The event brings together researchers from Aarhus University, University of Plymouth, and guests to address the broad theme of Public Interfaces as part of ongoing research in Digital Urban Living. It is organized by Center for Digital Urban Living and DARC (Digital Aesthetics Research Centre), Aarhus University in collaboration with Dept. of Aesthetic Studies.
Emerging from DARC’s ongoing research around interface criticism, the aim is to broaden issues to encompass the development of urban interfaces, and the changing concept of the ‘public’.
Merete Carlson (DK), Phil Ellis (UK), Christian Rhein (DE), Nina Valkanova (BG/ES), Tobias Ebsen (DK), Kevin Carter (UK), Thomas Bjørnsten Kristensen (DK), Andrew Prior (UK), Morten Riis (DK), Nina Gram (DK), Lars Bo Løfgreen (DK), Robert Jackson (DK), Magda Tyzlik-Carver (UK/PL), Tatiana Bazzichielli (IT/DK), Jacob Lund (DK), Malcolm Miles (UK), Morten Breinbjerg (DK), Brett Bloom (US/DK), Rui Guerra (NL/PT), Jørgen Bang (DK), Martin Brynskov (DK), Kristian Strøbech (DK), Robert Brown (UK/US), Lone Koefoed Hansen (DK), Zoran Poposki (Rep. of Macedonia), Christian Ulrik Andersen (DK), Søren Pold (DK), Joasia Krysa (PL/UK), Geoff Cox (UK/DK), Mikkel Bolt (DK)
22-24 November 2010 (3 days), Sandbjerg Gods Conference Centre, Denmark
3 ECTS (with paper presentations, 1½ ECTS without paper)
This course puts emphasis on the connections between player body and player avatar, materiality and virtuality, interfaces in-game and input-devices in-world; trying neither to privilege the mind over the body nor the body over the mind. The goal is, by calling attention to these relations, to add new perspectives to the established stances in game research, and to explore the complexity of the connection between the game as physical and cultural and the player as a unified mind-body in the world. The body and actions of the player, the tools involved, the gameworld, and the form itself cannot be understood independently of one another; computer games is the coming together of all these elements in the game and in gaming. By seeing games and gaming in this alternative framework, we are maybe able to see ways forward for contemporary games research that involve a richer and more nuanced development of its form.
Confirmed Keynote Speakers:
Christian Ulrik Andersen (DK), Espen Aarseth (NO/DK), Stine Ejsing Dunn (DK), Charles Ess (DK), Graeme Kirkpatrick (UK), Jonas Linderoth (SE)
Course enrolment and application deadline:
The course application, including a 1-page paper outline, should be sent by email no later than 1 September 2010 to the FMKJ office at email@example.com
Due to the ash- and eruption related cancellation of the three-day conference “Interweaving Technologies – the Aesthetics of Digital Urban Living”, you are hereby cordially invited to the mini-seminar “Aesthetic eruptions of the digital”.
Including workshops by Martin Howse and Gordan Savicic
With the growing spread of pervasive digital technologies the public urban space has become open for new forms of both observation and surveillance
Moving away from cameras and directional microphones, face- and voice recognition, the pervasive technologies offer not only the ability to gather and organise huge amounts of dissimilar data, but as well on grounds of these to predict probable patterns of behaviour. Commercial mobile variants of Google Maps, YouTube or Facebook are by far the only ones to make use of these possibilities. Urban games, locative art, flashmob art, pervasive games etc. all represent new forms of observational and aesthetic experiments with how we through technology perceive and make use of the urban space itself. Sousveillance, original French, as well as inverse surveillance are terms coined by Steve Mann (Toronto, Canada) to describe the recording of an activity from the perspective of a participant. “Surveillance” denotes the act of watching from above, whereas “sousveillance” denotes bringing the practice of observation down to human level (ordinary people doing the watching, rather than higher authorities or architectures doing the watching).
The conference will be held in conjunction with two digital art exhibitions in the city of Århus (one at ARoS and another at Skive Art Museum) and aims to create a platform for sharing and discussing the topic of surveillance, privacy and control of information, analyzing different creative, artistic and political strategies to produce fluid zones of interventions, both in the urban space and on the net. Main focus is on networking practices and urban actions that contribute to criticize the concept of surveillance, propriety of data and information, showing new activists and visionary strategies to move society toward more inclusive modes of production and sharing knowledge.
Goodiepal (DK), Jakob Jakobsen (DK), Dmytri Kleiner (CA/DE), Leipziger Kamera (DE), Manu Luksch (UK), David Rokeby (CA), Alexei Shulgin (RU/UK), Space Hijackers (UK), Shining (IT), Mare Tralla (EE/UK), Christian Ulrik Andersen (DK), Tatiana Bazzichelli (IT), Lars Bo Løfgreen (DK), Søren Pold (DK)
The interface is the primary cultural form of the digital age. Here the invisible technological dimensions of the computer are given form in order to meet human perception and agency. This encounter is enacted through aesthetic forms stemming not only from the functional domains and tools, but increasingly also from aesthetic traditions, the old media and from the new media aesthetics. This interplay takes place both in software interfaces, where aesthetic and cultural perspectives are gaining ground, in the digital arts and in our general technological culture – keywords range from experience oriented design and creative software to software studies, software art, new media, digital arts, techno culture and digital activism.
This 2,5 days conference will focus on how the encounter of the functional and the representational in the interface shapes contemporary art, aesthetics and culture. What are the dimensions of the aesthetic interface, what are the potentials, clashes and breakdowns? Which kinds of criticism, aesthetic praxes and forms of action are possible and necessary?
The conference is accompanied by an exhibition at Aarhus Kunstbygning with further activities such as workshops co-hosted by TEKNE.
The conference will present a number of international keynote speakers combined with local researchers.
Christian Ulrik Andersen(DK), Inke Arns (DE), Morten Breinbjerg (DK), Christophe Bruno (F), Geoff Cox (UK), Florian Cramer (DE/NL), Matthew Fuller (UK), Lone Koefoed Hansen (DK), Erkki Huhtamo (USA/Fin), Jacob Lillemose (DK). Henrik Kaare Nielsen (DK), Bodil Marie Thomsen (DK), Jacob Wamberg (DK)
Serious simulations (for fun) (Seminar 2006)
The seminar ’Serious Simulations (for fun)’ deals with a dramatic change in the area of computer games. Computer games have throughout the past decades given us the opportunity to experience, tell stories and play in virtual, computer generated worlds. Today, however, the narratives of the computer games, their laws of physics and their rule structure not only belong to the game world. Incessantly and innovatively, they reach far beyond the game universe and into reality. The computer game today is the place where we not only escape reality, but also relate to reality – similar to the role of the movie in the 20th century. They have become an important part of marketing, teaching, political activism, communication and information to the public. It is the language of the future, the language for and about the reality we are living in. The game simulations are still compelling and entertaining but at the same time the fun is related to the seriousness of reality.
The seminar will focus on computer games that cross the line between fiction and reality. This could be the use of computer games in military training, in marketing, in public service and communication of political messages. Games will be demonstrated, discussed and questioned: What are we interacting with in a simulated world? What does the computer simulation do to the experience of the virtual world? How do we communicate a message in a simulation? What is the relationship between entertainment and communication? What is the role of the player when the game is no longer just a game? Are these serious games a new phenomenon or do we see examples of communicative games in the past? Can we learn from history?
Christian Ulrik Andersen (DK), Paolo Pedercini (IT), Simon Yuill (UK), Gonzalo Frasca (UR), Simon Egenfeldt-Nielsen (DK)
The seminar Art|Net|Work deals with two important changes in our culture. On one side, the network has become essential in the latest technological development. The Internet has entered a new phase, Web 2.0, including the occurrence of as ‘Wiki’s’, ‘Peer-2-Peer’ distribution, user controlled taxonomies (‘Folksonomy’) and ‘Weblogs’. Also, platforms, programming and software are today very often created in open communities – as seen in the ‘Free/Open Source’ movement. On the other side, following the technological development, the network also has become essential in the art sphere. Artists focus on the ‘network’ itself as a phenomenon and are often using technological networks as a mean of production and distribution. This changes the artistic practice and the distribution channels of art works – and the traditional notions of ‘work’, ‘origin’ and ‘rights’ are increasingly perceived as limiting the praxis of the artist. We see different kinds of interventions and activism (including ‘hacktivism’) using the network as a way of questioning the invisible rules that govern public and semi-public spaces. Who ‘owns’ them? What kind of social relationships do they generate? On what principle is the community based? What kind of behaviour do these spaces cherish? Who does the community include – and who does it exclude? The creation of alternative, user controlled, open networks is in many cases the aspiration of art.
With a list of speakers who have hands-on experience in creating social networks Art|Net|Work wishes to focus on and discuss the interface between artwork and network. The key question will be how the network technology has become a primary distribution channel for this ‘network art’: Technological networks not only distribute text, images, video and audio – but also the network itself. How does this production (creation of a work) take place? How do you actually create open networks? What does the network’s user interface look like? Does the technological network replace/support a physical presence? When does the network conflict with other networks controlled by other mechanisms (the capital e.g.)? Is network art the fore post of a new economy? What pitfalls are there – in relation to the democratic viewpoints and processes the artwork is founded in? Are we speaking of a genuine need or is the network created to correspond with idealistic notions of exchange and community?
Christian Ulrik Andersen/Hanne Lindstrøm (DK), Olga Goriunova (RU), Saul Albert (UK), Rasmus Fleisher (SE), Carlos Motta (US)
Software Art and Cultures conference aims at providing an opportunity of sharing their findings to people doing research in software art and culture. The art movement known under the name “software art” has been active for a few years, and similar phenomena under different names has been developed and researched for a few decades. It is our belief that there is a sufficient body of thinking in this and neighboring areas being carried out, which needs a platform for uncovering and enrichment.
Jacob Lillemose, Inke Arns, Geoff Cox, Alex McLean, Adrian Ward, Leo Findeisen, Alessandro Ludovico, Simon Yuill, Amy Alexander, Casey Reas, Brad Borewitz, Matthew Fuller, Fátima Lasay, Christophe Bruno, Douwe Osinga, Ernst Wit, Troels Degn Johansson, Mirko Tobias Schaefer, Pau David Alsina Gonzales.
You are cordially invited to leave your tents and sleeping bags safely at home and join us in Århus, Denmark for the Runme Dorkbot citycamp 2004. From the 25th-27th August, Århus will be filled with ‘people doing strange things with software’, as well as more traditional campfire activities such as eating, drinking, talking, socialising, showing off and relaxing together.
The citycamp will be an informal gathering of people interested in software and art where citycampers will be free to do some low-key research, develop code and ideas, talk to interesting people and enjoy dorkbot-style presentations (5-20 minute presentations with feedback sessions), performances and parties
Paul Slocum (USA), Roger Wigger and Doma Smoljo (Switzerland), Aristarkh Chernyshev (Russia), Slub (UK), Casey Reas (United States, Los Angeles), Fredrik Olofsson (Sweden, Stockholm), Salsaman (Netherlands, Amsterdam), Rene Beekman (Bulgaria, Sofia), Rene Beekman (Bulgaria, Sofia), Ivan Bachev (Bulgaria, Sofia), Douwe Osinga (Netherlands, Amsterdam), Georg Tremmel, Shiho Fukuhara (London, UK), Jean-Baptiste Bayle, Beatrice Rettig (France, Paris), Christophe Bruno (France, Paris), Eugenio Tisselli (Barcelona, Spain), Peter Luining (Netherlands), Rachel Beth Egenhoefer (USA), Brad Borevitz (US, San Diego), Anne Laforet (France), Saul Albert (UK), Patrice Riemens and Lisa Haske, Eva Sjuve (Norway), James Nevin (USA, New York City), Paul Camacho (Germany, Berlin), Alexander Gurko (Germany, Kassel), Benjamin Delarre (London), Simon Yuill (Scotland, Glasgow), Tom Betts (with Joe Gilmore) (UK, Sheffield), Paul Slocum, Lauren Gray (Dallas, United States), Sergey Teterin (Russia, Perm), http://www.hackitectura.net (Spain, Barcelona), Joan Leandre (Spain, Barcelona), Douglas Repetto (New York City, USA), Nathalie Magnan (France), Criticalartware (USA, Chicago), Marco Di Carlo, Alexander Gurko, Petra Lange, Lars Roth, Arnold von Wedemeyer (Germany / Kassel, Berlin), Rasmus Lunding (Aarhus, Denmark), Buro21 (Nicolas Hansson, Aron Falk, Lukas Nystrand) (Sweden), Kristjan Varnik (Germany, Stuttgart), James Nevin (USA, New York City), Amy Alexander / VJ Übergeek (USA, San Diego), Trevor Batten (GB/NL), Steffen Leve Poulsen (Denmark. Copenhagen), Annina Ruest , Skeezo/r3 (Spain) d.R.e.G.S (France), Sick Lincoln, Goodiepal, VJ Salsaman, VJ WIMP, DJ LJUD, Jens OK King