I will be attending the 2016 Generative Art conference and exhibition
in Florence, 15th-17th December. I will be presenting a small version
of my real-time work Nanocosm.
These conferences have been held every year since 1998, usually in
Milan. This will be the first time I have attended one. The venue in
Florence is the Auditorium of the Fondazione Cassa di Risparmio di
Firenze, Via Folco Portinari 5/r in central Florence. I think the photo shows the building!
Website: http://www.generativeart.it/.
Showing posts with label Conferences and festivals. Show all posts
Showing posts with label Conferences and festivals. Show all posts
Friday, November 18, 2016
Tuesday, September 2, 2014
Art binge - Part 2 (of 2)
At the end of my last post I was looking at the Incinerator Gallery at Moonee Ponds. At Screen Space I had been told that they had curated a
video program at the Art Fair, including a video by Peter Daverington. I had looked briefly at the videos at the Art
Fair and not seen any that interested me, but I then realised that there were
several video sessions and the one I would be interested in was on in the
afternoon. So I went back to the Art
Fair.
Back to the Art Fair
I did see the Daverington video. It starts off in a very abstract-geometric
fashion and eventually introduces synthetic scenery (which seems to be a theme
of today). I have seen it before, but it
was well worth a second look.
Presentation: most of the videos were shown on flat-panel
displays with headphones; one was projected at a large scale with sound through
speakers. Unfortunately the sound for
this video included quite loud synthetic noises meant to represent the clucking
of a hen, which made it hard to hear any subtle sounds that might be coming
through the headphones.
There was also a space set up as a proper theatrette,
showing (in the afternoon) a video by Baden Pailthorpe about drone warfare in Afghanistan. Certainly the darker space, seats, a proper
screen and multi-channel sound system made a difference (though one of the
speakers had a problem). The bare
mountain scenery in Pailthorpe ’s video also appeared to be synthetic, but
unlike the Piccinini piece the whole thing was an overt techno-fantasy about
something that ought to be a techno-fantasy but is all too real.
Globelight at the Abbotsford Convent
The last instalment of my weekend art binge was a visit to
Abbotsford Convent, in the opposite direction from Moonee Ponds (and a moderate
hike from Victoria Park station). By now
it was dark, so I was able to see the various works to best advantage,
especially the outdoor sculptures.
![]() |
| Outdoor sculpture by Sean Diamond |
Among the outdoor works an
intriguing piece was a pendulum by James Tapscott, the organiser of the
festival. This was a globe that swung
freely over a satellite dish, The colour
of the light inside the globe could be controlled and affected a sensor hidden
in the dish, which controlled the generation of sounds.
Among the works inside buildings the most spectacular was Orb, a large disk with lights forming
vertical stripes that turned on and off in various patterns. There was a sonic component to this work also.
There were a couple of interesting video projection
ideas. One work had two projectors aimed
at a considerable number of hanging gauze panels; not a new idea, but well
done. Another had what must have been a
small screen at the bottom of a long triangular tube: looking down it produced
a dazzling kaleidoscope effect.
Kaleidoscopes were a sub-theme of the weekend: apart from the Perpetual Light Machine there
was a work in the Art Fair that made a similar use of mirrors, though it didn’t
have a screen inside it.
![]() |
| A projection by Kate Geck |
The last thing I saw was the audio-visual performance by Abre
Ojos (Scott Baker). This
used three video projectors: as well as the main screen there were two more
pointing at the ceiling showing a separate video feed, all being controlled in
real time by Scott.
Globelight has another major component , a month-long
exhibition at Anita Traverso Gallery in Richmond, which I had seen on an
earlier visit to Melbourne.
On Sunday I went home!
Art organisations
My little art binge of a day and a bit sampled quite a few types of art organisation. One high-end public gallery - ACCA. One municipal gallery, with its brief to show
local artists and to bring art from other places to the local populace - Moonee Ponds Incinerator Gallery. One very commercial Art Fair, though to its
credit it did offer a bit of space to non-profits and the like. One not-for-profit space, which I assume
survives on grants and voluntary labour - Screen Space. And one festival, which has come about
largely because of the vision, energy and huge personal input of one person, James
Tapscott – Globelight.
Labels:
Artworld,
Conferences and festivals,
Exhibitions
Tuesday, August 26, 2014
Art binge – Part 1
Recently I went down to Melbourne on the weekend for a bit
of an art binge. I wanted to see some of
the things associated with the Globelight festival, and I was looking for
ideas concerning the presentation of video and screen-based work. And it was Melbourne Art Week (not to be
confused with Melbourne White Night, Melbourne Nite Art, the Melbourne Festival, or whatever).
Australian Centre for Contemporary Art
On the Friday night the Australian Centre for ContemporaryArt (ACCA) had an open night.
There were two shows, Christian Capurro’s work Slave in one room and Optical
Mix, a range of works exploring light, colour and perception, in the other.
Slave consists of
videos, apparently shot on a mobile phone, of some of Dan Flavin’s fluorescent
light works. It came across to me as
another introverted art-world piece, art-about-art-and-its–conditions-of-presentation-and-reception. The presentation was very well done and the
scale was impressive.
![]() | ||
| Christian Capurro's Slave |
The works in Optical
Mix were very varied, including a colourful Bridget Riley, a hypnotic
circular piece by Ugo Rondinone and another circular piece by Jean-Pierre
Yvaral, a kind of optical illusion that played with two and three
dimensions. The most visually dominant
was by Cake Industries, consisting of two towers of rapidly changing coloured
lights, intended to be considered as pixels.
The Melbourne Art Fair
On the Saturday morning I went to the Melbourne Art Fair, in the Exhibition Buildings in Carlton Gardens. I suppose I went to get a sense of the commercial end of the Zeitgeist. Certainly there were a lot of things to see: a lot of large things, a lot of brightly coloured things, a lot of large brightly coloured things. A very large and brightly coloured work by Del Kathryn Barton pretty much summed it up for me. Of course it wasn’t all like that: a stark contrast was provided by some beautiful, and beautifully understated, ceramic pieces shown by Yamaki Art Gallery from Osaka, Japan.
I only tried to talk to one gallerist, and when she found
out that I was an artist she very quickly said “Sorry, I don’t have time to
talk to artists.” Telling it like it is,
but it made the pecking order of the Art Fair very clear.
![]() |
| Overview of the Art Fair |
Screen Space
After that I went to Screen Space in Guildford Lane
in the city. They have a “small screen”
( a flat-panel monitor in the foyer area), a downstairs gallery, which is a
dark room with projectors, and have just recently expanded into an upstairs
gallery. I went partly because Magda
Cebokli, whom I know, currently has some of her geometric paintings in the
upstairs gallery, in company with some largely geometric works by Peter
Daverington and others.
In the gallery downstairs was a three-channel video work (three
simultaneous projections) by Patricia Piccinini. It showed views of rolling ocean waves, which
on inspection were clearly synthetic, as the general shape and distribution of
the waves wasn’t convincing. The piece
was made in 2000 and is perhaps showing its age, as such near-photo-realistic
synthetic scenery is no longer a novelty.
The piece on the small screen, by Leela Schauble,
was more interesting to me. It showed an
imaginary marine creature, translucent and pulsating, supposed to have evolved
from the plastic bags that now litter the world’s oceans.
The Incinerator Gallery at Moonee Ponds
After Screen Space I went to a place I had not previously
visited, the Incinerator Gallery at Moonee Ponds (a moderate hike from
Moonee Ponds station). The building was
designed by Burley Griffin as a municipal incinerator; it is now an art space
of the City of Moonee Valley. There was
a component of Globelight here, the installation The nature of things, is that even the strong will want to fall by Sam Mitchell-Fin.
This consisted of a number of coloured fluorescent tubes (much thinner
than Dan Flavin’s) arranged at various angles.
I suspect this piece is better seen at night.
There was an unexpected bonus here in terms of presentation,
in the form of the Perpetual
Light Machine by Autonomous Black
(Paul Irving and Chip Wardale). Inside were six enclosures, each of which had
portholes that revealed a screen and mirrors arranged to give a kaleidoscope
effect; very well done. I am less
certain about the aesthetic content, but that’s another story. The whole structure also functions as a stage
for musical performances by Autonomous Black.
![]() |
| Autonomous Black, Perpetual Light Machine (external view) |
To be continued ....
Labels:
Artworld,
Conferences and festivals,
Exhibitions
Friday, March 7, 2014
Transfield withdraws from Biennale of Sydney
I have just seen the news that Transfield have withdrawn as the major
partners of the Biennale of Sydney and that Luca Belgiorno-Nettis of
Transfield has resigned from the Board of the Biennale. This has
happened because Transfield has been involved with offshore detention
centres and has recently won a contract worth over $1 billion to operate
the detention centre on Manus Island. A number of artists involved
with the Biennale were planning to withdraw from it because of this
issue.
I was just having an email conversation touching on the influence of big donors on the boards of museums and public galleries. The Biennale Board have had the courage not to let the piper call the tune on this occasion. It is sad because the Belgiorno-Nettis family have supported the Biennale very generously since its inception, but this time it is impossible to ignore the source of the money. Tobacco sponsorship of sport and art has long been unacceptable in Australia, so the principle of looking at where the money originates is not new.
I was just having an email conversation touching on the influence of big donors on the boards of museums and public galleries. The Biennale Board have had the courage not to let the piper call the tune on this occasion. It is sad because the Belgiorno-Nettis family have supported the Biennale very generously since its inception, but this time it is impossible to ignore the source of the money. Tobacco sponsorship of sport and art has long been unacceptable in Australia, so the principle of looking at where the money originates is not new.
Wednesday, July 31, 2013
Globelight Festival, Melbourne
I am one of the artists in the newly-minted GlobeLight '13
event, to be held at Anita Traverso Gallery in Richmond and at the
Abbostford Convent. It includes light-based sculpture, installation,
design objects and video art, curated by James Tapscott and Sam
Mitchell-Fin. My work will be in Anita Traverso Gallery but I will be in
the opening event at the Convent as well.
Opening (Anita Traverso Gallery): Friday 2nd August, 6-8 pm
Artist talks (Anita Traverso): Saturday 3rd August, 2.30 pm
Opening (Abbotsford Convent): Saturday 3rd August, 6-9 pm
Anita Traverso Gallery: 7 Albert Street Richmond VIC 3121, Australia
Tel: (03) 9428 7557
Web: http://www.anitatraversogallery.com.au/
Hours: Wednesday–Saturday 11–5.
Exhibition dates: 30th July to 24th August 2013.
Abbotsford Convent: 1 St Heliers St Abbotsford VIC 3067, Australia
Precise exhibition locations to be advised.
Tel: (03) 9415 3600
Web: http://www.abbotsfordconvent.com.au
Hours: Wednesday–Saturday 11–5.
Exhibition dates: 3rd August to 25th August 2013.
GlobeLight website: http://globelight.com.au/.
Opening (Anita Traverso Gallery): Friday 2nd August, 6-8 pm
Artist talks (Anita Traverso): Saturday 3rd August, 2.30 pm
Opening (Abbotsford Convent): Saturday 3rd August, 6-9 pm
Anita Traverso Gallery: 7 Albert Street Richmond VIC 3121, Australia
Tel: (03) 9428 7557
Web: http://www.anitatraversogallery.com.au/
Hours: Wednesday–Saturday 11–5.
Exhibition dates: 30th July to 24th August 2013.
Abbotsford Convent: 1 St Heliers St Abbotsford VIC 3067, Australia
Precise exhibition locations to be advised.
Tel: (03) 9415 3600
Web: http://www.abbotsfordconvent.com.au
Hours: Wednesday–Saturday 11–5.
Exhibition dates: 3rd August to 25th August 2013.
GlobeLight website: http://globelight.com.au/.
Saturday, July 13, 2013
International Symposium on Electronic Art - Part 2 of 2
The ISEA conference had more than 50 paper sessions and
panel sessions, organised in five parallel streams, so I could only
attend a small fraction. It was noticeable that there were
relatively few sessions purely on technological gee-whizzery as
such; the emphasis was much more on the artistic and social uses of
the technology and the broader implications for society and
culture. The word "post-digital" occurred, but there is
nothing "post" about it: all this means is that the technology has
grown up and permeated everything, so that we no longer particularly
focus on it: we are all digital natives now.
Some snippets. Christiane Paul, a curator from the Whitney Museum in New York, talked about a movement called "The New Aesthetics", inspired by the "eruption of the digital into the physical" and the idea of "seeing like digital devices". I'm not sure how new it is: Troy Innocent in Australia has been working along these lines for a long time, but British designers have apparently recently caught onto it. There were other sessions on aesthetics, on the supposed divide between new media art and mainstream contemporary art, on the place of interactive artworks now that the hype has died down.
Stuart Bunt, a Professor of Anatomy from Western Australia, gave a talk on "Unintelligent Design", intended to counter the way that designers talk about the wonders of design in nature. A prime exhibit here is the human eye: there is a layer of nerve cells in front of the retina, getting in the way of incoming light, and then a whopping great hole in the retina where the nerve fibres join into the optic nerve on the way to the brain. The sensible arrangement would be the retina in front and the nerve cells behind, which is the layout in the eye of the squid. Stuart has been involved with the SymbioticA group in Western Australia, who use tissue cultures and the like for artistic projects, and there were a number of talks about what is now called bio-art. One was by Tash Bates, who told us that of the 100 trillion cells in and around the human body, only 10% are actually human: the other 90% are microscopic organisms that form our "micro-biome". Although numerous, they only form a small fraction of our body weight. One such organism is the yeast Candida albicans, which has both good and bad effects on the human body; Tash's project involved cultivating quantities of it.
Another striking bio-art piece was by Adam Brown, who used micro-organisms (extremophilic bacteria) to produce metallic gold from gold chloride. He then made a sort of illuminated manuscript by taking scanning electron micrographs of the bacterial films, and applying gold leaf made from the microbial gold to those areas in the micrographs that showed the bacteria depositing gold.
There were other sessions by artists using science or reacting to it. Chris Henschke (Monash) described the artworks that came out of his residency at the Australian Synchrotron in Melbourne. There was an exhibition of the work in a gallery in Sydney, and I was able to see it. Deborah Lawler-Dormer (New Zealand) described what sounds like a very ambitious project in Auckland making a computational model of the brain and the face, including things like the action of dopamine in the brain. One of the people involved is a high-profile computer animator, and an output will be a 3D model of the face that shows emotions. Deborah is looking at this from the point of view of a curator of new media interested in how this scientific research will inform people working across art and science.
There were also sessions on the history of electronic art, and on preservation, exhibition and curation of electronic artworks. There was a discussion of how the pervasiveness of digital media is affecting the traditional museum. Keir Winesmith (at the Museum of Contemporary Art in Sydney, but about to take up a post in the U.S.A) described a catalogue the MCA produced. It was in the form of an app, in three versions. The first version was prepared in advance, like a traditional catalogue. The second version was made after installation, and included the (elaborate) installation procedure. The final version was made after the show closed and contained audience interviews (some quite critical) and other material. The app was free during the show, and after it ended they charged $3 to download it, as opposed to say $50 for a traditional catalogue. The MCA has also done things like projecting inside the gallery photographs people took during a visit the the MCA and subsequently posted on the Internet.
Preservation is an enormous problem, though Steven Jones (who was part of the band Severed Heads) has been doing a large project on recovering Australian video art, and thought that with care and attention the preservation problem could be dealt with; nobody else seemed to agree. I have certainly lost a performance work: I no longer have either the hardware or the software. At the festival I attended at Osnabrück in April the artist Igor Štromajer described a ritual he was making, of deleting 37 pieces of Internet art he had made, because maintaining them was too onerous. And he isn't just anybody: he has work in the permanent collection of the Pompidou.
There were over 30 exhibitions associated with ISEA; I only saw a few of them. I caught the last night of the large projections on the Opera House and the Museum of Contemporary Art, part of Vivid Sydney. There was a collection of sound-related works at the University of Technology, Sydney, though they had visual elements was well. I particularly liked Jon Drummond's Twittering Machine (named for the work by Paul Klee). At Conny Dietschold Gallery, Ernest Edmonds had a responsive piece that looked like colour-field painting. It was networked with two other pieces by Josh Harle and Sean Clark, so they all affected one another. Kudos Gallery had the work of Chris Henschke already mentioned, and other works, including a panorama by Volker Kuchelmeister that was activated by walking around it moving a lever. It turned out to hold considerably more than 360 degrees of images. The images were made by collaging together photographs of two very different environments, the Tasmanian wilderness and urban Hong Kong.
I saw the three ISEA-related exhibitions in the Powerhouse Museum: an exhibition of work coming from the art-science residencies under the Synapse program, which places artists in scientific organisations; an exhibition of bio-art work associated with the SymbioticA group in Perth; and the Speak to Me exhibition of electronic and computer art organised by Experimenta. I previously saw this exhibition scattered across several venues in Melbourne; here it is all collected together.
I regret not having seen the installation Test Pattern by Ryoji Ikeda at Carriageworks; it was evidently a highlight. But I had a very packed few days as it was.
Some snippets. Christiane Paul, a curator from the Whitney Museum in New York, talked about a movement called "The New Aesthetics", inspired by the "eruption of the digital into the physical" and the idea of "seeing like digital devices". I'm not sure how new it is: Troy Innocent in Australia has been working along these lines for a long time, but British designers have apparently recently caught onto it. There were other sessions on aesthetics, on the supposed divide between new media art and mainstream contemporary art, on the place of interactive artworks now that the hype has died down.
Stuart Bunt, a Professor of Anatomy from Western Australia, gave a talk on "Unintelligent Design", intended to counter the way that designers talk about the wonders of design in nature. A prime exhibit here is the human eye: there is a layer of nerve cells in front of the retina, getting in the way of incoming light, and then a whopping great hole in the retina where the nerve fibres join into the optic nerve on the way to the brain. The sensible arrangement would be the retina in front and the nerve cells behind, which is the layout in the eye of the squid. Stuart has been involved with the SymbioticA group in Western Australia, who use tissue cultures and the like for artistic projects, and there were a number of talks about what is now called bio-art. One was by Tash Bates, who told us that of the 100 trillion cells in and around the human body, only 10% are actually human: the other 90% are microscopic organisms that form our "micro-biome". Although numerous, they only form a small fraction of our body weight. One such organism is the yeast Candida albicans, which has both good and bad effects on the human body; Tash's project involved cultivating quantities of it.
Another striking bio-art piece was by Adam Brown, who used micro-organisms (extremophilic bacteria) to produce metallic gold from gold chloride. He then made a sort of illuminated manuscript by taking scanning electron micrographs of the bacterial films, and applying gold leaf made from the microbial gold to those areas in the micrographs that showed the bacteria depositing gold.
There were other sessions by artists using science or reacting to it. Chris Henschke (Monash) described the artworks that came out of his residency at the Australian Synchrotron in Melbourne. There was an exhibition of the work in a gallery in Sydney, and I was able to see it. Deborah Lawler-Dormer (New Zealand) described what sounds like a very ambitious project in Auckland making a computational model of the brain and the face, including things like the action of dopamine in the brain. One of the people involved is a high-profile computer animator, and an output will be a 3D model of the face that shows emotions. Deborah is looking at this from the point of view of a curator of new media interested in how this scientific research will inform people working across art and science.
There were also sessions on the history of electronic art, and on preservation, exhibition and curation of electronic artworks. There was a discussion of how the pervasiveness of digital media is affecting the traditional museum. Keir Winesmith (at the Museum of Contemporary Art in Sydney, but about to take up a post in the U.S.A) described a catalogue the MCA produced. It was in the form of an app, in three versions. The first version was prepared in advance, like a traditional catalogue. The second version was made after installation, and included the (elaborate) installation procedure. The final version was made after the show closed and contained audience interviews (some quite critical) and other material. The app was free during the show, and after it ended they charged $3 to download it, as opposed to say $50 for a traditional catalogue. The MCA has also done things like projecting inside the gallery photographs people took during a visit the the MCA and subsequently posted on the Internet.
Preservation is an enormous problem, though Steven Jones (who was part of the band Severed Heads) has been doing a large project on recovering Australian video art, and thought that with care and attention the preservation problem could be dealt with; nobody else seemed to agree. I have certainly lost a performance work: I no longer have either the hardware or the software. At the festival I attended at Osnabrück in April the artist Igor Štromajer described a ritual he was making, of deleting 37 pieces of Internet art he had made, because maintaining them was too onerous. And he isn't just anybody: he has work in the permanent collection of the Pompidou.
There were over 30 exhibitions associated with ISEA; I only saw a few of them. I caught the last night of the large projections on the Opera House and the Museum of Contemporary Art, part of Vivid Sydney. There was a collection of sound-related works at the University of Technology, Sydney, though they had visual elements was well. I particularly liked Jon Drummond's Twittering Machine (named for the work by Paul Klee). At Conny Dietschold Gallery, Ernest Edmonds had a responsive piece that looked like colour-field painting. It was networked with two other pieces by Josh Harle and Sean Clark, so they all affected one another. Kudos Gallery had the work of Chris Henschke already mentioned, and other works, including a panorama by Volker Kuchelmeister that was activated by walking around it moving a lever. It turned out to hold considerably more than 360 degrees of images. The images were made by collaging together photographs of two very different environments, the Tasmanian wilderness and urban Hong Kong.
I saw the three ISEA-related exhibitions in the Powerhouse Museum: an exhibition of work coming from the art-science residencies under the Synapse program, which places artists in scientific organisations; an exhibition of bio-art work associated with the SymbioticA group in Perth; and the Speak to Me exhibition of electronic and computer art organised by Experimenta. I previously saw this exhibition scattered across several venues in Melbourne; here it is all collected together.
I regret not having seen the installation Test Pattern by Ryoji Ikeda at Carriageworks; it was evidently a highlight. But I had a very packed few days as it was.
![]() |
| Jon Drummond's Twittering Machine |
![]() |
| A bioreactor containing stem cells, In Potentia by Guy Ben-Ari and Kirsten Hudson |
Thursday, July 4, 2013
International Symposium on Electronic Art - Part 1 of 2
I recently visited Sydney to attend the International Symposium on
Electronic Art. This is an annual event that moves around the
world. In Sydney the slogan was "Resistance is Futile" (to
electronic media), with a sub-slogan "Resistance is Fertile". The
events for ISEA went on for ten days but I only had five days
there, spent mainly attending the three-day conference at the centre
of the program. The conference was quite a big affair with at
least 400 people attending and a very large number of presentations.
There were three keynote addresses. The first was by Michael Naimark, a digital pioneer who has worked at the MIT Media Lab, Apple, Lucasfilm and other organisations breaking new ground with media research. He talked about his own practice and also about how an art/technology practice can be sustained financially. The answer seems to be that there is no one way; different individuals and groups have managed by selling works, by providing services, by licensing intellectual property, and so on.
The second keynote address was by Brian Rogers, a distinguished vision researcher at Oxford University. His topic was "Perception, art and illusion" and he spent quite a bit of time discussing how we see three-dimensional scenes. He raised the question "Does perspective have to be learned?" His answer was no: animals can make use of perspective. What we do have to do is learn how to draw in perspective. We see a rectangular table as rectangular, even if we are viewing it at an oblique angle and the image on our retinas is an irregular quadrilateral. Brian argued that there are no true visual illusions, only properties of our perceptual apparatus.
Brian was also present at the only workshop I attended, organised by Paula Dawson (from the College of Fine Art, UNSW) on holograms. A number of her holograms were on display, together with the locally developed 3D drawing software called Holoshop, controlled by a "pen" on a jointed arm. The pen had force feedback, so that it was possible to feel a virtual surface and draw on it; the pen resisted passing through the surface. There was a test where the aim was to discover the shape of such a surface by feel alone. My surface was quite simple, but I got a pronounced tactile illusion: it felt to me as though there was a vertical cliff, which wasn't there in the virtual surface at all. Brian Rogers saw an analogy with the visual phenomenon called "Mach bands".
The last keynote address was by Julian Assange, delivered by Skype (a good connection) from the Ecuadorean Embassy in London. This was quite remarkable. Assange is a good speaker, and his talk came just after the revelations by Edward Snowden of the enormous volume of electronic spying that the U.S.A. carries out. Furthermore the U.S., British and Australian security services all share information, so this is a first-class means for all these governments to spy on their own citizens, as well as everyone else. Assange referred to the term "turn-key totalitarianism": all the means for a system of political control that would make the East German Stasi look like rank amateurs are in place already, just waiting to be turned on. Assange has formed the WikiLeaks party that is running in the upcoming Australian Federal election, and he himself is a Senate candidate in Victoria.
There were three keynote addresses. The first was by Michael Naimark, a digital pioneer who has worked at the MIT Media Lab, Apple, Lucasfilm and other organisations breaking new ground with media research. He talked about his own practice and also about how an art/technology practice can be sustained financially. The answer seems to be that there is no one way; different individuals and groups have managed by selling works, by providing services, by licensing intellectual property, and so on.
The second keynote address was by Brian Rogers, a distinguished vision researcher at Oxford University. His topic was "Perception, art and illusion" and he spent quite a bit of time discussing how we see three-dimensional scenes. He raised the question "Does perspective have to be learned?" His answer was no: animals can make use of perspective. What we do have to do is learn how to draw in perspective. We see a rectangular table as rectangular, even if we are viewing it at an oblique angle and the image on our retinas is an irregular quadrilateral. Brian argued that there are no true visual illusions, only properties of our perceptual apparatus.
Brian was also present at the only workshop I attended, organised by Paula Dawson (from the College of Fine Art, UNSW) on holograms. A number of her holograms were on display, together with the locally developed 3D drawing software called Holoshop, controlled by a "pen" on a jointed arm. The pen had force feedback, so that it was possible to feel a virtual surface and draw on it; the pen resisted passing through the surface. There was a test where the aim was to discover the shape of such a surface by feel alone. My surface was quite simple, but I got a pronounced tactile illusion: it felt to me as though there was a vertical cliff, which wasn't there in the virtual surface at all. Brian Rogers saw an analogy with the visual phenomenon called "Mach bands".
The last keynote address was by Julian Assange, delivered by Skype (a good connection) from the Ecuadorean Embassy in London. This was quite remarkable. Assange is a good speaker, and his talk came just after the revelations by Edward Snowden of the enormous volume of electronic spying that the U.S.A. carries out. Furthermore the U.S., British and Australian security services all share information, so this is a first-class means for all these governments to spy on their own citizens, as well as everyone else. Assange referred to the term "turn-key totalitarianism": all the means for a system of political control that would make the East German Stasi look like rank amateurs are in place already, just waiting to be turned on. Assange has formed the WikiLeaks party that is running in the upcoming Australian Federal election, and he himself is a Senate candidate in Victoria.
Tuesday, June 4, 2013
Bremen, Linz and home
The first purely abstract paintings were exhibited in 1912, just
over 100 years ago. The main reason for my trip to Europe was
to attend the conference 100 Years of Abstract Art at
Jacobs University in Bremen. Jacobs University is a small
private university (under 1500 students), named Jacobs University in
acknowledgement of a very generous grant from the Jacobs Foundation,
which in turn derived its money from Jacobs coffee. The
language of instruction is English, and about two-thirds of the
students are from outside Germany. The buildings were
originally built as a military barracks in the 1930s. There is
a humanities program, and also a Visual Communication research unit,
which involves psychologists as well as artists and designers.
The conference was organised by Professor Isabel Wünsche, assisted by Wiebke Gronemeyer and several students. It was the most concentrated art history endeavour I have encountered. There were over 25 talks, and all but three were by art historians. The other three were by artists: Leo Bronstein from Canada and Wendy Kelly and myself from Australia. The participants were from North America, Israel, the United Arab Emirates and a wide range of countries across Europe, from Britain to Russia and Georgia, as well as three Australians (and another Australian who now works in Scotland.)
There were two keynote addresses, one by Christiane Paul, a curator at the Whitney Museum in New York, on digital abstract art. She covered a range of computer-generated art, from early work by Frieder Nake in 1965 - and Frieder was in the audience! - to what amounts to a parody of abstraction by Cory Arcangel just using Photoshop's gradient tool. The second keynote address was by Eli Bornstein, reflecting on a long career as an abstract sculptor.
A sampling of topics from the paper sessions: the influence of anarchist ideas on Kandinsky and on Kupka, the early photograms of Man Ray and others, the co-option of the forms and colours of abstract art for things like location signage in office buildings, the influence of the surrealists who emigrated to New York on American painting, the political use of art in the Cold War from both the American and the Soviet points of view, the use of abstract art by the fashion industry, "found abstraction" as a motif in contemporary photography (some of which looks like the abstract painting of 40 years ago), and a lot more besides. There was only one stream of talks, so a conversation could develop.
Wendy Kelly talked about contemporary concerns of abstract art in this post-post-modern era, illustrating her talk with a very wide range of current Australian examples. I talked about abstraction and representation in the context of artworks that contain or result from a constructed process, typically a computer program.
I didn't see anything of the city of Bremen, but there were two conference excursions, one to Worpswede, a village just outside Bremen that used to be an artists' colony in the Art Deco era - now it is pretty much a tourist place, but there is an interesting gallery about one of the main protagonists, and a strange round house known as the Käseglocke (cheese bell), after the glass cover placed over a plate of cheese. The other excursion was to Hamburg, to see a big exhibition on Giacometti. In a café in Hamburg there was a wonderful example of both the use of abstract art by fashion and "found abstraction" in photography. I idly picked up a fashion magazine and found in it a lavish spread of swirly abstract photographs by a Japanese photographer (I don't have the name). They turned out to be photographs of a naked dancer, not that one could tell.
A number of people stayed overnight in Hamburg, but I had already booked a train to go to Linz in Austria. My main reason for visiting Linz was to see the Ars Electronica Center. For many years there has been an annual festival in Linz called Ars Electronica, and there is now a permanent museum, a unique hybrid of science museum, electronic and computer art museum, and animation and computer special effects theatre. Jon McCormack, who is my associate supervisor at Monash, recently installed a large work there - 50 prints each one metre square, showing computer-generated imaginary plants derived from oil company logos. Among other works was the subversive Newstweek, a small device that, if plugged into an ordinary power point in an area with an open wireless Internet hotspot, allowed anyone to intercept news feeds from the BBC (for example) and edit them. I was interested to see in the museum a detailed attack on Facebook in the context of privacy law. It appears that Facebook collects and keeps more data than it is allowed to under European privacy laws, and an activist group (Europe versus Facebook) has been attempting to sue Facebook's Irish company. Facebook has improved its privacy behaviour, possibly in response to this action, but there seems to be a considerable way to go.
Linz also has a more conventional contemporary art museum, the Lentos museum, and I visited it too. Naturally there is a focus on Austrian artists, though there are a few works by well-known non-Austrians, including Josef Albers, Roy Lichtenstein, Donald Judd. Certainly worth a visit.
Then back to Frankfurt. I had a day before my flight home, so I visited an exhibition at the Kunstverein (art society) exhibition space, showing current works that deal in one way or another with the weather. The most engaging was the Basteltornado (D.I.Y. tornado) by Klaus Weber, involving a small fog machine, an open cylinder and a vacuum cleaner. When set in motion by a foot pedal it produced a small tornado inside the cylinder, about one metre high. A nice thing to see at the end of my trip.
The conference was organised by Professor Isabel Wünsche, assisted by Wiebke Gronemeyer and several students. It was the most concentrated art history endeavour I have encountered. There were over 25 talks, and all but three were by art historians. The other three were by artists: Leo Bronstein from Canada and Wendy Kelly and myself from Australia. The participants were from North America, Israel, the United Arab Emirates and a wide range of countries across Europe, from Britain to Russia and Georgia, as well as three Australians (and another Australian who now works in Scotland.)
There were two keynote addresses, one by Christiane Paul, a curator at the Whitney Museum in New York, on digital abstract art. She covered a range of computer-generated art, from early work by Frieder Nake in 1965 - and Frieder was in the audience! - to what amounts to a parody of abstraction by Cory Arcangel just using Photoshop's gradient tool. The second keynote address was by Eli Bornstein, reflecting on a long career as an abstract sculptor.
A sampling of topics from the paper sessions: the influence of anarchist ideas on Kandinsky and on Kupka, the early photograms of Man Ray and others, the co-option of the forms and colours of abstract art for things like location signage in office buildings, the influence of the surrealists who emigrated to New York on American painting, the political use of art in the Cold War from both the American and the Soviet points of view, the use of abstract art by the fashion industry, "found abstraction" as a motif in contemporary photography (some of which looks like the abstract painting of 40 years ago), and a lot more besides. There was only one stream of talks, so a conversation could develop.
Wendy Kelly talked about contemporary concerns of abstract art in this post-post-modern era, illustrating her talk with a very wide range of current Australian examples. I talked about abstraction and representation in the context of artworks that contain or result from a constructed process, typically a computer program.
I didn't see anything of the city of Bremen, but there were two conference excursions, one to Worpswede, a village just outside Bremen that used to be an artists' colony in the Art Deco era - now it is pretty much a tourist place, but there is an interesting gallery about one of the main protagonists, and a strange round house known as the Käseglocke (cheese bell), after the glass cover placed over a plate of cheese. The other excursion was to Hamburg, to see a big exhibition on Giacometti. In a café in Hamburg there was a wonderful example of both the use of abstract art by fashion and "found abstraction" in photography. I idly picked up a fashion magazine and found in it a lavish spread of swirly abstract photographs by a Japanese photographer (I don't have the name). They turned out to be photographs of a naked dancer, not that one could tell.
A number of people stayed overnight in Hamburg, but I had already booked a train to go to Linz in Austria. My main reason for visiting Linz was to see the Ars Electronica Center. For many years there has been an annual festival in Linz called Ars Electronica, and there is now a permanent museum, a unique hybrid of science museum, electronic and computer art museum, and animation and computer special effects theatre. Jon McCormack, who is my associate supervisor at Monash, recently installed a large work there - 50 prints each one metre square, showing computer-generated imaginary plants derived from oil company logos. Among other works was the subversive Newstweek, a small device that, if plugged into an ordinary power point in an area with an open wireless Internet hotspot, allowed anyone to intercept news feeds from the BBC (for example) and edit them. I was interested to see in the museum a detailed attack on Facebook in the context of privacy law. It appears that Facebook collects and keeps more data than it is allowed to under European privacy laws, and an activist group (Europe versus Facebook) has been attempting to sue Facebook's Irish company. Facebook has improved its privacy behaviour, possibly in response to this action, but there seems to be a considerable way to go.
Linz also has a more conventional contemporary art museum, the Lentos museum, and I visited it too. Naturally there is a focus on Austrian artists, though there are a few works by well-known non-Austrians, including Josef Albers, Roy Lichtenstein, Donald Judd. Certainly worth a visit.
Then back to Frankfurt. I had a day before my flight home, so I visited an exhibition at the Kunstverein (art society) exhibition space, showing current works that deal in one way or another with the weather. The most engaging was the Basteltornado (D.I.Y. tornado) by Klaus Weber, involving a small fog machine, an open cylinder and a vacuum cleaner. When set in motion by a foot pedal it produced a small tornado inside the cylinder, about one metre high. A nice thing to see at the end of my trip.
![]() |
| Nexus, a small 3D-printed work by Bathsheba Grossman, at the Ars Electronica Center |
![]() |
| Basteltornado (detail) by Klaus Weber |
Monday, May 6, 2013
European Media Art Festival - Part 2 of 2
The exhibition for the Festival in Osnabrück mostly took place in the Kunsthalle, an art
exhibition space which is in part a converted Dominican church from
the 13th-15th centuries. I didn't see anything really
ground-breaking, but a number of the pieces were certainly
engaging. Nadal by Paul Destieu (France) consisted of
four machines that threw tennis balls to another in a criss-cross
pattern. The arcs of the balls echoed the shape of the Gothic
ceiling high above. The work 500 by Bianca Patricia
(Poland) showed a large projection of a small baby playing
desultorily with a 500-Euro note (nearly $A700). Scattered
about on the floor were 50,000 1-Euro-cent coins (so 500 Euro
worth). And All Watched Over by Machines of Loving Grace
by Donna Szoke and Ricarda McDonald (Canada) was a simple but
effective installation consisting of a pair of eyes on a screen that
moved to follow visitors, controlled by a Microsoft Kinect.
Disconcertingly, both eyes were right eyes. I talked to Donna
about this, and the idea was to introduce some strangeness to
emphasise that this is a machine.
Kyosei - Coexistence by Lea Nagano (Japan/Germany) was a 360-degree panoramic video based on a view of Tokyo that referred to the earthquake and release of radiation from the Fukushima reactor complex. The artist was in Tokyo when this happened. Vanished Forest by Tviga Vasilyeva and Igor Line (Russia/Finland) showed a large image of a forest. A touch-pad allowed the visitor to select a specific tree, and then sounds recorded from that tree were played. The forest was an old-growth forest, but has been chopped down for its timber.
The most complex was the ambitious installation The Way Things May Go by a consortium of students from several universities, led by staff members. This consisted of 13 fairly small separate devices or installations, each of which could perform an action with at least two outcomes. For example one device agitated ping-pong balls, some of which were yellow, until one jumped into a channel where it passed by a detector which identified it as either white or yellow. Which colour the ball was determined which device would be activated next. The installation was inspired by the video Der Lauf der Dinge by Peter Fischli and David Weiss (also called The Way Things Go - it is 30 mins long - parts of it are on YouTube - check it out). The project was to make a non-deterministic Lauf der Dinge. I thought it didn't quite come off as an installation, as only one device was active at once. The controlling software could have been written to allow say three actions at once.
The two that held my attention most were Versus by David Letellier (France/Germany) and Méchaniques Discursives by Yannik Jacquet and Fred Penelle (Belgium). Versus consisted of two large black flower-like structures, consisting however of triangular and rectangular pieces, that could change configuration via a hydraulic mechanism. They exchanged sounds and movements across the space, and also responded to other sounds in the space. A combination of incomprehensibility and menace, and a certain delicacy. Méchaniques Discursives was a video projection by Jacquet onto a wall with quite a few prints (woodcuts I believe) and drawings by Penelle. The two were designed to work together and did so very well. The imagery was a combination of Dada and Steampunk (or perhaps Victorian electro-punk, as there were references to radio waves, and an anachronistic defibrillator).
And there was a lot more! The Festival was well worth the visit for me.
Kyosei - Coexistence by Lea Nagano (Japan/Germany) was a 360-degree panoramic video based on a view of Tokyo that referred to the earthquake and release of radiation from the Fukushima reactor complex. The artist was in Tokyo when this happened. Vanished Forest by Tviga Vasilyeva and Igor Line (Russia/Finland) showed a large image of a forest. A touch-pad allowed the visitor to select a specific tree, and then sounds recorded from that tree were played. The forest was an old-growth forest, but has been chopped down for its timber.
The most complex was the ambitious installation The Way Things May Go by a consortium of students from several universities, led by staff members. This consisted of 13 fairly small separate devices or installations, each of which could perform an action with at least two outcomes. For example one device agitated ping-pong balls, some of which were yellow, until one jumped into a channel where it passed by a detector which identified it as either white or yellow. Which colour the ball was determined which device would be activated next. The installation was inspired by the video Der Lauf der Dinge by Peter Fischli and David Weiss (also called The Way Things Go - it is 30 mins long - parts of it are on YouTube - check it out). The project was to make a non-deterministic Lauf der Dinge. I thought it didn't quite come off as an installation, as only one device was active at once. The controlling software could have been written to allow say three actions at once.
The two that held my attention most were Versus by David Letellier (France/Germany) and Méchaniques Discursives by Yannik Jacquet and Fred Penelle (Belgium). Versus consisted of two large black flower-like structures, consisting however of triangular and rectangular pieces, that could change configuration via a hydraulic mechanism. They exchanged sounds and movements across the space, and also responded to other sounds in the space. A combination of incomprehensibility and menace, and a certain delicacy. Méchaniques Discursives was a video projection by Jacquet onto a wall with quite a few prints (woodcuts I believe) and drawings by Penelle. The two were designed to work together and did so very well. The imagery was a combination of Dada and Steampunk (or perhaps Victorian electro-punk, as there were references to radio waves, and an anachronistic defibrillator).
And there was a lot more! The Festival was well worth the visit for me.
General view of the main space in the Kunsthalle.
Detail of David
Letellier's installation Versus.
Friday, May 3, 2013
European Media Art Festival - Part 1 of 2
I spent four days at the European Media Art Festival
in Osnabrück, Germany (purely as a visitor, not an exhibitor).
The festival takes place here every year, and this was the 26th
Festival, so it has been going for quite a while. There were a
lot of Germans here, naturally, but there was a strong international
contingent, with people who are working in the U.S.A., Canada, and numerous European countries stretching from Russia to
Great Britain. I'm not sure that there was anyone exhibiting
who is currently working in Australia or New Zealand, but I talked
with a New Zealander who had a film in the Festival and currently
works in Norway - this sort of mobility seems pretty common.
Osnabrück itself is a medium-sized city of about 150,000 people in north-western Germany. I was able to stay in the middle of the old part of the city, which was obviously badly damaged in World War II, but there are still quite a few old buildings, including some of the towers that were part of the city's defences. The festival venues were conveniently located close to where I was staying, and some of them made use of the old buildings.
Short films formed the greater part of the Festival, but there was also an extensive exhibition of installations, artist talks, workshops, and some live performances. Within this there was an extensive stream involving University students from the German-speaking countries (Germany, Austria, Switzerland). Generally there were about four things going on at once.
I was most interested in the exhibition of installations and in a series of showings of short films under the heading "Konstrukt Film oder filmischer Konstructivismus / Film as a construct or filmic constructivism" (most things were in both German and English). There were nearly 40 short films in this series. It started off with early experiments in abstract film from the 1920s-1930s, including pieces by Oskar Fischinger, Lázló Moholy-Nagy and Marcel Duchamp (Anémic Cinéma). Then it went on to post-WWII pieces, mostly from the U.S.A., including pieces by Harry Smith, Len Lye (Free Radicals), Jordan Belson and more. Included were a couple of "flicker films" that were really quite hard to watch. The last session included works from about the last 30 years, including pieces from Larry Cuba and Takashi Ito (Spacy). Apart from the Len Lye and Moholy-Nagy pieces, I hadn't seen any of these before, though I had heard of some of them. Since my own videos arguably fit into a constructivist tradition I really needed to see these.
A film I didn't see, but now wish I had, was the longer film (over an hour) Transcalar Investment Vehicles by Hilary Koob-Sassen (U.S.A./Great Britain). This was awarded the main prize of the Festival, and an extract was shown at the award ceremony. I suspect this film will go down as the outstanding event of the Festival.
Osnabrück itself is a medium-sized city of about 150,000 people in north-western Germany. I was able to stay in the middle of the old part of the city, which was obviously badly damaged in World War II, but there are still quite a few old buildings, including some of the towers that were part of the city's defences. The festival venues were conveniently located close to where I was staying, and some of them made use of the old buildings.
Short films formed the greater part of the Festival, but there was also an extensive exhibition of installations, artist talks, workshops, and some live performances. Within this there was an extensive stream involving University students from the German-speaking countries (Germany, Austria, Switzerland). Generally there were about four things going on at once.
I was most interested in the exhibition of installations and in a series of showings of short films under the heading "Konstrukt Film oder filmischer Konstructivismus / Film as a construct or filmic constructivism" (most things were in both German and English). There were nearly 40 short films in this series. It started off with early experiments in abstract film from the 1920s-1930s, including pieces by Oskar Fischinger, Lázló Moholy-Nagy and Marcel Duchamp (Anémic Cinéma). Then it went on to post-WWII pieces, mostly from the U.S.A., including pieces by Harry Smith, Len Lye (Free Radicals), Jordan Belson and more. Included were a couple of "flicker films" that were really quite hard to watch. The last session included works from about the last 30 years, including pieces from Larry Cuba and Takashi Ito (Spacy). Apart from the Len Lye and Moholy-Nagy pieces, I hadn't seen any of these before, though I had heard of some of them. Since my own videos arguably fit into a constructivist tradition I really needed to see these.
A film I didn't see, but now wish I had, was the longer film (over an hour) Transcalar Investment Vehicles by Hilary Koob-Sassen (U.S.A./Great Britain). This was awarded the main prize of the Festival, and an extract was shown at the award ceremony. I suspect this film will go down as the outstanding event of the Festival.
The robots Vincent und Emily, by Nikolas Schmid-Pfähler and Carolin Liebl
Performance Special Effect by Peter Burr
Tuesday, May 15, 2012
Human, Transhuman, Posthuman (Part 2)
Recently I attended the "Humanity+" conference in Melbourne
(http://hplusconf.com.au/). This is the second of two posts about the conference.
In my previous post I discussed some presentations at the Humanity+ conference that were closely related to current science. This time I will discuss some presentations related to art.
Firstly, Stelarc's presentation, entitled "Meat, Metal and Code". For those who don't know of him, Stelarc (http://stelarc.org) is an Australian artist who has really pushed the boundaries of the body in art. He is also a very engaging presenter, with an extraordinary laugh. He took us through some of his works, from his third hand (an artificial hand he controlled with electrodes attached to his stomach muscles) and the stomach sculpture (which he swallowed: it then unfolded and transmitted video of the interior of his stomach) to more recent work, including work with exoskeletons, and the work Ping, where his body was controlled via the Internet by people clicking on an interface which resulted in Stelarc's muscles being made to move by electric shocks. Stelarc was wearing VR goggles that let him see (via webcam) the face of the person who was controlling him.
Stelarc also talked about, and showed us, his extra ear. The extra ear was originally intended to be on the side of his head, but he ended up growing a small-scale ear-shaped piece of flesh on the inside of one arm, on an implanted scaffolding of artificial cartilage. He also had a microphone and Bluetooth transmitter implanted into the "ear", but he developed a serious infection and the microphone and transmitter had to be removed. He plans to try again with them, and also to implant a small speaker in a gap in his teeth, thus completing a sort of human telephone circuit. There are also plans to inject some of his stem cells to create an earlobe, which is missing at present.
Stelarc also ran the Prosthetic Head for us, an avatar of Stelarc which one converses with, Eliza-fashion, by typing statements or questions. The Head is on a screen. It is based on a scan of Stelarc's head, has changing facial expressions, and talks via speech synthesis. An extension of this work is the Articulated Head, which he only mentioned briefly. This is mounted on a robot arm and has an "attention facility": it is capable of getting bored and turning away from someone interacting with it.
Recently Stelarc reprised his early suspension works, where he had large hooks pushed through his skin and was suspended by steel cables. He did one this March, after a break of more than 20 years, suspended over a four-metre-long statue of his arm with the extra ear. He did say that doing a suspension again wasn't one of his best ideas!
Stelarc had a disconcerting habit during the presentation of referring to himself as "the body" or "this body" or "the artist", though he did say "I" some of the time. In response to a question he said: "There is not an 'I' that owns this body. This body exists and interacts."
Natasha Vita-More (which I think is an adopted name; http://www.natasha.cc) describes herself as a designer, though she has evidently had a very varied career; at one point she did pre-astronaut training. She described her "Primo Posthuman" design for a re-engineered body, with choice of gender, improved skin with adjustable colour, and so on. She made this design in collaboration with various professionals, but as far as I can tell it is essentially a piece of conceptual art, without technical detail of the sort I described in my previous post. She also showed us other works, based in part on things like scans of the bone density of her body; to some extent they are meditations on the frailty of the human body—hers. She said she isn't interested in radical body modification for herself (as things are now), though she has had cosmetic surgery.
Her main work seems to be tireless promotion of ideas around trans-humanism, a movement to improve the human condition by scientific means, leading ultimately to humans being able to take charge of their own evolution.
A surprise was the talk by Stuart Candy (http://futuryst.com/). Candy is a professional futurist: his day job is as a member of the "Foresight" team of the big engineering and construction firm Arup. He also has an adjunct position at the California College of the Arts.
Stuart explained what he does as a futurist. He doesn't try to "predict the future": that is futile. He does develop a range of possible future scenarios; the challenge then is to try to move towards the scenarios that we prefer and away from the ones we don't want. He also considered that the scenarios are best presented as stories or experiences, rather than through tables and charts.
This is where the surprise came in, as these stories or experiences are essentially imaginative artworks. Candy studied at the University of Hawaii under the noted futurist Jim Dator. While Candy was there, the State Government of Hawaii launched a project to discuss Hawaii in 2050 and asked the University to assist. The result was four experiential scenarios. In one, which was more or less "business as usual", the audience attended an election debate between the candidates for the Governorship of Hawaii in 2050; the candidates were corporations, as legal personhood was assumed to have advanced to the point where corporations could run for office. In another scenario the audience was herded into a room by gun-carrying soldiers for an indoctrination lecture. It was supposed that a global economic collapse had essentially separated Hawaii from the rest of the world; parts of the U.S. Army based in Hawaii had taken over, cloaking their authoritarian rule with respectability by restoring the Hawaiian monarchy, which was overthrown in a U.S.-backed coup in 1893. In all there were four such future scenarios.
At the California College of the Arts, Candy has encouraged students to come up with projects like the "Genetic Census of 2020", where the students got people to spit into a test-tube, supposedly to ascertain their genetic profiles. Candy's point was that these experiential scenarios present ideas about the future far more engagingly than any number of graphs, charts and technical reports. He showed us some pages from a "Summary for Policymakers" produced by the Intergovernmental Panel on Climate Change. It was full of dry graphs and charts, whose implications are in fact frightening, but which would have had far more impact on the policy makers if they had been supplemented with the sort of experiential scenarios Candy was showing us.
A change of pace was provided by a reading by Lisa Jacobson (http://lisajacobson.org/) of extracts from her verse novel The Sunlit Zone, which is being published this month. The novel is set partly in the year 2050, and the extracts we heard blended the everyday with occasional startling elements that are supposed no more remarkable in 2050 than an iPad is today. Jacobson has won awards for her poetry, but the verse novel is apparently a new form for her. She read well, and the half hour she had went all too quickly.
Nobody at the conference represented the cultural studies/critical theory side of things, which is understandable considering some of the hostile attitudes towards science that have come from that camp, and the only person who mentioned critical theory was Natasha Vita-More. She discussed briefly a 2011 book Transhumanism and Its Critics, edited by Gregory Hansell and William Grassie, which contains contributions from both sides.
For me the weekend was a very interesting glimpse into the transhumanist world, which I was previously only vaguely aware of. And if Aubrey de Grey's work "only" leads to an effective therapy for macular degeneration, more power to his elbow!
In my previous post I discussed some presentations at the Humanity+ conference that were closely related to current science. This time I will discuss some presentations related to art.
Firstly, Stelarc's presentation, entitled "Meat, Metal and Code". For those who don't know of him, Stelarc (http://stelarc.org) is an Australian artist who has really pushed the boundaries of the body in art. He is also a very engaging presenter, with an extraordinary laugh. He took us through some of his works, from his third hand (an artificial hand he controlled with electrodes attached to his stomach muscles) and the stomach sculpture (which he swallowed: it then unfolded and transmitted video of the interior of his stomach) to more recent work, including work with exoskeletons, and the work Ping, where his body was controlled via the Internet by people clicking on an interface which resulted in Stelarc's muscles being made to move by electric shocks. Stelarc was wearing VR goggles that let him see (via webcam) the face of the person who was controlling him.
Stelarc also talked about, and showed us, his extra ear. The extra ear was originally intended to be on the side of his head, but he ended up growing a small-scale ear-shaped piece of flesh on the inside of one arm, on an implanted scaffolding of artificial cartilage. He also had a microphone and Bluetooth transmitter implanted into the "ear", but he developed a serious infection and the microphone and transmitter had to be removed. He plans to try again with them, and also to implant a small speaker in a gap in his teeth, thus completing a sort of human telephone circuit. There are also plans to inject some of his stem cells to create an earlobe, which is missing at present.
Stelarc also ran the Prosthetic Head for us, an avatar of Stelarc which one converses with, Eliza-fashion, by typing statements or questions. The Head is on a screen. It is based on a scan of Stelarc's head, has changing facial expressions, and talks via speech synthesis. An extension of this work is the Articulated Head, which he only mentioned briefly. This is mounted on a robot arm and has an "attention facility": it is capable of getting bored and turning away from someone interacting with it.
Recently Stelarc reprised his early suspension works, where he had large hooks pushed through his skin and was suspended by steel cables. He did one this March, after a break of more than 20 years, suspended over a four-metre-long statue of his arm with the extra ear. He did say that doing a suspension again wasn't one of his best ideas!
Stelarc had a disconcerting habit during the presentation of referring to himself as "the body" or "this body" or "the artist", though he did say "I" some of the time. In response to a question he said: "There is not an 'I' that owns this body. This body exists and interacts."
Natasha Vita-More (which I think is an adopted name; http://www.natasha.cc) describes herself as a designer, though she has evidently had a very varied career; at one point she did pre-astronaut training. She described her "Primo Posthuman" design for a re-engineered body, with choice of gender, improved skin with adjustable colour, and so on. She made this design in collaboration with various professionals, but as far as I can tell it is essentially a piece of conceptual art, without technical detail of the sort I described in my previous post. She also showed us other works, based in part on things like scans of the bone density of her body; to some extent they are meditations on the frailty of the human body—hers. She said she isn't interested in radical body modification for herself (as things are now), though she has had cosmetic surgery.
Her main work seems to be tireless promotion of ideas around trans-humanism, a movement to improve the human condition by scientific means, leading ultimately to humans being able to take charge of their own evolution.
A surprise was the talk by Stuart Candy (http://futuryst.com/). Candy is a professional futurist: his day job is as a member of the "Foresight" team of the big engineering and construction firm Arup. He also has an adjunct position at the California College of the Arts.
Stuart explained what he does as a futurist. He doesn't try to "predict the future": that is futile. He does develop a range of possible future scenarios; the challenge then is to try to move towards the scenarios that we prefer and away from the ones we don't want. He also considered that the scenarios are best presented as stories or experiences, rather than through tables and charts.
This is where the surprise came in, as these stories or experiences are essentially imaginative artworks. Candy studied at the University of Hawaii under the noted futurist Jim Dator. While Candy was there, the State Government of Hawaii launched a project to discuss Hawaii in 2050 and asked the University to assist. The result was four experiential scenarios. In one, which was more or less "business as usual", the audience attended an election debate between the candidates for the Governorship of Hawaii in 2050; the candidates were corporations, as legal personhood was assumed to have advanced to the point where corporations could run for office. In another scenario the audience was herded into a room by gun-carrying soldiers for an indoctrination lecture. It was supposed that a global economic collapse had essentially separated Hawaii from the rest of the world; parts of the U.S. Army based in Hawaii had taken over, cloaking their authoritarian rule with respectability by restoring the Hawaiian monarchy, which was overthrown in a U.S.-backed coup in 1893. In all there were four such future scenarios.
At the California College of the Arts, Candy has encouraged students to come up with projects like the "Genetic Census of 2020", where the students got people to spit into a test-tube, supposedly to ascertain their genetic profiles. Candy's point was that these experiential scenarios present ideas about the future far more engagingly than any number of graphs, charts and technical reports. He showed us some pages from a "Summary for Policymakers" produced by the Intergovernmental Panel on Climate Change. It was full of dry graphs and charts, whose implications are in fact frightening, but which would have had far more impact on the policy makers if they had been supplemented with the sort of experiential scenarios Candy was showing us.
A change of pace was provided by a reading by Lisa Jacobson (http://lisajacobson.org/) of extracts from her verse novel The Sunlit Zone, which is being published this month. The novel is set partly in the year 2050, and the extracts we heard blended the everyday with occasional startling elements that are supposed no more remarkable in 2050 than an iPad is today. Jacobson has won awards for her poetry, but the verse novel is apparently a new form for her. She read well, and the half hour she had went all too quickly.
Nobody at the conference represented the cultural studies/critical theory side of things, which is understandable considering some of the hostile attitudes towards science that have come from that camp, and the only person who mentioned critical theory was Natasha Vita-More. She discussed briefly a 2011 book Transhumanism and Its Critics, edited by Gregory Hansell and William Grassie, which contains contributions from both sides.
For me the weekend was a very interesting glimpse into the transhumanist world, which I was previously only vaguely aware of. And if Aubrey de Grey's work "only" leads to an effective therapy for macular degeneration, more power to his elbow!
Tuesday, May 8, 2012
Human, Transhuman, Posthuman (Part 1)
Last weekend I attended the "Humanity+" conference in Melbourne
(http://hplusconf.com.au), held at RMIT. It consisted of an
eclectic mix of presentations by invited speakers, without
contributed papers or a published proceedings, though videos of the
talks will become available. The conference was under the
auspices of the Humanity+ organisation (http://humanityplus.org),
whose aim is to promote thinking about the "next steps" of
humanity. The main areas of focus appear to be biomedical and
bioengineering developments for longer and healthier life, leading
on to enhancements of the body, and artificial intelligence and
enhancements of the mind. The chair of Humanity+, Natasha
Vita-More, was one of the presenters. I went because I thought
the gerontologist Aubrey de Grey would be worth hearing, and because
the artist Stelarc was giving a presentation.
This conference was more optimistic than pessimistic. Climate change and population pressures were there in the background, and sustainability was a theme, but on the whole the intent was to look beyond these problems to longer-term possible futures for humanity. The organiser was Adam Ford, who has just become a board member of Humanity+, and who has had a considerable involvement in this general area.
Maybe 80 people attended, predominantly but by no means exclusively male, and a mixture of young and old, with relatively few people in the middle age range. I got the impression that almost everyone there had a background in science, engineering or computing.
Aubrey de Grey was well worth hearing. His view on ageing is that normal metabolic processes produce "damage" of various kinds, such as junk inside cells that the body cannot dissolve. We can tolerate a certain amount of such damage, but eventually it starts to harm us. De Grey listed all the classes of damage that are known (and indicated that no fundamentally new classes of damage had come to light in the last 30 years), and indicated plausible approaches to dealing with all of them. He mentioned two specific projects at his laboratory dealing with junk inside the cell, targeted at macular degeneration, which is a leading cause of blindness, and at atherosclerosis, which is inflammation of the walls of the arteries, heading to heart disease and strokes.
All of this comes under the heading of "regenerative medicine", therapies to rejuvenate (that is, to make young again) systems in the body by clearing out damage and taking the bodily systems back some way towards the healthy young adult state. Once such therapies are in place for all the major types of damage (which is quite a few years away), de Grey thinks that we will be able to have another 30 years of healthy middle age. These days 60 is the new 50; with these therapies 80 or 90 would be the new 50. But that is only the start. As techniques improve, clearing out a greater proportion of damage, repeated rejuvenation would allow enormous prolongation of healthy, active life, to ultimately maybe 1,000 years. This doesn't imply a cure for cancer, but it does imply a method of avoiding cancer by manipulating telomeres (the caps at the end of DNA strands).
All of this provoked a lot of discussion, and de Grey devoted his second presentation to discussing objections to his program. The diseases of ageing are not just a first world problem: de Grey said that already two-thirds of the deaths in the world are due to them. Of course if we do have the potential to live to 1,000 years there will have to be massive changes in society, but de Grey pointed out that by the time such long life becomes feasible there will have been massive changes in society anyway.
Incidentally de Grey is not a food faddist or anything of that sort. He was asked about diet, and said that as long as one is reasonably sensible about diet and exercise (and doesn't smoke), things like the "paleo diet" and the like don't achieve much. And he enjoyed a beer at the pub afterwards.
The other presentation that contained a road map for future developments was that of Tim Josling on artificial intelligence. He outlined the so-called hype cycle that tends to apply to new technologies. Once a new technology becomes known, at first there is a great deal of hype, resulting in wildly inflated expectations. When the technology doesn't live up to these, there is a "trough of disillusionment", and then after than attitudes to the technology finally settle to a realistic view of what it can achieve.
Artificial intelligence (AI) went through this cycle: after quite a long initial period of hype the "AI winter" descended in the 1980s, when funding dried up and AI was generally regarded to have failed. In fact it developed quietly in various specialised areas. Josling listed several techniques developed years or decades ago that were impractical at the time but are now coming in to their own as increased computer power has made them feasible. Incidentally Josling is more optimistic about the continuation of Moore's Law (that the number of transistors on a chip doubles every two years) than Herb Sutter (whom I mentioned in a previous post), but it doesn't matter for Josling's argument whether increased computing power arrives via Moore's Law in one box or via networks, as Sutter expects.
Josling expects that more and more low-level white-collar jobs will be cheaper to do by machines, on a relatively short time frame, and he ended by posing the question: "Leisured aristocracy or unemployed underclass?"
This sort of prophecy was made in my youth, and hasn't really come to pass. However, the "acceptable" minimum rate of unemployment has risen from 2% to 5% in my lifetime, and since the official figures are constructed to be as low as possible, the true unemployment figure is at least 10%. I also think that the availability of cheap Third World workers has delayed the development of automation, but that is beginning to come to an end. Eventually the machines will be cheaper than even a Third World worker.
In the background of Josling's presentation is a concept known as "The Singularity", and there was a panel discussion around this at the conference. The Singularity is when machines become smarter than we are; this may be a long way off, but it is hard to argue convincingly that it can never happen. The Singularity is a sort of "event horizon", as we cannot predict what would happen after that. As far as raw processing power is concerned, by one estimate a current desktop machine with a good graphics card has maybe 1/2000 of the raw power of a human brain. Networks of 2000 such machines already exist. Though one of the panellists, Colin Hales, indicated that recent discoveries have indicated that the brain may have far more power than the above estimate implies.
The work up until now has been in specialised domains, for example making driverless trucks for mining sites. There was mention of a possible approach to general artificial intelligence being pioneered by Marcus Hutter at the Australian National University. Josling indicated that the promising advances in artificial intelligence involve various forms of machine learning (and I got the impression that this applies to Hutter's work); this led into a discussion of risks. If a machine has learnt from experience rather than being explicitly programmed (and this already happens in some areas) then we don't know in detail how it does what it does. If it does something unexpected and kills or injures someone, it is not at all clear who should be held accountable. One of the attendees, who works as a safety engineer (I didn't catch his name) said that once a technology such as that for driverless trucks is mature, it is more reliable than having human drivers; it is the early period of introduction of such technologies that is really dangerous. In this context, the Google Car has driven itself autonomously around Los Angeles. One of the panellists, James Newton-Thomas, who works with autonomous mining equipment, indicated that the current approach is to segregate the equipment behind physical barriers, as well as fitting independent safety systems.
A discussion that was only touched on at the conference was how to make sure that a super-intelligent machine would be friendly towards us, and there was some discussion about the relationship among consciousness, intelligence and morality. There was also some discussion about the uses to which governments and large corporations would put super-intelligent machines. The prospect of large-scale technological unemployment and the thought-police-like powers already available via automated surveillance and data mining are much more immediate concerns.
(To be continued...)
This conference was more optimistic than pessimistic. Climate change and population pressures were there in the background, and sustainability was a theme, but on the whole the intent was to look beyond these problems to longer-term possible futures for humanity. The organiser was Adam Ford, who has just become a board member of Humanity+, and who has had a considerable involvement in this general area.
Maybe 80 people attended, predominantly but by no means exclusively male, and a mixture of young and old, with relatively few people in the middle age range. I got the impression that almost everyone there had a background in science, engineering or computing.
Aubrey de Grey was well worth hearing. His view on ageing is that normal metabolic processes produce "damage" of various kinds, such as junk inside cells that the body cannot dissolve. We can tolerate a certain amount of such damage, but eventually it starts to harm us. De Grey listed all the classes of damage that are known (and indicated that no fundamentally new classes of damage had come to light in the last 30 years), and indicated plausible approaches to dealing with all of them. He mentioned two specific projects at his laboratory dealing with junk inside the cell, targeted at macular degeneration, which is a leading cause of blindness, and at atherosclerosis, which is inflammation of the walls of the arteries, heading to heart disease and strokes.
All of this comes under the heading of "regenerative medicine", therapies to rejuvenate (that is, to make young again) systems in the body by clearing out damage and taking the bodily systems back some way towards the healthy young adult state. Once such therapies are in place for all the major types of damage (which is quite a few years away), de Grey thinks that we will be able to have another 30 years of healthy middle age. These days 60 is the new 50; with these therapies 80 or 90 would be the new 50. But that is only the start. As techniques improve, clearing out a greater proportion of damage, repeated rejuvenation would allow enormous prolongation of healthy, active life, to ultimately maybe 1,000 years. This doesn't imply a cure for cancer, but it does imply a method of avoiding cancer by manipulating telomeres (the caps at the end of DNA strands).
All of this provoked a lot of discussion, and de Grey devoted his second presentation to discussing objections to his program. The diseases of ageing are not just a first world problem: de Grey said that already two-thirds of the deaths in the world are due to them. Of course if we do have the potential to live to 1,000 years there will have to be massive changes in society, but de Grey pointed out that by the time such long life becomes feasible there will have been massive changes in society anyway.
Incidentally de Grey is not a food faddist or anything of that sort. He was asked about diet, and said that as long as one is reasonably sensible about diet and exercise (and doesn't smoke), things like the "paleo diet" and the like don't achieve much. And he enjoyed a beer at the pub afterwards.
The other presentation that contained a road map for future developments was that of Tim Josling on artificial intelligence. He outlined the so-called hype cycle that tends to apply to new technologies. Once a new technology becomes known, at first there is a great deal of hype, resulting in wildly inflated expectations. When the technology doesn't live up to these, there is a "trough of disillusionment", and then after than attitudes to the technology finally settle to a realistic view of what it can achieve.
Artificial intelligence (AI) went through this cycle: after quite a long initial period of hype the "AI winter" descended in the 1980s, when funding dried up and AI was generally regarded to have failed. In fact it developed quietly in various specialised areas. Josling listed several techniques developed years or decades ago that were impractical at the time but are now coming in to their own as increased computer power has made them feasible. Incidentally Josling is more optimistic about the continuation of Moore's Law (that the number of transistors on a chip doubles every two years) than Herb Sutter (whom I mentioned in a previous post), but it doesn't matter for Josling's argument whether increased computing power arrives via Moore's Law in one box or via networks, as Sutter expects.
Josling expects that more and more low-level white-collar jobs will be cheaper to do by machines, on a relatively short time frame, and he ended by posing the question: "Leisured aristocracy or unemployed underclass?"
This sort of prophecy was made in my youth, and hasn't really come to pass. However, the "acceptable" minimum rate of unemployment has risen from 2% to 5% in my lifetime, and since the official figures are constructed to be as low as possible, the true unemployment figure is at least 10%. I also think that the availability of cheap Third World workers has delayed the development of automation, but that is beginning to come to an end. Eventually the machines will be cheaper than even a Third World worker.
In the background of Josling's presentation is a concept known as "The Singularity", and there was a panel discussion around this at the conference. The Singularity is when machines become smarter than we are; this may be a long way off, but it is hard to argue convincingly that it can never happen. The Singularity is a sort of "event horizon", as we cannot predict what would happen after that. As far as raw processing power is concerned, by one estimate a current desktop machine with a good graphics card has maybe 1/2000 of the raw power of a human brain. Networks of 2000 such machines already exist. Though one of the panellists, Colin Hales, indicated that recent discoveries have indicated that the brain may have far more power than the above estimate implies.
The work up until now has been in specialised domains, for example making driverless trucks for mining sites. There was mention of a possible approach to general artificial intelligence being pioneered by Marcus Hutter at the Australian National University. Josling indicated that the promising advances in artificial intelligence involve various forms of machine learning (and I got the impression that this applies to Hutter's work); this led into a discussion of risks. If a machine has learnt from experience rather than being explicitly programmed (and this already happens in some areas) then we don't know in detail how it does what it does. If it does something unexpected and kills or injures someone, it is not at all clear who should be held accountable. One of the attendees, who works as a safety engineer (I didn't catch his name) said that once a technology such as that for driverless trucks is mature, it is more reliable than having human drivers; it is the early period of introduction of such technologies that is really dangerous. In this context, the Google Car has driven itself autonomously around Los Angeles. One of the panellists, James Newton-Thomas, who works with autonomous mining equipment, indicated that the current approach is to segregate the equipment behind physical barriers, as well as fitting independent safety systems.
A discussion that was only touched on at the conference was how to make sure that a super-intelligent machine would be friendly towards us, and there was some discussion about the relationship among consciousness, intelligence and morality. There was also some discussion about the uses to which governments and large corporations would put super-intelligent machines. The prospect of large-scale technological unemployment and the thought-police-like powers already available via automated surveillance and data mining are much more immediate concerns.
(To be continued...)
Saturday, October 8, 2011
Analogue Swallows Digital
Last week I attended Impact7, billed as the "international multi-disciplinary printmaking conference", at Monash University in Melbourne. This is the seventh in a series of conferences that began in England in 1999. The core subject-matter of the conference was traditional printmaking: woodcuts, drypoint, etching and so forth. However, there were a substantial number of presentations referring to digital media, and presentations exploring links between print-making and artists' book, zines, photography and graphic design. There was also considerable discussion of education in the visual arts. In the four days there were nearly 150 presentations (talks and demonstrations) and a substantial number of exhibitions.
I was curious to know how the traditional print-makers have reacted to the invasion of their field by Photoshop, inkjet printers and so forth. The answer appears to be that the new methods have simply been incorporated into print-making practice: there were repeated references to the new technologies as providing just another set of tools, and discussion of the "expanded field" of print-making. Analogue has swallowed digital. Whatever debate there was in the printmaking community about digital media is now over, though occasionally concern was expressed that the "hand" of the artist might be missing. I did hear a response to the effect that the mind of the artist is more important.
My own presentation argued that the computer can be more than a tool and that having outsourced the work of the artist's hand to machines, we are now starting to outsource the work of the artist's mind to machines also.
I was curious to know how the traditional print-makers have reacted to the invasion of their field by Photoshop, inkjet printers and so forth. The answer appears to be that the new methods have simply been incorporated into print-making practice: there were repeated references to the new technologies as providing just another set of tools, and discussion of the "expanded field" of print-making. Analogue has swallowed digital. Whatever debate there was in the printmaking community about digital media is now over, though occasionally concern was expressed that the "hand" of the artist might be missing. I did hear a response to the effect that the mind of the artist is more important.
My own presentation argued that the computer can be more than a tool and that having outsourced the work of the artist's hand to machines, we are now starting to outsource the work of the artist's mind to machines also.
Subscribe to:
Posts (Atom)














