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SYMPOSIUM
ON ARTS & TECHNOLOGY
Arts of the Virtual: Poetic Inquiries in Time, Space and Motion
September 30 -
Digital technology has spawned new spaces, processes and forms that offer exciting possibilities for creative research and scientific investigation. Through
the exploration of these realms, emerge new ways of conceptualizing ourselves:
our bodies, the spaces in which we reside and the potential for artistic expression.
As artists, architects, cultural theorists and scientists working with new
technologies, we come together from diverse disciplines and find ourselves
asking similar questions. What is the dialogue between corporeality and the
virtual? How do we engage our embodied sense perceptions in virtual worlds?
How do we address form, time and space as both apparition and reality, and
how are these questions answered through our various and overlapping practices?
What can the blurred boundaries between our practices teach us about our
identity as individuals and a society in the 21st century?
The University of Utah's Center for High Performance Computing, in conjunction
with the College of Fine Arts, the School of Architecture + Planning, and
the School of Computing will be hosting a three-day symposium, "Arts of the Virtual: Poetic Inquiries in Time, Space, and Motion". The weekend will consist of presentations,
performances, workshops and discussions by some of the leading artists working
in the hybrid spaces between dance, music, architecture, performance, visual
arts, and technology. The purpose of this symposium is to foster a stimulating
intellectual and aesthetic environment, creating a sense of intimacy in which
all can actively participate and share in a dynamic exchange of ideas.
Funding for the Symposium on Arts Technology has been provided by the
Center for High Performance Computing, the Office of the Vice President for Research, the College of Fine Arts, the Scientific Computing and Imaging Institute,
the School of Music, the School of Architecture + Planning, the Department
of Communication, the Department of Art and Art History and the Department
of Modern Dance. See www.artstechsymposium.utah.edu
for detailed information.
Presenters
Keynote speaker, Marcos Novak is a global nomad, and
an artist, theorist, and transarchitect. His projects, theoretical essays,
and interviews have been translated into over twenty languages and have appeared
in over 70 countries, and he lectures, teaches, and exhibits worldwide. Drawing
upon architecture, music, and computation, and introducing numerous additional
influences from art, science, and technology, his work intentionally defies
categorization. He is universally recognized as the pioneer of architecture
in cyberspace, of the critical consideration of virtual space as architectural
and urban place, and of the use of generative computational composition in
architecture and design. (http://www.mat.ucsb.edu/~marcos/Centrifuge_Site/MainFrameSet.html)
Krzysztof Wodiczko is internationally renowned for his large-scale slide and video projections on architectural facades and monuments. Since
the late eighties, he has developed a series of nomadic instruments for both homeless and immigrant operators that function as implements for survival, communication, empowerment, and healing. In the last decade, Wodiczko has realized more than seventy public projections in Australia, Austria, Canada, England, Germany, Holland, Ireland, Israel, Italy, Mexico, Poland, Spain, Switzerland, and the United States. (http://www.architecture.mit.edu/people/profiles/prwodicz.html)
George
Lewis, improviser-trombonist, composer
and computer/installation artist, studied composition with Muhal Richard
Abrams at the AACM School of Music, and trombone with Dean Hey. The recipient
of a MacArthur "genius" Fellowship in 2002, a Cal Arts/Alpert Award in the
Arts in 1999, and numerous fellowships from the National Endowment for the
Arts, Lewis has explored electronic and computer music, computer-based multimedia
installations, text-sound works, and notated forms. A member of the Association
for the Advancement of Creative Musicians (AACM) since 1971, Lewis's work
as composer, improviser, performer and interpreter is documented on more
than 120 recordings. (http://www.northwestern.edu/jazz/artists/lewis.george/)
Over a career spanning more
than forty years, the composer and pianist Muhal Richard Abrams is widely recognized
as one of the most influential artists in the area of contemporary improvised
music. As a founding member and guiding force of the Chicago-based creative
cauldron, the Association for the Advancement of Creative Musicians (AACM),
the highly influential, community-based musicians' collective that has been
active since 1965, Mr. Abrams has been a central figure in the shaping and
definition of a large variety of innovative approaches to the integration
of composition, improvisation and performance. His notated compositions for
non-improvisors frequently include a strongly articulated mobility of form,
combining precomposed and notated elements with indeterminacy, improvisation,
microtonality and electronics. (http://www.aacmchicago.org/members/muhal_richard_abrams_bio.html)
Shelly Eshkar is a digital artist whose research explores drawing, computer graphics, and human motion. One of his primary tools is motion capture,
a technology that digitally captures the movement, but not the physical likeness,
of human motion. Once inside the computer, Eshkar creates new digital bodies
and spaces to host these motions. The motions are radically recomposed and
altered, creating a work of performance that could exist only in virtual
form. Since 1997 Eshkar and longtime collaborator Paul Kaiser have been creating
museum and stage works with Merce Cunningham. In 1998, Eshkar, Kaiser, and
choreographer Bill T. Jones premiered Ghostcatching, a digital installation some called 'virtual dance.' (http://www.Kaiserworks.com)
Hellen
Sky is a creative co-director
of Company in Space. Her practice
has evolved through performance and image making extended through new technologies.
In CIS projects she collaborates with others to develop scores, and systems
for integrating multiple media and technologies into a total choreography
for performative events, linking virtual physical terrains to the general
public. Previous work posed the question: Where do flesh, fragile bone, senses
and perceptions fit into the new geographies of the late twentieth century?
Also explored were concepts of presence, and identity within virtual reality. (http://www.companyinspace.com)
John McCormick is artistic co-director
of Company in Space. He is
a choreographer and electronic artist whose work with CIS ranges from designing
real time computer interactive systems, real time vision orchestration, new
applications of telecommunications systems to deliver interactive art, as
well as concept collaboration on direction image, choreography and technology
interface. John is currently an artist-in-residence at RMIT's Interactive
Information Institute, researching live interactive performance over the
internet and realtime virtual theatre environments. Currently his work centers
around motion capture and allied means of enabling performers to engage in
shared computer-enhanced spaces. (http://www.companyinspace.com)
Company
in Space is based in
-------------------------------------------------
Julio Bermudez, Ph.D.
Associate Professor
375 South 1530 East, Room 235
(801) 581-7176 (phone)
(801) 581-8217 (fax)
bermudez@... (email)
http://www.arch.utah.edu/julio.htm (web)
"yield and overcome, bend and be straight"
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