



For more information on the Event:

http://bpnet.eclap.eu/drupal/?q=en-US/node/3778

________________________________________

ABOUT ECLAP PROJECT:

Performing Arts are one of the great pillars of European culture. Their development has facilitated the birth of national literary traditions and spurned the evolution of languages and traditions in all member states. There is a rich heritage of film collections, video and audio tapes, images, sketches, notes in the field of performing arts, many of which are scattered about various archives in Europe, forming an invaluable, but hitherto largely untapped, repository of knowledge.

            The ECLAP Project is a best practice network co-funded through the ICT Policy Support Programme of the European Commission. ECLAP$B!G(Bs goal is to enable access to these resources, made available in digital form in an integrated online environment, providing guidelines and using metadata standards for searching and browsing. In its creation of a seamless and centralized online database, ECLAP is providing access to the performing arts collections and archives of the ECLAP project partners, which includes leading institutions in this area. These resources will be progressively accessible through a common, multilingual, easy-to-use ECLAP e-Library for the Performing Arts. The ECLAP e-Library will become part of Europeana, the multi-lingual online collection of millions of digitized items from European museums, libraries, archives and multi-media collections.



For more information:

Visit: www.eclap.eu

Info: info@eclap.eu


Best wishes on behalf of the ECLAP Project team





_________________________________

Perla Innocenti

Research Associate



History of Art

School of Culture and Creative Arts

University of Glasgow

8 University Gardens

Glasgow, UK, G12 8QH



Email: perla.innocenti@glasgow.ac.uk

Web: www.gla.ac.uk/historyofart

Phone:  +44(0)141 330 7308

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    OTTO PIENE AT GRAND PALAIS , PARIS - 17 May

    From: Paul Brown <paul.brown.art.technology@GMAIL.COM>

    Date: Sat, 30 Apr 2011 18:12:17 +1000

    From Roger Malina via Yasmin: http://www.media.uoa.gr/yasmin

One not to miss!  Wish I was in Europe : ( 

> yasminers
> 
> 
> otto piene will be talking in paris may 17
> group zero artist and former director of the MIT
> center for advanced visual studies
> 
> roger
> 
> 
> 
> ---------- Forwarded message ----------
> From: delight@delighteditions.com 
> Date: Sat, Apr 23, 2011 at 11:47 PM
> Subject: OTTO PIENE AT GRAND PALAIS ,PARIS (PALAIS DE LA DECOUVERTE)
> To: GLIBOTA Ante 
> 
> 
> Dear Friends,
> 
> We are pleased to inform you that on the occasion of the publication of Otto
> Piene's monograph by Ante Glibota, published by Delight Edition, a
> conference will be organized  in Paris at the Grand Palais - Palais de la
> Découverte, on 17th of May, 2011 at 6.30 pm, about Art Science and
> Technologies around the work of Otto Piene together with the presentation of
> his light ballet - light room installation "LE ROUGE ET LE NOIR", especially
> for this evening.
> 
> The  conference will be  introduced  by Ante Glibota.
> 
> Then, Fernando Arrabal, one of the most important writer and most prolific
> living dramaturge will  deliver a speech about the poetic vision of Otto
> Piene's work.
> 
> German author Heinz Norbert Jocks will express his reflection about Otto
> Piene and Group Zero, as one of the most important avant-garde group after
> second world War, founded by Otto Piene in Düsseldorf in 1957, together with
> Heinz Mack.
> 
> Finally, Otto Piene will  give his comprehensive impression and idea about
> implication of the world of science and technologies in his artistic vision.
> 
> At the end of the conference, Otto Piene and Ante Glibota will  sign the
> book that they have been preparing together for 23 years  and that has been
> published one month ago.
> 
> A cocktail will be organized after the conference.
> 
> Because of the great interest  of the public for this event, please confirm
> your presence by  telephone or e-mail mentioned on the enclosed invitation.
> 
> Best Regards,
> 
> Delight Edition

====
Paul Brown - based in OZ February to September 2011
mailto:paul@paul-brown.com == http://www.paul-brown.com
OZ Landline +61 (0)7 3391 0094 == USA fax +1 309 216 9900
OZ Mobile +61 (0)419 72 74 85 == Skype paul-g-brown
====
Synapse Artist-in-Residence - Deakin University
http://www.deakin.edu.au/itri/cisr/projects/hear.php
Honorary Visiting Professor - Sussex University
http://www.cogs.susx.ac.uk/ccnr/research/creativity.html
====