FROM CYBERNETICS TO TECHNOETICS: A GROUNDCOURSE.
Behaviour, identity, process and system, interaction, transformation.
The workshop requires both individual initiative and collaborative group action. It consists of lectures, discussion, and practice. The media employed includes anything from onsite scrap materials to personal digital devices. Its framework is cybernetic, syncretic, and technoetic. It introduces cybernetics as a discipline, re-considering the original Ground course method in relation to the contemporary situation.
A British artist and theorist, who works with cybernetic and telematics, whose work focuses on the impact of digital and telecommunications network on consciousness. He is the president of the Planetary Colleguim, and DeTao Master of Technoetic Arts in Beijing DeTao Masters Academy. He is the founding editor of the research
journal Technoetic Arts, an honorary editor of Leonardo Journal, and author of such the books as Telematic Embrace: Visionary Theories of Art, Technology and Consciousness.
The workshop aims to elicit creative action and critical reflection in the context of art, mind and technology. The course will help you to understand the potential of cybernetic, technoetic and syncretic thought and action in the context of art. Adaptive creativity, producing new insights attitudes, and forms. And appreciation of collaborative thought and action.
Please send us your contacts and your biography with email subject “Technoetics” at email@example.com
Please Note that participants will be asked to bring their laptops.
Deadline for application to the workshops is Friday 29 March 2013.
The Curating Digital Art Workshops will give participants the opportunity to take a crash course in the history of digital arts whilst simultaneously collaborating to curate an original exhibition of contemporary Digital Art. Aimed at early career traditional arts curators with an interest in moving their practice into digital media the workshop will also be of interest to artists, writers, architects and museologists looking to collaborate on new media and digital projects.
The aim of the workshop will be to leave participants in a position to be able to plan, budget, schedule, curate, produce, market and evaluate their own digital art shows by using innovation approaches and tools to rapid prototype an original exhibition.
Every day in workshop will be based around a topic that introduces various aspects of the curation of digital arts to the participants. During the afternoon participants will go to site visit that introduces the participants to practitioners in Cairo and have a practical hands on element The participants will leave with a full set of exhibition tools, process and procedure. An understanding of the national and international landscape of digital arts. An understanding of the hardware and software tools being used in digital arts as well as an overview of the theory and practice. And a completed exhibition proposal.
An established and experienced curator, festival and major events director, arts producer and writer. Andy has in-depth knowledge of the entire production and documentation process and more than 5 years experience working in a senior strategic role in arts organizations. He works internationally collaborating with visual & digital artists, performers and musicians to create high-impact, high-quality content rich exhibitions and experiences. His experience encompasses delivery of all media including photography, audio, film, digital distribution and high impact public events. Brydon has been responsible for the Haçienda retrospective exhibition Haçienda 25: Fac491, HomeGrown: The Story of UK Hip Hop, and the hugely successful photographic and urban culture exhibitions Secret Cities.
Recently he has been responsible for directing and producing the FutureEverything digital culture festival and his team has delivered successful projects for The British Council (UK and Netherlands),
Royal Botanical Gardens Kew, The Netherlands Business Support Office, BBC Philharmonic, JWT, Aardman Animation, Manchester Art Gallery, Salford University, Manchester Museum of Science and Industry, Marketing Manchester, MIDAS, Sabbath Bikes, Mere Golf & Country Club, Imagine Publishing, ILEX publishing, Corridor Manchester, Raw Design agency and Creative Concern. He has most recently curated the inaugural North Atlantic Pavilion for the 2012 Liverpool Biennial being praised for presenting "international discoveries from unfamiliar places, true international artists whose work feels tangibly of its place" (Waldemar Januszczak, Sunday Times 23/09/2012) www.curatedplace.com
Amalie Roberts is an experienced producer and project manager, a writer and performer of music, and a published academic in creative industries management and intellectual property law. Curating, commissioning and delivering high-quality events, her focus is always on nurturing, exploring and re-imagining the position of live music performance within the contemporary cultural landscape. Bringing core business skills, professionalism and fund-raising experience to the arts, she creates memorable, stunning and world-class productions. Production credits include FutureEverything Festival (Manchester, UK); Insomnia Festival (Tromso, Norway); Liverpool Sound City (Liverpool, UK); In The City (Manchester, UK); Sounds From the Other City (Salford, UK) and Unconvention (Worldwide).
Kindly send us your contacts details, your biography and 200 words about your project idea with email subject “Curating digital arts” at firstname.lastname@example.org
Please note that participants need to bring their computers and examples of artworks they like for their projects.
Deadline for application to the workshops is Monday 1 April 2013.
The workshop provides an introduction into generative and algorithmic approaches in digital art and music. The workshop follows a very hands on approach in that it allows the students to extensively experiment with algorithms and software tools that have been developed by the instructors for research and artistic creation. A particular focus is placed on the combination of simulations of swarm behaviour and stochastic synthesis in order to create complex, dynamic and interactive audiovisual performances.
The workshop goals is to overview of concepts and practice within the fields of generative art and algorithmic music. To Familiarization with algorithmic and aesthetic aspects of swarm simulations and stochastic synthesis. Also to experience in creating swarm simulations and synthesis patches ; intergration into own artistic workflow and realization of prototypical audiovisual works
Daniel Bisig was born in 1968 in Zürich, Switzerland. In 1994, he received a Master's degree in Natural Sciences at the Swiss Federal Institute of Technology. In 1998, he received a PhD in Protein Crystallography at the same university. In 1999, he finished training in web-design with a diploma at the EB-Wolfbach, Zurich. In between 1999 and 2001, he was teaching web-design at the EB-Wolfbach and worked as designer and programmer at the web-company Ditoy. In 2001, he joined the Artificial Intelligence Laboratory at the University of Zurich as a senior researcher. He has also been working as a research associate at the Department of Art and Design, University of Applied Sciences, Aargau in 2003 and at the Institute Cultural Studies, University of Art and Design, Zurich in 2004.
Since 2006, he has an additional research position at the Institute for Computer Music and Sound Technology in Zurich. Since 1996, he has been active as an artist in the fields of computer animation, experimental video and software art. He's most recent works include BioSonics, an interactive Artificial Life installation, Ostrawa, an experimental video film and MediaFlies, a flocking based video and audio remixing tool.
Studied piano, electroacoustic music, music theory, and composition in Zurich, Basel and London. His work encompasses pieces for instruments and voice with or without electronics. His interest lies both in electronic and instrumental music. As means for sound and score synthesis, the computer has become his most important instrument in both fields. He is working at the Institute for Computermusic and Sound Technology (ICST) in Zurich as research associate and software developer as well as at the Zurich University of the Arts as lecturer for music theory and computer aided composition.
For Applying :
Kindly send us your contacts details and your biography with email subject “Digital Performance” at email@example.com
Please note that participants need to have experience in using computers as creative tools (Programming experience not necessary but advantageous) and all participants need to bring their own computers
Deadline for application to the workshops is Monday 1 April 2013.