| Karen O'Rourke on Sun, 14 Oct 2007 23:14:27 +0200 (CEST) |
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| <nettime> Symposium Art-oriented programming |
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| ART-ORIENTED PROGRAMMING 2 ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| International Symposium PARIS, SORBONNE, 19 and 20 October 2007 Friday 19 October 2007 from 3 to 8:15 pm Saturday 20 October 2007 from 9:30 am to 8:30 pm at the Università Paris 1 - PanthÃon-Sorbonne AmphithÃÃtre (Lecture hall) Richelieu 17 rue de la Sorbonne - 75005 Paris Free Entrance(to sign up, send an e-mail to : poa2aop@orange.fr) Symposium organized by Laboratoire des Arts et MÃdias [LAM-LETA] person in charge : David-Olivier Lartigaud http://lam.univ-paris1.fr ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Master Class PURE DATA with Miller Puckette and in presence of Alexander Galloway, Cyrille Henry, Olivier Pasquet. at the Ãcole nationale supÃrieure dâart de Nancy (ENSA Nancy) 1 avenue Boffrand - 54000 NANCY Tel : 03 83 41 61 61 Sunday 21 October 2007 from 10 am to 5 pm A limited amount of space is available(to sign up, send an e-mail to : poa2aop@orange.fr) ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Publication Art ++publicationART ++ Publication Art ++ ÃditionsHYX to appear at the end of October Contact - Information - Press : poa2aop@orange.fr / 08 77 65 94 38 ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| General Introduction ColloqueProgrammation orientÃe art 2 At the time of the previous  Art-oriented Programming  symposium in 2004, the question of programming in art was being hotly debated. Three years later, works continue to be made but they seem to have less visibility. Is this due to a decrease in artistic production? Was it simply a  fashion Â? Has programming really become an art? Many works have been made during these last few years and perhaps even more theoretical statements. It has become urgent to clarify matters and make a  fresh start Â. To avoid repeating or caricaturing what has already been done, we must objectively take stock of the situation, sort out the stakes and open up a new critical space. In five sessions over two days, this symposium proposes to explore current art and thinking in this field, still lively and rich in promise. ____________________________________ Art and Code : Exhibit/preserve/collect (Friday 19 October â 3-6 pm - amphithÃÃtre Richelieu) With : Inke Arns(Directrice artistique de Hartware MedienKunstVerein, Dortmund), Wolf Lieser(Directeur de la galerie [DAM], Berlin), StÃphane Maguet(Directeur de la galerie numeriscausa, Paris), Gilles Rouffineau(Professeur à lâÃcole supÃrieure dâart de Valence, LAM), Antoine Schmitt(Artiste, Paris), Nicolas ThÃly(MaÃtre de confÃrences, Università Paris 1 - PanthÃon-Sorbonne, LAM). Exhibiting and preserving programmed works is a problem that requires many adjustments with the artist. Does an old work presented on a new machine lose part of its essence? How can we deal with the obsolescence of media? How can we give a future to works so heavily dependent on constantly changing technologies and software? As for the art market, will it be able to adapt? ____________________________________ Art and code : What history for what future? ( Friday 19 October â 6-8:30 pm - amphithÃÃtre Richelieu) With : Andreas Broeckmann(Historien dâart, Directeur artistique de TESLA, Berlin), Geoff Cox(Artiste, Lecturer à lâUniversità de Plymouth), Darko Fritz(Artiste et commissaire dâexposition, Amsterdam/Zagreb), David-Olivier Lartigaud(Università Paris 1 - PanthÃon-Sorbonne, LAM). The creations of the  computer art   pioneers  of the sixties and seventies have found a new vitality: celebrated anew, appreciated for their formal and conceptual clarity, these works seem all the more readable in our contemporary context. But isn't  programmed art  too young to be contemplating its past? Could this be a sign of withdrawl, a need to find its place in a genealogy and thereby prove its worth? Or, on the contrary, does this return to the sources offer a change of viewpoint necessary for a renewal of the topic? ____________________________________ Art and Code : Coded Cities/ Programmed Maps (Saturday 20 October â 9:30-12:30 am - amphithÃÃtre Richelieu) With : Maurice Benayoun(Artist, Università Paris 1 - PanthÃon-Sorbonne, Artistic Director of CITU, LAM), Wilfried Hou Je Bek(Artist, Utrecht), Karen OâRourke, (MaÃtre de confÃrences, Università Paris 1 - PanthÃon-Sorbonne, LAM), Tania Ruiz(Artist, Paris), Jo Walsh(Artist, London). Code and programming seem to adopt the very shape of questions relating to urban life. Dynamic maps and 3-D cartography reflect a new approach to the city seen as a database, a potential in which the artist finds not only inspiration but also the material of her creation. More than just a screen, isn't the city the new place for software art? ____________________________________ Art and Code : Aesthetics / Culture / Society (Saturday 20 October - 2-5pm - amphithÃÃtre Richelieu) With : Wendy Chun(Professeur, Brown University, Providence), Matthew Fuller(Critique, Center for Cultural Studies, Goldsmiths College, Università de Londres), Alexander Galloway(Artiste, Professeur Assistant à lâUniversità de New York), Olga Goriunova(Critique, co-fondatrice de runme.org, Moscou), David Zerbib(Università Paris 1 - PanthÃon-Sorbonne, LETA). The question of programming in art is founded in -or derives its meaning from - a broader context, that of a kind of  digital culture Â. What do we mean when we use this expression? Does this culture really exist? If so, has artistic programming participated in defining this culture or is it simply a product thereof ? The question comes up regularly as to the existence of an aesthetics specific to this  culture Â. Is this existence supported by facts? Or is it merely a theoretical construction? ____________________________________ Art et Code : Langages (samedi 20 octobre - 17h/20h30 - amphithÃÃtre Richelieu) Avec : Samuel Bianchini(Artiste, MaÃtre de confÃrences, Università de Valenciennes, LAM), Christophe Bruno(Artiste, Paris), Philippe Codognet(Professeur à Keio University, Tokyo), Jacques Lafon(Directeur de lâÃcole europÃenne supÃrieure de lâimage, site dâAngoulÃme), Miller Puckette(Professeur à lâUniversità de Californie, crÃateur de Max et Pure Data), Douglas Edric Stanley(Artiste, http://www.abstractmachine.net). Free and/or open-source software open up a whole new approach to creation using computers. The success of Pure Data, for example, shows that exemption from payment is not the only reason for this popularity: these applications seem better able to meet certain artists' expectations. But how far does this go? Are productions using free software really that different from works made using commercial software and computer languages? The question of language is not limited to programming. Web 2.0 opens up a new set of problems, that are either exciting or frightening, according to one's viewpoint, in which language is central. ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Master Class PURE DATA with Miller Puckette Dimanche 21 octobre 2007 de 10h00 à 17h00 à LâÃcole nationale supÃrieure dâart de Nancy (ENSA Nancy) 1 avenue Boffrand - 54000 NANCY tÃl : 03 83 41 61 61 PlaceslimitÃes(inscription gratuite à lâadresse : poa2aop@orange.fr) The Master Class Pure Data, which will take place at the Ãcole nationale supÃrieure dâart de Nancy will allow participants to explore in depth the possibilities offered by this program in a hands-on session with its creator. Miller Puckettea obtenu une thÃse en MathÃmatiques à Harvard en 1986. Membre du Media Lab au MIT (Massachusetts Institute of Technology) de la date de sa crÃation jusquâen 1987, il devient ensuite chercheur à lâIRCAM (lâInstitut de Recherche et de Coordination Musique/Acoustique) oà il Ãcrit le logiciel Maxpour Macintosh. En 1989, Miller Puckette rejoint le projet ÂIRCAM musical workstation (IMW) oà il dÃveloppe une version Ãtendue de Max intitulÃe Max/FTS qui devient une rÃfÃrence en recherche musicale. En 1994, Miller Puckette entre au dÃpartement Musique de lâUniversità de Californie à San Diego. Il y est actuellement Directeur associà du Centre de Recherche en Art et Informatique (CRCA). Miller Puckette travaille depuis quelques annÃes au dÃveloppement du logiciel Pure Data, destinà au traitement en temps rÃel de donnÃes multimÃdia pour les installations interactives et le spectacle vivant. En tant que logiciel libre, Pure Data, dont la communautà dâutilisateurs ne cesse de sâÃtendre, fÃdÃre un grand nombre de dÃveloppeurs à travers le monde qui participent à son Ãlaboration et Ãtendent ses possibilitÃs. Pure Data est gratuit et disponible sous Linux, Windows et Macintosh. et en prÃsence de Alexander Galloway, Cyrille Henry,artist and independant developer, Cyrille Henry works with captors and physical modeling for gesture analysis, as well as real time sound and visual synthesis. Olivier Pasquet, composer of electronic music and producer. He works in pure music and diverse fields of the performing arts such as theatre, installations, popular contemporary instrumental music (Ircam). Miller Puckette's Site : http://www-crca.ucsd.edu/~msp/ Pure Data Site: http://puredata.info/ ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Publication ART ++ Ãditions HYX to be published at the end of October Modification of Nintendo cartridges, website hacking, experimental software or poetry written in Perl... What has programming in the field of art been doing for the past ten years? By assembling texts, either original or unpublished in French, this book proposes to analyze and understand the impact of code, programming and digitalization of data on art practise. In their different contributions, theoreticians, critics and artists reveal the new aesthetic, technical and cultural stakes linked to what is known today as  the digital revolution Â. This publication follows the symposium Art-oriented Programming, which took place at the Università Paris 1 -PanthÃon-Sorbonne in 2004. It is supported by the Scientific Comittee of the DÃlÃgation aux arts plastiques as part of the research line Meaning and Use of Computer Programming in Art. ____________________________________ Preface by Anne-Marie Duguet, Professor at the Università Paris 1 PanthÃon-Sorbonne. Director of the Laboratoire des Arts et MÃdias [LAM-LETA]. Book Editor: David-Olivier Lartigaud, Università Paris 1 PanthÃon-Sorbonne, LAM. With contributions from : Inke Arns, Critique, Directrice artistique de Hartware MedienKunstVerein, Dortmund. Samuel Bianchini, Artiste, MaÃtre de confÃrences, Università de Valenciennes, LAM. Andreas Broeckmann, Historien dâart, Directeur artistique de TESLA, ancien directeur artistique de Transmediale, Berlin. Christophe Bruno, Artiste, Paris. Wendy Hui Kyong Chun, Professeur, Brown University, Providence. Florian Cramer,Critique, Directeur de cours au Piet Zwart Institute, Rotterdam. Geoff Cox, Artiste, Università de Plymouth, Alex McLean, Artiste, Londreset Adrian Ward, Artiste, Londres. Jean-Paul Fourmentraux, Docteur en Sociologie, MaÃtre de confÃrences à lâUniversità Lille 3. Matthew Fuller, Critique, Center for Cultural Studies, Goldsmiths College, Università de Londres. Olga Goriunova, Critique, co-fondatrice de runme.org, Moscou. Wilfried Hou Je Bek, Artiste, Utrecht. David-Olivier Lartigaud, Università Paris 1 PanthÃon-Sorbonne, LAM. Geert Lovink, ThÃoricien des mÃdias et critique, fondateur et Directeur de The Institute of Network Cultures, Amsterdam. Karen OâRourke, MaÃtre de confÃrences, Università Paris 1 PanthÃon-Sorbonne, LAM. Gilles Rouffineau, Professeur à lâÃcole supÃrieure dâart de Valence, coordinateur pÃdagogique de lâoption design graphique, LAM. Antoine Schmitt, Artiste, Paris. Nicolas ThÃly, MaÃtre de confÃrences, Università Paris 1 PanthÃon-Sorbonne, LAM. Sylvie Tissot, IngÃnieur diplÃmÃe de lâInstitut National des TÃlÃcommunications. Jo Walsh, Artiste, Londres. ____________________________________ ART++, format 15 x 20,5 cm, 160 pages. 20 euros. ISBN 978-2-910385-51-5 ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Colloque et Master Class organisÃs par ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| TheLaboratoire des Arts et MÃdias[LAM-LETA] The Laboratoire des Arts et des MÃdias [LAM] is directed byAnne-Marie-Duguet, professor at the Università Paris 1 - PanthÃon-Sorbonne. The LAM is one of three laboratories of the LETA, Laboratoire dâEsthÃtique et de ThÃorie AppliquÃe (Laboratory of Aesthetics and Applied Theory), unit of research in the Humanities at the Università Paris 1 - PanthÃon-Sorbonne. Site : http://lam.univ-paris1.fr Acknowledgements: lâÃcole doctorale Arts plastiques, esthÃtique et sciences de lâart Università Paris 1 - PanthÃon-Sorbonne. avec le soutien CITU(Interactive Transdisciplinary Creation at the University / Paris 8etParis 1) The CITU is a federation of laboratories founded by the Universities Paris 1 and Paris 8. The CITU is an  activator of research  in the field of transdisciplinary creation and emergent media.d Site : http://www.citu.info/ LâÃcole nationale supÃrieure dâart de Nancy (ENSA Nancy) Site : http://www.ensa-nancy.fr/ ARTEMNancy ARTEM is a strategic partnership linking three schools in Nancy : lâÃcole Nationale SupÃrieure des Mines de Nancy (EMN), lâÃcole nationale supÃrieure dâart de Nancy (ENSA) and le Groupe ICN Ecole de Management. Ãt the intersection of Arts, Sciences and Management, ARTEM is supported by Nancy-UniversitÃ, Greater Nancy, the DÃpartement of Meurthe et Moselle and the Lorraine Region . Site : http://www.mines.inpl-nancy.fr/blogartem/ ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| The publication ART++ was realized by |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||L the Ãditions Hyx and the Laboratoire des Arts et des MÃdias [LAM] with the support of the MinistÃre de la Culture et de la Communication (DÃlÃgation aux arts plastiques) andlâÃcole doctorale Arts plastiques, esthÃtique et sciences de lâart (the Doctoral School of the Arts, Aesthetics and Sciences of Art) Università Paris 1 - PanthÃon-Sorbonne ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| > THANK YOU ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| # distributed via <nettime>: no commercial use without permission # <nettime> is a moderated mailing list for net criticism, # collaborative text filtering and cultural politics of the nets # more info: http://mail.kein.org/mailman/listinfo/nettime-l # archive: http://www.nettime.org contact: nettime@kein.org