Søren Pold has done research into digital aesthetics since he in the mid 1990's got exposed to multimedia and the web. (Connecting the first mosaic browser to The Well was a defining moment...) He has written in Danish (notably the book Ex Libris) and English, has arranged conferences (notably Read_me 2004) and taught since 1997 on digital aesthetics. His highest hope is some day to understand why it is combinations of electricity and culture are so compelling.
BIO
Postdoc in the field interface aesthetics at Centre for Digital Urban Living
Deadline:
Fri Jun 19, 2009 12:01
Location:
Denmark
Postdoc in the field interface aesthetics at Centre for Digital Urban Living
Department of Information and Media Studies
Reference number 2009-212/1-170
The research centre Digital Urban Living at Aarhus University invites applications for a 2-year postdoc position starting on September 1, 2009 or as soon as possible thereafter.
The strategic research centre - Digital Urban Living - addresses new forms of digital urban living from four theoretical perspectives: A) Experience communication, B) Interface aesthetics, C) Interaction design, and D Innovation management in relation to five areas - 1) Civic communication in urban spaces, 2) Cultural heritage, 3) Digital art in urban space, 4) Media facades and 5) New urban areas. The principle funding of the centre is from the Danish Council for Strategic Research (KINO, grant number 2128-07-0011). For further information concerning the research perspectives and the cases please visit www.DigitalUrbanLiving.dk.
The postdoc is in the area of B) Interface aesthetics and it is required that the postdoc project addresses at least one of the five areas 1-5. The postdoc is expected to be part of an interdisciplinary team of researcher. Applicants should hold a Ph.D or equivalent and document research qualifications within this field.
The Postdoc will be employed by the Faculty of Humanities, the University of Aarhus.
The place of work will be at the Institute of Information and Media Studies, Aarhus University.
It is expected that the person appointed will be present at the Department on a normal daily basis.
For further information, please contact associate professor Søren Pold at The Institute of Information and Media Studies, e-mail pold@multimedia.au.dk, tel (+45) 8942 9254.
Applicants without any knowledge of Danish would be expected, if appointed, to acquire within two years a sufficient level of proficiency in the language to be able to participate in all the activities of the Institute.
All are invited to apply, regardless of age, gender, race, religion and ethnicity.
Applicants must submit curriculum vitae, a list of publications, documentation of teaching experience and other qualifications and 3 copies of a maximum of 5 publications to be considered in the evaluation. For further information see
http://www.humaniora.au.dk/en/news/jobs
The Faculty refers to the Ministerial Order No. 92 of 15. February 2008 about the appointment of teaching and research staff at Danish universities. (No English version)
Salary and other terms of employment will be in accordance with the agreement between the Ministry of Finance and the Danish Confederation of Professional Organizations, including the agreed-upon job structure.
The letter of application (marked with the number mentioned below) should be addressed to the Aarhus University, Journalkontoret, Ndr. Ringgade 1, DK-8000 Aarhus C.
Publications (also marked with the number mentioned below) should be sent to the Department of Information and Media Studies, IT-Parken, Helsingforsgade 14, 8200 Aarhus C, Denmark
Closing date for applications: Monday August 3, 12 o’clock noon.
Please mark the application: 2009-212/1-170
Aarhus University offers a good and inspiring education and research environment for 35,000 students and 8,500 members of staff, who produce academic results of a high international standard. The budgeted turnover for 2009 amounts to EUR 700 million. The university’s strategy and development contract are available at www.au.dk.
Department of Information and Media Studies
Reference number 2009-212/1-170
The research centre Digital Urban Living at Aarhus University invites applications for a 2-year postdoc position starting on September 1, 2009 or as soon as possible thereafter.
The strategic research centre - Digital Urban Living - addresses new forms of digital urban living from four theoretical perspectives: A) Experience communication, B) Interface aesthetics, C) Interaction design, and D Innovation management in relation to five areas - 1) Civic communication in urban spaces, 2) Cultural heritage, 3) Digital art in urban space, 4) Media facades and 5) New urban areas. The principle funding of the centre is from the Danish Council for Strategic Research (KINO, grant number 2128-07-0011). For further information concerning the research perspectives and the cases please visit www.DigitalUrbanLiving.dk.
The postdoc is in the area of B) Interface aesthetics and it is required that the postdoc project addresses at least one of the five areas 1-5. The postdoc is expected to be part of an interdisciplinary team of researcher. Applicants should hold a Ph.D or equivalent and document research qualifications within this field.
The Postdoc will be employed by the Faculty of Humanities, the University of Aarhus.
The place of work will be at the Institute of Information and Media Studies, Aarhus University.
It is expected that the person appointed will be present at the Department on a normal daily basis.
For further information, please contact associate professor Søren Pold at The Institute of Information and Media Studies, e-mail pold@multimedia.au.dk, tel (+45) 8942 9254.
Applicants without any knowledge of Danish would be expected, if appointed, to acquire within two years a sufficient level of proficiency in the language to be able to participate in all the activities of the Institute.
All are invited to apply, regardless of age, gender, race, religion and ethnicity.
Applicants must submit curriculum vitae, a list of publications, documentation of teaching experience and other qualifications and 3 copies of a maximum of 5 publications to be considered in the evaluation. For further information see
http://www.humaniora.au.dk/en/news/jobs
The Faculty refers to the Ministerial Order No. 92 of 15. February 2008 about the appointment of teaching and research staff at Danish universities. (No English version)
Salary and other terms of employment will be in accordance with the agreement between the Ministry of Finance and the Danish Confederation of Professional Organizations, including the agreed-upon job structure.
The letter of application (marked with the number mentioned below) should be addressed to the Aarhus University, Journalkontoret, Ndr. Ringgade 1, DK-8000 Aarhus C.
Publications (also marked with the number mentioned below) should be sent to the Department of Information and Media Studies, IT-Parken, Helsingforsgade 14, 8200 Aarhus C, Denmark
Closing date for applications: Monday August 3, 12 o’clock noon.
Please mark the application: 2009-212/1-170
Aarhus University offers a good and inspiring education and research environment for 35,000 students and 8,500 members of staff, who produce academic results of a high international standard. The budgeted turnover for 2009 amounts to EUR 700 million. The university’s strategy and development contract are available at www.au.dk.
The Aesthetic Interface Conference, Aarhus Denmark
Dates:
Wed May 09, 2007 00:00 - Mon Apr 30, 2007
The Aesthetic Interface
9-13 May 2007
Aarhus University, Denmark
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 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 and workshops.
Christian Ulrik Andersen(DK): ’Writerly gaming’ - social impact games
Inke Arns (DE): Transparency and Politics. On Spaces of the Political beyond the Visible, or: How transparency came to be the lead paradigm of the 21st century
Morten Breinbjerg (DK): Music automata: the creative machine or how music and compositional practices is modelled in software
Christophe Bruno (F): Collective hallucination and capitalism 2.0
Geoff Cox (UK): Means-End of Software
Florian Cramer (DE/NL): What is Interface Aesthetics?
Matthew Fuller (UK): The Computation of Space
Lone Koefoed Hansen (DK): The interface at the skin
Erkki Huhtamo (USA/Fin): Multiple Screens - Intercultural Approaches to Screen Practice(s)
Jacob Lillemose (DK): Interfacing the Interfaces of Free Software. X-devian: The New Technologies to the People System
Henrik Kaare Nielsen (DK): The Interface and the Public Sphere
Søren Pold (DK): Interface Perception
Bodil Marie Thomsen (DK): The Haptic Interface
Jacob Wamberg (DK): Interface/Interlace, Or Is Telepresence Teleological?
Organised by: The Aesthetics of Interface Culture, Digital Aesthetics Research Center, TEKNE, Aarhus Kunstbygning, The Doctoral School in Arts and Aesthetics, .
Supported by: The Danish Research Council for the Humanities, The Aarhus University Research Foundation, The Doctoral School in Arts and Aesthetics, Aarhus University's Research Focus on the Knowledge Society, Region Midtjylland, Aarhus Kommune.
The exhibition is supported by:Region Midtjylland, Arhus Kommunes kulturpulje, Kunststyrelsen, Den Spanske Ambassade, Egetæpper
Updates, programme and details:
http://www.interfacekultur.au.dk
9-13 May 2007
Aarhus University, Denmark
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 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 and workshops.
Christian Ulrik Andersen(DK): ’Writerly gaming’ - social impact games
Inke Arns (DE): Transparency and Politics. On Spaces of the Political beyond the Visible, or: How transparency came to be the lead paradigm of the 21st century
Morten Breinbjerg (DK): Music automata: the creative machine or how music and compositional practices is modelled in software
Christophe Bruno (F): Collective hallucination and capitalism 2.0
Geoff Cox (UK): Means-End of Software
Florian Cramer (DE/NL): What is Interface Aesthetics?
Matthew Fuller (UK): The Computation of Space
Lone Koefoed Hansen (DK): The interface at the skin
Erkki Huhtamo (USA/Fin): Multiple Screens - Intercultural Approaches to Screen Practice(s)
Jacob Lillemose (DK): Interfacing the Interfaces of Free Software. X-devian: The New Technologies to the People System
Henrik Kaare Nielsen (DK): The Interface and the Public Sphere
Søren Pold (DK): Interface Perception
Bodil Marie Thomsen (DK): The Haptic Interface
Jacob Wamberg (DK): Interface/Interlace, Or Is Telepresence Teleological?
Organised by: The Aesthetics of Interface Culture, Digital Aesthetics Research Center, TEKNE, Aarhus Kunstbygning, The Doctoral School in Arts and Aesthetics, .
Supported by: The Danish Research Council for the Humanities, The Aarhus University Research Foundation, The Doctoral School in Arts and Aesthetics, Aarhus University's Research Focus on the Knowledge Society, Region Midtjylland, Aarhus Kommune.
The exhibition is supported by:Region Midtjylland, Arhus Kommunes kulturpulje, Kunststyrelsen, Den Spanske Ambassade, Egetæpper
Updates, programme and details:
http://www.interfacekultur.au.dk
The Aesthetic Interface - conference in Aarhus, Denmark
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*The Aesthetic Interface*
**9-13 May 2007* *
*Aarhus University, Denmark*
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 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 and workshops.
*Christian Ulrik Andersen(DK)*: 'Writerly gaming' -- social impact games**
*Inke Arns* *(DE):* Transparency and Politics. On Spaces of the
Political beyond the Visible, or: How transparency came to be the lead
paradigm of the 21st century**
*Morten Breinbjerg* *(DK)*: Music automata: the creative machine or how
music and compositional practices is modelled in software**
*Christophe Bruno* *(F):* Collective hallucination and capitalism 2.0**
*Geoff Cox* *(UK)*: Means-End of Software**
*Florian Cramer* *(DE/NL)*: What is Interface Aesthetics?**
*Matthew Fuller* *(UK)*: The Computation of Space**
*Lone Koefoed Hansen* *(DK)*: The interface at the skin**
*Erkki Huhtamo* *(USA/Fin)*: Multiple Screens -- Intercultural
Approaches to Screen Practice(s)**
*Jacob Lillemose* *(DK):* Interfacing the Interfaces of Free Software.
X-devian: The New Technologies to the People System**
*Henrik Kaare Nielsen* *(DK):* The Interface and the Public Sphere**
*Soren Pold* *(DK)*: Interface Perception**
*Bodil Marie Thomsen* *(DK)*: The Haptic Interface**
*Jacob Wamberg* *(DK)*: Interface/Interlace, Or Is Telepresence
Teleological?
*Organised by*: The Aesthetics of Interface Culture, Digital Aesthetics
Research Center, TEKNE, Aarhus Kunstbygning, The Doctoral School in Arts
and Aesthetics, .
*Supported by:* The Danish Research Council for the Humanities, The
Aarhus University Research Foundation, The Doctoral School in Arts and
Aesthetics, Aarhus University's Research Focus on the Knowledge Society,
Region Midtjylland, Aarhus Kommune.
The exhibition is supported by:Region Midtjylland, Arhus Kommunes
kulturpulje, Kunststyrelsen, Den Spanske Ambassade, Egetaepper
*Updates, programme and details*:
http://www.interfacekultur.au.dk <http://www.interfacekultur.au.dk/>
--------------080705070209000505080504
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<html>
<head>
<meta content="text/html;charset=ISO-8859-1" http-equiv="Content-Type">
<title></title>
</head>
<body bgcolor="#ffffff" text="#000000">
<h2 align="center"><big><big><font face="Kontrapunkt"><strong>The
Aesthetic Interface</strong></font>
</big></big></h2>
<p align="center"><b><big><big><font face="Kontrapunkt"><strong>9-13
May 2007</strong></font>
</big></big></b></p>
<p align="center"><font face="Kontrapunkt"><b><big><big>Aarhus
University, Denmark</big></big></b><br>
</font></p>
<p align="center"><font face="Kontrapunkt"><img alt=""
src="cid:part1.08000008.01000101@multimedia.au.dk" height="265"
width="616"></font></p>
<div align="center">
</div>
<p align="center"><font face="Kontrapunkt">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.<br>
This 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?<br>
The conference is accompanied by an exhibition and workshops.</font></p>
<div align="center"><font face="Kontrapunkt"><strong>Christian Ulrik
Andersen(DK)</strong>: ’Writerly gaming’
– social impact games<strong></strong></font><br>
<font face="Kontrapunkt"><strong>Inke Arns</strong> <strong>(DE):</strong>
Transparency
and Politics. On Spaces of the Political beyond the Visible, or:
How transparency came to be the lead paradigm of the 21st
century<strong></strong></font><br>
<font face="Kontrapunkt"><strong>Morten Breinbjerg</strong> <strong>(DK)</strong>:
Music
automata: the creative machine or how music and compositional
practices is modelled in software<strong></strong></font><br>
<font face="Kontrapunkt"><strong>Christophe Bruno</strong> <strong>(F):</strong>
Collective hallucination and capitalism 2.0<strong></strong></font><br>
<font face="Kontrapunkt"><strong>Geoff Cox</strong> <strong>(UK)</strong>:
Means-End of
Software<strong></strong></font><br>
<font face="Kontrapunkt"><strong>Florian Cramer</strong> <strong>(DE/NL)</strong>:
What
is Interface Aesthetics?<strong></strong></font><br>
<font face="Kontrapunkt"><strong>Matthew Fuller</strong> <strong>(UK)</strong>:
The
Computation of Space<strong></strong></font><br>
<font face="Kontrapunkt"><strong>Lone Koefoed Hansen</strong> <strong>(DK)</strong>:
The
interface at the skin<strong></strong></font><br>
<font face="Kontrapunkt"><strong>Erkki Huhtamo</strong> <strong>(USA/Fin)</strong>:
Multiple Screens – Intercultural Approaches to Screen
Practice(s)<strong></strong></font><br>
<font face="Kontrapunkt"><strong>Jacob Lillemose</strong> <strong>(DK):</strong>
Interfacing the Interfaces of Free Software. X-devian: The New
Technologies to the People System<strong></strong></font><br>
<font face="Kontrapunkt"><strong>Henrik Kaare Nielsen</strong> <strong>(DK):</strong>
The
Interface and the Public Sphere<strong></strong></font><br>
<font face="Kontrapunkt"><strong>Søren Pold</strong> <strong>(DK)</strong>:
Interface
Perception<strong></strong></font><br>
<font face="Kontrapunkt"><strong>Bodil Marie Thomsen</strong> <strong>(DK)</strong>:
The
Haptic Interface<strong></strong></font><br>
<font face="Kontrapunkt"><strong>Jacob Wamberg</strong> <strong>(DK)</strong>:
Interface/Interlace, Or Is Telepresence Teleological?</font>
</div>
<p align="center"><font face="Kontrapunkt"><strong>Organised by</strong>:
The Aesthetics of Interface
Culture, Digital Aesthetics Research Center, TEKNE, Aarhus
Kunstbygning, The
Doctoral School in Arts and Aesthetics, .</font></p>
<div align="center">
</div>
<p align="center"><font face="Kontrapunkt"><strong>Supported by:</strong>
The Danish Research Council for
the Humanities, The Aarhus University Research Foundation, The
Doctoral School in Arts and Aesthetics, Aarhus University's
Research Focus on the Knowledge Society, Region Midtjylland, Aarhus
Kommune.<br>
The exhibition is supported by:<span>Region Midtjylland, Århus
Kommunes kulturpulje, Kunststyrelsen, Den Spanske Ambassade,
Egetæpper</span> </font></p>
<div align="center">
</div>
<p align="center"><font face="Kontrapunkt"><b>Updates, programme and
details</b>:<br>
</font></p>
<div align="center">
</div>
<p align="center"><font face="Kontrapunkt"><a
href="http://www.interfacekultur.au.dk/">http://www.interfacekultur.au.dk</a></font>
</p>
<font face="Kontrapunkt"><br>
</font>
<br>
</body>
</html>
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*The Aesthetic Interface*
**9-13 May 2007* *
*Aarhus University, Denmark*
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 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 and workshops.
*Christian Ulrik Andersen(DK)*: 'Writerly gaming' -- social impact games**
*Inke Arns* *(DE):* Transparency and Politics. On Spaces of the
Political beyond the Visible, or: How transparency came to be the lead
paradigm of the 21st century**
*Morten Breinbjerg* *(DK)*: Music automata: the creative machine or how
music and compositional practices is modelled in software**
*Christophe Bruno* *(F):* Collective hallucination and capitalism 2.0**
*Geoff Cox* *(UK)*: Means-End of Software**
*Florian Cramer* *(DE/NL)*: What is Interface Aesthetics?**
*Matthew Fuller* *(UK)*: The Computation of Space**
*Lone Koefoed Hansen* *(DK)*: The interface at the skin**
*Erkki Huhtamo* *(USA/Fin)*: Multiple Screens -- Intercultural
Approaches to Screen Practice(s)**
*Jacob Lillemose* *(DK):* Interfacing the Interfaces of Free Software.
X-devian: The New Technologies to the People System**
*Henrik Kaare Nielsen* *(DK):* The Interface and the Public Sphere**
*Soren Pold* *(DK)*: Interface Perception**
*Bodil Marie Thomsen* *(DK)*: The Haptic Interface**
*Jacob Wamberg* *(DK)*: Interface/Interlace, Or Is Telepresence
Teleological?
*Organised by*: The Aesthetics of Interface Culture, Digital Aesthetics
Research Center, TEKNE, Aarhus Kunstbygning, The Doctoral School in Arts
and Aesthetics, .
*Supported by:* The Danish Research Council for the Humanities, The
Aarhus University Research Foundation, The Doctoral School in Arts and
Aesthetics, Aarhus University's Research Focus on the Knowledge Society,
Region Midtjylland, Aarhus Kommune.
The exhibition is supported by:Region Midtjylland, Arhus Kommunes
kulturpulje, Kunststyrelsen, Den Spanske Ambassade, Egetaepper
*Updates, programme and details*:
http://www.interfacekultur.au.dk <http://www.interfacekultur.au.dk/>
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<html>
<head>
<meta content="text/html;charset=ISO-8859-1" http-equiv="Content-Type">
<title></title>
</head>
<body bgcolor="#ffffff" text="#000000">
<h2 align="center"><big><big><font face="Kontrapunkt"><strong>The
Aesthetic Interface</strong></font>
</big></big></h2>
<p align="center"><b><big><big><font face="Kontrapunkt"><strong>9-13
May 2007</strong></font>
</big></big></b></p>
<p align="center"><font face="Kontrapunkt"><b><big><big>Aarhus
University, Denmark</big></big></b><br>
</font></p>
<p align="center"><font face="Kontrapunkt"><img alt=""
src="cid:part1.08000008.01000101@multimedia.au.dk" height="265"
width="616"></font></p>
<div align="center">
</div>
<p align="center"><font face="Kontrapunkt">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.<br>
This 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?<br>
The conference is accompanied by an exhibition and workshops.</font></p>
<div align="center"><font face="Kontrapunkt"><strong>Christian Ulrik
Andersen(DK)</strong>: ’Writerly gaming’
– social impact games<strong></strong></font><br>
<font face="Kontrapunkt"><strong>Inke Arns</strong> <strong>(DE):</strong>
Transparency
and Politics. On Spaces of the Political beyond the Visible, or:
How transparency came to be the lead paradigm of the 21st
century<strong></strong></font><br>
<font face="Kontrapunkt"><strong>Morten Breinbjerg</strong> <strong>(DK)</strong>:
Music
automata: the creative machine or how music and compositional
practices is modelled in software<strong></strong></font><br>
<font face="Kontrapunkt"><strong>Christophe Bruno</strong> <strong>(F):</strong>
Collective hallucination and capitalism 2.0<strong></strong></font><br>
<font face="Kontrapunkt"><strong>Geoff Cox</strong> <strong>(UK)</strong>:
Means-End of
Software<strong></strong></font><br>
<font face="Kontrapunkt"><strong>Florian Cramer</strong> <strong>(DE/NL)</strong>:
What
is Interface Aesthetics?<strong></strong></font><br>
<font face="Kontrapunkt"><strong>Matthew Fuller</strong> <strong>(UK)</strong>:
The
Computation of Space<strong></strong></font><br>
<font face="Kontrapunkt"><strong>Lone Koefoed Hansen</strong> <strong>(DK)</strong>:
The
interface at the skin<strong></strong></font><br>
<font face="Kontrapunkt"><strong>Erkki Huhtamo</strong> <strong>(USA/Fin)</strong>:
Multiple Screens – Intercultural Approaches to Screen
Practice(s)<strong></strong></font><br>
<font face="Kontrapunkt"><strong>Jacob Lillemose</strong> <strong>(DK):</strong>
Interfacing the Interfaces of Free Software. X-devian: The New
Technologies to the People System<strong></strong></font><br>
<font face="Kontrapunkt"><strong>Henrik Kaare Nielsen</strong> <strong>(DK):</strong>
The
Interface and the Public Sphere<strong></strong></font><br>
<font face="Kontrapunkt"><strong>Søren Pold</strong> <strong>(DK)</strong>:
Interface
Perception<strong></strong></font><br>
<font face="Kontrapunkt"><strong>Bodil Marie Thomsen</strong> <strong>(DK)</strong>:
The
Haptic Interface<strong></strong></font><br>
<font face="Kontrapunkt"><strong>Jacob Wamberg</strong> <strong>(DK)</strong>:
Interface/Interlace, Or Is Telepresence Teleological?</font>
</div>
<p align="center"><font face="Kontrapunkt"><strong>Organised by</strong>:
The Aesthetics of Interface
Culture, Digital Aesthetics Research Center, TEKNE, Aarhus
Kunstbygning, The
Doctoral School in Arts and Aesthetics, .</font></p>
<div align="center">
</div>
<p align="center"><font face="Kontrapunkt"><strong>Supported by:</strong>
The Danish Research Council for
the Humanities, The Aarhus University Research Foundation, The
Doctoral School in Arts and Aesthetics, Aarhus University's
Research Focus on the Knowledge Society, Region Midtjylland, Aarhus
Kommune.<br>
The exhibition is supported by:<span>Region Midtjylland, Århus
Kommunes kulturpulje, Kunststyrelsen, Den Spanske Ambassade,
Egetæpper</span> </font></p>
<div align="center">
</div>
<p align="center"><font face="Kontrapunkt"><b>Updates, programme and
details</b>:<br>
</font></p>
<div align="center">
</div>
<p align="center"><font face="Kontrapunkt"><a
href="http://www.interfacekultur.au.dk/">http://www.interfacekultur.au.dk</a></font>
</p>
<font face="Kontrapunkt"><br>
</font>
<br>
</body>
</html>
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The Algorithmic Revolution
Originally published at: http://www.artificial.dk
Article with images from the exhibition: http://www.artificial.dk/articles/heavy.htm
THE ALGORITHMIC REVOLUTION
HEAVY MACHINERY AND ABSTRACT ART IN A NEW CONTEXT AT ZKM
'Usually, a revolution is about to happen and it announces itself with a 'roar'. The Algorithmic Revolution has already happened, and, despite remaining largely unnoticed, it has been all the more effective. There is, namely, no longer any area of our social and cultural life that is not penetrated by algorithms: Cameras, cars, planes, ships, household appliances, hospitals, banks, factories, shopping malls, traffic, architecture, literature, art, music. The Algorithmic Revolution began around 1930 in science, around 1960 in art. ' (Peter Weibel, ZKM 2004).
The German Centre for Art and Media (ZKM) in Karlsruhe is currently showing the exhibition The Algorithmic Revolution which presents a historical outline of this radical change in the fine arts, music, design and architecture. The exhibition draws both on the ZKM collection and selected loans. It can be experienced until December 2005.
Two writers let themselves be inspired and give two different views on the exhibition in two separate articles. Here is what Soeren Pold wrote. Soeren Pold is ph.d, associate professor and head of the research project 'The Aesthetics of the Interface Culture' at the Digital Aesthetics Research Centre in Aarhus, Denmark. Translation: Sofie Paisley.
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Inside the glass door by the entrance to the art exhibition 'The Algorithmic Revolution' at ZKM stands a giant machine, which with its weight of 1000 kg radiates equal parts white lab coats, German objectivity and wirtschaftswunder. It's a Zuse Z22 from 1957, the seventh computer from the world's first computer start-up company, Konrad Zuse AG, and the oldest functioning vacuum-tube computer. It makes a serious humming noise and its 415 electron tubes radiate, and is in this way an esthetical object in itself, drawing admiring and inquisitive glances. You can look in at the tubes, study the teleprinter and the control panel. At the same time it is a mysterious machine - you can't see what it does and how it processes its data - you can't read or follow the algorithms. It was used within building technology, aerodynamics and the construction of nuclear reactors, but some of the very first digital art was also created on it. Digital literature was made on this computer as early as 1959, when Theo Lutz made computer generated texts based on The Castle by Franz Kafka, which was one of the very first experiments with digital literature.
But at the same time, the machine precisely indicates the dilemma and starting point of digital art: unlike the steam engine which Danish writer Johannes V. Jensen and others praised 100 years ago, the computer lacks sensuous features. Even though Zuse's vacuum-tube model can instil respect in most people, the point is the invisible and unreadable, which takes place in the computer. The computer's processing of data is invisible to most, we only see the results, and the computer's cultural influence has in this way to a large extent centred on making processes invisible and on heightening their efficiency - about complex quantities of data automatically stored and put into effect in opaque bureaucracies. The most important digital art therefore works with the relation between visible versus invisible, sensuous versus concealed, meaningful versus coded. This makes it partially step out of the sensuous, which is otherwise the domain of art. Maybe this is the reason it is so frequently overlooked?
ALGORITHMIC IMAGES
If you think digital art is a new thing - which would be easy to think from the highly sporadic treatment of the subject by Danish museums - then visiting the ZKM and the Zuse Z22 is a good idea. As the literary experiments on the Z22 points to, the first artists used the computer 40-50 years ago. As early as 1955-56, composers worked with computers and ten years later we see the first experiments with algorithmic images and animations created on the computers of the day.
Frieder Nake, who was among the first three artists to exhibit visual computer art in 1965, also started his artistic experiments on Zuse Z22, but the works displayed at ZKM were made on later computers. Frieder Nake's early works are, as several of other early works, attempts at visualising algorithms and algorithmic processes. At making visible the invisible and visualising the abstract.
One example of this is images that let random processes determine the number of edges on a polygon, their lengths and directions, such as Random Polygon (1965). Or the works where elements are repeated in series, but transposed by the way individual parameters are changed and influenced by coincidence. Nake's art is, similarly to other algorithmic art, a kind of art that depicts the relationship between rigid order and chance, and how new both organic and rational structures occur.
ARTIFICIAL ART
Frieder Nake was a math student in Stuttgart and was given permission to experiment with the computer at night in the early 1960s. The first time digital art (by Georg Nees) was exhibited in February 1965 in Stuttgart, other more traditional artists reacted with negativity according to Nake. Max Bense, the organiser, tried defending the digital art against the insulted artists as being 'artificial art'. An art that was not directly traceable back to a creative artist expressing himself or his intentions, but which was created with the help of programmed computers which most viewed (and still view) as far from the domain of art.
Digital art, however, was not created in a vacuum. At the time of its appearance the most advanced parts of the art scene were preoccupied with opening art in new ways and towards new dimensions. Several of these movements, such as Op-Art, Fluxus and kinetic art, are beneficially viewed in relation to the cultural history of the computer. The exhibition establishes this obvious connection by including these contemporary movements, and it thus places digital art in an art-historic connection. At the same time, the exhibition points out that the advanced art scene of the 1960s was preoccupied with, and can with advantage be viewed in relation to the arrival and growing importance of the computer.
THE ANALOGUE COUSINS OF ALGORITHMIC ART
The Fluxus artists dealt exhaustedly with coincidence and with recipes or instructions as art. At the exhibition you can for example see George Brecht's 'Universal Machine' from 1965, named after the computer theoretician Alan Turing's famous description of the computer as a universal machine and not just as a calculator, which had previously been imagined. Brecht's universal machine is a box with things in it, which, when you shake the box, can be arranged randomly on some images. The box also contains some texts indicating how an interpretation of the placing of the objects in relation to the images can answer different questions for the art user.
The exhibition contains several examples of the Fluxus artists' use of instructions as art, e.g. Tomas Schmidt's typewriter poem from 1964, which is a typewriter keyboard with numbers indicating which order to press down the keys in order to produce a poem. In the exhibited form the poem is unreadable - it has to be executed before it can be read - and the instruction is thus an unreadable code in the same way as a computer program. The typewriter poem, however, points out this illegibility in the algorithmic, functional language - actually, it is this awareness that is its artifice. Similarly, digital art points out the way the artist and the human sender take a step back in relation to the expression. The machine creates the expression - the artist has like the lab-coated scientist become an experimenting operator.
The potential of the algorithm was also explored in other ways within contemporary analogue art. The Op-Art movement made virtual images, created by effects in perception - a kind of magic images pointing towards the installations created today by an artist such as Olafur Eliasson. Other artists were like the mobiles of the kinetic art, more preoccupied with dynamics - movements that never repeat themselves, and require an interacting user to get started. The work becomes a machine without a practical function such as Jean Tinguely's kinetic reliefs and sculptures.
In this way, the subject is art, which requires a user and an unfolding before being realised. Works that are not realised until you interact with them, and which in this way to a lesser extent express something in themselves. But this is where art reflects the potential in, and the consequences of, the algorithmic revolution. The machines become expressive in a new way - they are not merely impressive objects such as steam engines, but become a part of communication itself. The artist can in return take a step back for the benefit of the user, who through the interaction realizes the work. Art in this way depicts that a new sign and a new machine has entered the world, mediating the relationship between us.
THE COMPUTER'S CULTURE
In the early sixties these artists already recognised that culture and society was rapidly changing, and that large humming machines such as the Zuse Z22 were an important player in this revolution. Even though it had at first been overlooked, it was also culture, social structures and art, which came out of the computer. While most people only saw white lab coats and technical usages, these visionary artists saw the seed of a new culture and a new art. And their visions still seem very fresh in spite of the many years - like visions we are maybe only now beginning to understand and appreciate. At times they are even shockingly visionary compared to the more every day interaction we have with the computer today. Perhaps the potential of the computer was more easily imagined then, when it was not as ordinary and normalised.
Of course, the algorithmic revolution does not end in the 1960s. Artistically, the digital art developed into net art, software art and digital installations of our day, also displayed at the exhibition. Frieder Nake has stated that he and the other early computer artists were often frustrated about only being able to exhibit static printouts, when the actual art was the algorithmic process and its infinity of potential expressions. Later on it has of course become possible to exhibit dynamic and interactive works, such as Golan Levin or Casey Rea's generative works. Computer art has also developed into some spectacular and thought provoking installations, such as Perry Hoberman's Bar Code Hotel (1994) where the audience gets to play with a world of 3D figures via bar codes.
These works have to a large extent been related to their historic roots, when shown in connection with the early algorithmic art. In this connection they are not only understood as more or less magical and spectacular works with a playing user in the centre, but also as works that unfold the algorithmic process - that take part in the algorithmic revolution.
If you are still hungry for more, ZKM also houses other exhibitions reflecting a fresh look at the societal role of art, e.g. the currently interesting, but somewhat messy, 'Making Things Public' (curated by Peter Weibel and Bruno Latour). In the media museum's collection is also a series of trend setting media artworks by Bill Viola, Nam June Paik along with significant digital works by e.g. Jeffrey Shaw. It becomes apparent that also video art looks good in ZKM's digital media-artistic connection. Finally, the museum also houses a section for computer games. You can safely set aside a couple of days if you are in the southwest corner of Germany.
More about Soeren Pold: www.bro-pold.dk
Article with images from the exhibition: http://www.artificial.dk/articles/heavy.htm
THE ALGORITHMIC REVOLUTION
HEAVY MACHINERY AND ABSTRACT ART IN A NEW CONTEXT AT ZKM
'Usually, a revolution is about to happen and it announces itself with a 'roar'. The Algorithmic Revolution has already happened, and, despite remaining largely unnoticed, it has been all the more effective. There is, namely, no longer any area of our social and cultural life that is not penetrated by algorithms: Cameras, cars, planes, ships, household appliances, hospitals, banks, factories, shopping malls, traffic, architecture, literature, art, music. The Algorithmic Revolution began around 1930 in science, around 1960 in art. ' (Peter Weibel, ZKM 2004).
The German Centre for Art and Media (ZKM) in Karlsruhe is currently showing the exhibition The Algorithmic Revolution which presents a historical outline of this radical change in the fine arts, music, design and architecture. The exhibition draws both on the ZKM collection and selected loans. It can be experienced until December 2005.
Two writers let themselves be inspired and give two different views on the exhibition in two separate articles. Here is what Soeren Pold wrote. Soeren Pold is ph.d, associate professor and head of the research project 'The Aesthetics of the Interface Culture' at the Digital Aesthetics Research Centre in Aarhus, Denmark. Translation: Sofie Paisley.
-------
Inside the glass door by the entrance to the art exhibition 'The Algorithmic Revolution' at ZKM stands a giant machine, which with its weight of 1000 kg radiates equal parts white lab coats, German objectivity and wirtschaftswunder. It's a Zuse Z22 from 1957, the seventh computer from the world's first computer start-up company, Konrad Zuse AG, and the oldest functioning vacuum-tube computer. It makes a serious humming noise and its 415 electron tubes radiate, and is in this way an esthetical object in itself, drawing admiring and inquisitive glances. You can look in at the tubes, study the teleprinter and the control panel. At the same time it is a mysterious machine - you can't see what it does and how it processes its data - you can't read or follow the algorithms. It was used within building technology, aerodynamics and the construction of nuclear reactors, but some of the very first digital art was also created on it. Digital literature was made on this computer as early as 1959, when Theo Lutz made computer generated texts based on The Castle by Franz Kafka, which was one of the very first experiments with digital literature.
But at the same time, the machine precisely indicates the dilemma and starting point of digital art: unlike the steam engine which Danish writer Johannes V. Jensen and others praised 100 years ago, the computer lacks sensuous features. Even though Zuse's vacuum-tube model can instil respect in most people, the point is the invisible and unreadable, which takes place in the computer. The computer's processing of data is invisible to most, we only see the results, and the computer's cultural influence has in this way to a large extent centred on making processes invisible and on heightening their efficiency - about complex quantities of data automatically stored and put into effect in opaque bureaucracies. The most important digital art therefore works with the relation between visible versus invisible, sensuous versus concealed, meaningful versus coded. This makes it partially step out of the sensuous, which is otherwise the domain of art. Maybe this is the reason it is so frequently overlooked?
ALGORITHMIC IMAGES
If you think digital art is a new thing - which would be easy to think from the highly sporadic treatment of the subject by Danish museums - then visiting the ZKM and the Zuse Z22 is a good idea. As the literary experiments on the Z22 points to, the first artists used the computer 40-50 years ago. As early as 1955-56, composers worked with computers and ten years later we see the first experiments with algorithmic images and animations created on the computers of the day.
Frieder Nake, who was among the first three artists to exhibit visual computer art in 1965, also started his artistic experiments on Zuse Z22, but the works displayed at ZKM were made on later computers. Frieder Nake's early works are, as several of other early works, attempts at visualising algorithms and algorithmic processes. At making visible the invisible and visualising the abstract.
One example of this is images that let random processes determine the number of edges on a polygon, their lengths and directions, such as Random Polygon (1965). Or the works where elements are repeated in series, but transposed by the way individual parameters are changed and influenced by coincidence. Nake's art is, similarly to other algorithmic art, a kind of art that depicts the relationship between rigid order and chance, and how new both organic and rational structures occur.
ARTIFICIAL ART
Frieder Nake was a math student in Stuttgart and was given permission to experiment with the computer at night in the early 1960s. The first time digital art (by Georg Nees) was exhibited in February 1965 in Stuttgart, other more traditional artists reacted with negativity according to Nake. Max Bense, the organiser, tried defending the digital art against the insulted artists as being 'artificial art'. An art that was not directly traceable back to a creative artist expressing himself or his intentions, but which was created with the help of programmed computers which most viewed (and still view) as far from the domain of art.
Digital art, however, was not created in a vacuum. At the time of its appearance the most advanced parts of the art scene were preoccupied with opening art in new ways and towards new dimensions. Several of these movements, such as Op-Art, Fluxus and kinetic art, are beneficially viewed in relation to the cultural history of the computer. The exhibition establishes this obvious connection by including these contemporary movements, and it thus places digital art in an art-historic connection. At the same time, the exhibition points out that the advanced art scene of the 1960s was preoccupied with, and can with advantage be viewed in relation to the arrival and growing importance of the computer.
THE ANALOGUE COUSINS OF ALGORITHMIC ART
The Fluxus artists dealt exhaustedly with coincidence and with recipes or instructions as art. At the exhibition you can for example see George Brecht's 'Universal Machine' from 1965, named after the computer theoretician Alan Turing's famous description of the computer as a universal machine and not just as a calculator, which had previously been imagined. Brecht's universal machine is a box with things in it, which, when you shake the box, can be arranged randomly on some images. The box also contains some texts indicating how an interpretation of the placing of the objects in relation to the images can answer different questions for the art user.
The exhibition contains several examples of the Fluxus artists' use of instructions as art, e.g. Tomas Schmidt's typewriter poem from 1964, which is a typewriter keyboard with numbers indicating which order to press down the keys in order to produce a poem. In the exhibited form the poem is unreadable - it has to be executed before it can be read - and the instruction is thus an unreadable code in the same way as a computer program. The typewriter poem, however, points out this illegibility in the algorithmic, functional language - actually, it is this awareness that is its artifice. Similarly, digital art points out the way the artist and the human sender take a step back in relation to the expression. The machine creates the expression - the artist has like the lab-coated scientist become an experimenting operator.
The potential of the algorithm was also explored in other ways within contemporary analogue art. The Op-Art movement made virtual images, created by effects in perception - a kind of magic images pointing towards the installations created today by an artist such as Olafur Eliasson. Other artists were like the mobiles of the kinetic art, more preoccupied with dynamics - movements that never repeat themselves, and require an interacting user to get started. The work becomes a machine without a practical function such as Jean Tinguely's kinetic reliefs and sculptures.
In this way, the subject is art, which requires a user and an unfolding before being realised. Works that are not realised until you interact with them, and which in this way to a lesser extent express something in themselves. But this is where art reflects the potential in, and the consequences of, the algorithmic revolution. The machines become expressive in a new way - they are not merely impressive objects such as steam engines, but become a part of communication itself. The artist can in return take a step back for the benefit of the user, who through the interaction realizes the work. Art in this way depicts that a new sign and a new machine has entered the world, mediating the relationship between us.
THE COMPUTER'S CULTURE
In the early sixties these artists already recognised that culture and society was rapidly changing, and that large humming machines such as the Zuse Z22 were an important player in this revolution. Even though it had at first been overlooked, it was also culture, social structures and art, which came out of the computer. While most people only saw white lab coats and technical usages, these visionary artists saw the seed of a new culture and a new art. And their visions still seem very fresh in spite of the many years - like visions we are maybe only now beginning to understand and appreciate. At times they are even shockingly visionary compared to the more every day interaction we have with the computer today. Perhaps the potential of the computer was more easily imagined then, when it was not as ordinary and normalised.
Of course, the algorithmic revolution does not end in the 1960s. Artistically, the digital art developed into net art, software art and digital installations of our day, also displayed at the exhibition. Frieder Nake has stated that he and the other early computer artists were often frustrated about only being able to exhibit static printouts, when the actual art was the algorithmic process and its infinity of potential expressions. Later on it has of course become possible to exhibit dynamic and interactive works, such as Golan Levin or Casey Rea's generative works. Computer art has also developed into some spectacular and thought provoking installations, such as Perry Hoberman's Bar Code Hotel (1994) where the audience gets to play with a world of 3D figures via bar codes.
These works have to a large extent been related to their historic roots, when shown in connection with the early algorithmic art. In this connection they are not only understood as more or less magical and spectacular works with a playing user in the centre, but also as works that unfold the algorithmic process - that take part in the algorithmic revolution.
If you are still hungry for more, ZKM also houses other exhibitions reflecting a fresh look at the societal role of art, e.g. the currently interesting, but somewhat messy, 'Making Things Public' (curated by Peter Weibel and Bruno Latour). In the media museum's collection is also a series of trend setting media artworks by Bill Viola, Nam June Paik along with significant digital works by e.g. Jeffrey Shaw. It becomes apparent that also video art looks good in ZKM's digital media-artistic connection. Finally, the museum also houses a section for computer games. You can safely set aside a couple of days if you are in the southwest corner of Germany.
More about Soeren Pold: www.bro-pold.dk
Call for Papers: READ_ME 2004
Deadline:
Tue Dec 16, 2003 16:46
Please, distribute - sorry for crossposting
-------------------------------------------------------------
READ_ME 2004
software art festival
/
/
Software Art and Cultures Runme-Dorkbot
conference city camp
-------------------------------------------------------------
The third edition of the Read_Me software art festival will be held at the=
end of August 2004 in
Aarhus, Denmark. Read_me 2004 will consist of the conference at Aarhus
University and the city camp
organized by two friendly entities: Runme.org and Dorkbot. The conference=
and the city camp will be
held consecutively.
and Soeren Po=
ld
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Organized by: Read_Me, Digital Aesthetics Research Centre
(www.digital-aestetik.dk) (Aarhus
University), Det Jyske Kunstakademi (The Jutland Academy of Fine Arts),
Runme.org, Dorkbot.
Supported by: IT-Vest, Aarhus Kommune
---------------------------------------------------------------------------=
-----------------
*************** NEW PHONE NUMBER + ADRESS****************
Soeren Pold, ph.d., adjunkt (assistant professor)
Multimedia Studies & Comparative Literature
University of Aarhus Office: Wiener: 5347.136
IT Parken phone: +45 8942 9254
Helsingforsgade 14 fax +45 8942 5624
DK-8200 Aarhus N, Denmark
email: pold@multimedia.au.dk, soeren@bro-pold.dk (priv.)
http://www.bro-pold.dk
---------------------------------------------------------------------------=
-------------------
Center for Digital AEstetik-forskning: http://www.digital-aestetik.dk =
-------------------------------------------------------------
READ_ME 2004
software art festival
/
/
Software Art and Cultures Runme-Dorkbot
conference city camp
-------------------------------------------------------------
The third edition of the Read_Me software art festival will be held at the=
end of August 2004 in
Aarhus, Denmark. Read_me 2004 will consist of the conference at Aarhus
University and the city camp
organized by two friendly entities: Runme.org and Dorkbot. The conference=
and the city camp will be
held consecutively.
and Soeren Po=
ld
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Organized by: Read_Me, Digital Aesthetics Research Centre
(www.digital-aestetik.dk) (Aarhus
University), Det Jyske Kunstakademi (The Jutland Academy of Fine Arts),
Runme.org, Dorkbot.
Supported by: IT-Vest, Aarhus Kommune
---------------------------------------------------------------------------=
-----------------
*************** NEW PHONE NUMBER + ADRESS****************
Soeren Pold, ph.d., adjunkt (assistant professor)
Multimedia Studies & Comparative Literature
University of Aarhus Office: Wiener: 5347.136
IT Parken phone: +45 8942 9254
Helsingforsgade 14 fax +45 8942 5624
DK-8200 Aarhus N, Denmark
email: pold@multimedia.au.dk, soeren@bro-pold.dk (priv.)
http://www.bro-pold.dk
---------------------------------------------------------------------------=
-------------------
Center for Digital AEstetik-forskning: http://www.digital-aestetik.dk =
