Times and Landscapes I and II
1. ( Chairs: Oliver Grau and Gunalan Nadarajan )
After photography, film, video, and the little known media art history
of the 1960s-80s, today media artists are active in a wide range of digital
areas (including interactive, genetic, telematic and nanoart). Media Art
History offers a basis for attempting an evolutionary history of the audiovisual
media, from the Laterna Magica to the Panorama, Phantasmagoria, Film,
and the Virtual Art of recent decades. This panel tries to clarify, if
and how varieties of Media Art have been splitting up during the last
decades. It examines also how far back Media Art reaches as a historical
category within the history of Art, Science and Technology. This session
will offer a first overview about the visible influence of media art on
all fields of art.
NADARAJAN: Islamic Automation: A Reading of al-Jazari's The Book of
Knowledge of Ingenious Mechanical Devices (1206)
POISSANT: From Material to medium
GRAU: Magic, Movement and Evolution: From Phantasmagoria to Media Art
CARPO: The Demise of the Identicals Architectural standardization in
the age of digital reproducibility
Edward Shanken, co: Charlie Gere)
Although there has been important scholarship on intersections between
art and technology, there is no comprehensive technological history of
art (as there are feminist and Marxist histories of art, for example.)
Canonical histories of art fail to sufficiently address the inter-relatedness
of developments in science, technology, and art. What similarities and
differences, continuities and discontinuities, can be mapped onto artistic
uses of technology and the role of artists in shaping technology throughout
the history of art? This panel seeks to take account of extant literature
on this history in order to establish foundations for further research
and to gain perspective on its place with respect to larger historiographical
SHANKEN: Towards a comprehensive technological history of art?
GERE: Early British Computer Art: the findings of the CACHe project
TAYLOR: "How anti-computer sentiment shaped early computer art
FRITZ & MARGIT ROSEN: Between Form and Concept - The Positioning
of Computer-Based Arts in the Late 1960s
LACERTE: Experiments in Art and Technology: a gap to fill in art history's
- ANNE COLLINS
GOODYEAR: Technophilia, Vietnam, and the Rise and Fall of "Art
and Technology" in the United States, 1965-1971
LANGILL: Hey, Look at Me! Thoughts on the canonical exclusion of early
FERNANDEZ: Gordon Pask - cybernetic polymath
(Chair: W.J.T. Mitchell)
This session tries to give a critical overview of which methods art history
has been using during the past to approach media art. Papers regarding
media archaeological, anthropological, narrative and observer oriented
approaches are welcome. Equally encouraged are proposals on iconological,
semiotic and cyberfeministic methods.
HUHTAMO: Media Arts and Media Archaeology - Collision or Convergence
ARISTARKHOVA: Excavating Mother, Excavating Cyborg
BROECKMANN: Image, Process, Performance, Machine. Paradigms of Media
as Research / Artists as Inventors (Chair: Dieter Daniels)
Do "innovations" and "inventions" in the field of
art differ from those in the field of technology and science? Do artists
still contribute anything "new" to those fields of research
- and did they ever in history? Which inventions changed the arts as well
as technology and the media? These questions will be discussed in a frame
from the 19th century until today, special foci of interest are:
- modernism and the birth of media technology 1840 - 1880
- the utopia of merging art and technology in the 1920s and 1960s
- the crisis of the "new" vs. digital media art innovations
since the 1980s
DANIELS: "Art as Research / Artists as Inventors"
MEIGH-ANDREWS: Peter Donebauer & Richard Monkhouse - Video Artist/
Engineers in the UK
- FRED TURNER:
Where Cybernetics Met The Counterculture: The Us Company, (USA) firstname.lastname@example.org
PENNY: Art invention and technical innovation
BORCK: Going beyond the body's limits: Raoul Hausmann's art of prosthetic
Science and 'Representation': From a Cognitive Point of View (Chair: Barbara
Although much recent scholarship in the Humanities and Social Sciences
has been "body-minded," this research has yet to grapple with
a major problem familiar to contemporary cognitive scientists and neuroscientists.
How do we reconcile a top-down, functional view of cognition with a view
of human beings as elements of a culturally shaped biological world? Current
scientific investigations into autopoiesis, emotion, symbolization, mind-body
relations, consciousness, "mental representations", visual and
open up fresh ways of not only figuring the self
but of approaching historical as well as elusive electronic media --again
or anew--from the deeper vantage of an embodied and distributed brain.
Papers that struggle concretely to relate and integrate aspects of the
brain basis of cognition with any number of pattern-making media are solicited
to stimulate debate.
STAFFORD: "Image Science and 'Representation': From a Cognitive
Point of View"
VEEL: Once upon a time there was a database
Database and narrative
from a cognitive (...)
PEPPERELL: Self-Aware Art, Paradoxes and the Extended Mind
ROSS: Slow time in contemporary media arts, (Canada) email@example.com
THURTLE & CLAUDIA X. VALDES: "Biofeedback and the arts":
listening as experimental practice
SALTER: The performative turn in New Media - A critical history
- TIM CLARK:
Computation, Aesthetics, and Representation: A Critical Examination
of the "The Thesis of Computational Sufficiency & Explanation"
and the Incorporation of "The Argument from Human Creativity
Practice/ Networking (history) (Chair: Ryszard Kluszczynski, co: Diana
In a network people are working together, they share resources and knowledge
with each other - and they compete with each other. This process has sped
up enormously within a few decades and has reached a new quality/dimension.
It is the computer who had and has a forming influence on this change
- from the Mainframes of the 50s and 60s to the PCs of the 70s and the
growing popularity of the Internet during the 90s of the past century.
The dataflow created new economies and new forms of human communication
- and last but not least the so-called globalization.
KLUSZCZYNSKI: RE-writing the History of Modern Art: How Media Change
Our Perspective on the Past
- NINA CZEGLEDY:
Cross Cultural Interdisciplinary Initiatives
- TODD DAVIS,
DOUGLAS JARVIS, JEREMY TURNER: SAT-TEL-COMP - (Satellite-Telephone-Computer):
Beginnings of multi-dimensional artist networks through the connectivity
of (technological) telecommunications devices and human dialogue
DOLINSKY: CAVEs Projecting imagination into reality across high speed
(Chair Machiko Kusahara, co: Andreas Lange)
The dividing lines between art products and consumer products have been
disappearing more and more since the Pop Art of the 1960s. The distinction
between artist and recipient has also become blurred. Most recently, the
digitalization of our society has sped up this process enormously. In
principle, more and more artworks are no longer bound to a specific place
and can be further developed relatively freely. The cut-and-paste principle
has become an essential characteristic of contemporary culture production.
The spread of access to the computer and the internet gives more people
the possibility to participate in this production. The panel examines
concrete forms, as for example computer games, determining the cultural
context and what consequences they could have for the understanding of
art in the 21st century.
KUSAHARA: Technology as Art: "Device Art" as a New Japanese
LANGE: Archiving of Computer Games
KEIFER-BOYD: Computer Games: Art in the 21st Century,
CROCKETT: An Aesthetics of Play - or, How to Appreciate Interactive
- MARK TRIBE:
Open Source Culture
Collecting, preserving and archiving the media arts (Chair: Jean Gagnon)
Collections grow because of different influences such as art dealers,
market, curators and currents in the international contemporary art scene.
What are the conditions necessary for a wider consideration of media art
works and of new media in these collections?
- JEAN GAGNON:
Collecting, preserving and archiving the media arts
PAUL: The Myth of Immateriality - Presenting & Preserving New Media
WEIBEL: The Migration and Preservation of Media
- JON IPPOLITO:
Speedbumps on the Information Superhighway
Database/New Scientific Tools (Chair: Rudolf Frieling, co: Oliver Grau)
Accessing and browsing the immense amount of data produced by individuals,
institutions, and archives has become a key question to our information
society. In which way can new scientific tools of structuring and visualizing
data provide new contexts and enhance our understanding of semantics?
BERNDT: Database of Virtual Art - For an expanded concept of documentation
FAUCONNIER: V2_'s archive - A dynamic model for the description of media
Cross-Culture - Global Art (Chair: Sara Diamond, Co: Manray Hsu)
Issues of cultural difference will be included throughout Refresh! However,
the panels in Cross-Culture--Global Art provide an opportunity to examine
cross-cultural influences, the global and the local. Through these sessions
we hope to construct the histories, influences and parallels to new media
art and even the definitions of what constitutes new media from varied
cultural perspectives. For example, how what are the impacts of narrative
structures from Aboriginal and other oral cultures on the analysis and
practice of new media? How do notions of identity shift across cultures
historically, how are these embedded and transformed by new media practice?
What philosophical perspectives can ground our understandings of new media
aesthetics? How does globalization and the construction of global contexts
such as festivals and biennials effect local new media practices? We encourage
papers from diverse cultural perspectives and methodologies.
- SARA DIAMOND:
Global/Local Collective Models in the History of New Media Cultures
HSU: "From Techno-Utopia to Network Cosmopolitanism: On the Convergence
between New Media Art and Contemporary Art"
STAMENKOVIC: New Media Art in Postsocialist Conditions
PETTY: "CyberRace Constructs: Transnational Identities in R. Kempadoo's
- MARY LEIGH
MORBEY: From Cybercolonialism to Cyberglocalization: A Virtual Shifting
of Cultural Identity on National Musea Websites
RICCIO: World Narrative: The Creation of a New ?Place?
SHARMA: Oscillations... occasions of excess and interrogation
MARKS: Latent rhythm: Algorithmic performativity in media art and Islamic
can the History of New Media Learn from History of Science/Science Studies?
(Chair: Linda Henderson)
As in the case of artists working in traditional media who have engaged
science and technology, new media artists must be situated contextually
in the "cultural field" (Kate Hayles) in which they have worked
or are working. Science and technology have been an important part of
that cultural field in the twentieth century, and the history of science
and science studies-along with the field of literature and science--offer
important lessons for art historians writing the history of new media
art. This session invites papers from art historians and scholars in science-related
disciplines which explore methodological and theoretical issues as well
as those that put interdisciplinary approaches into practice in studying
new media art.
HENDERSON: "'The Fourth Dimension,' the History of Science, and
LENOIR: "Making Studies in New Media Critical"
PUNT: history of science technology and entertainment at the turn of
the nineteenth century
DRUCKREY: Idiosyncratic Archaeologies: Realigning Media History
WERRETT: Logics of Innovation: Science Studies and New Media Approaches
- YANN CHATEIGNÉ:
The fourth memory: Beyond information art in the hypertechnological
Film, sound and music in media arts history (Chair Tom Gunning, Co: Douglas
During an earlier period of new media arts discourse, time-based media
were often considered to be "old media." While this conceit
has been tempered, we still need to consider the sophistication and provocation
of film, sound and music from the perspective of media arts history. This
session invites papers, which examine the return of old media, thick in
their natural habitat of the discourses, practices and institutions of
the arts, entertainment,
science, everyday life, wherever they existed.
- TOM GUNNING:"Amnesia
and Deja vu: New and Old Technology and the Need for a Theory of the
KAHN: Music: The First Digital Art
SANBORN: "Hollis Frampton's Algorithmic Aesthetic"
BUKATMAN: "Comics and the Critique of Chronophotography"
Art/Low Culture the future of media art sciences? (Chair: Karin
The panel aims to bring together the methodological fields of media studies
and media art history. Rather than limiting their focus to canonical works
of art new studies in media art production blend methods and issues from
art history and media sciences as well as from communication studies,
sociology, techno sciences, art history, cultural and postcolonial studies.
To enhance discussions papers of the following topics are invited: methods,
history and principles of western media sciences; concepts of techno-cultural
media sciences; visual studies, game culture studies and media art; everyday
BRUNS: Pixelspaces: Media studies, data banks and knowledge systems
- YARA GUASQUE:
Immersive and participative environments
- ANDY POLAINE:
Lowbrow, high art. Why Big Fine Art doesn't understand interactivity
PIAS: Zombies of the Revolution
of Institutions (Chair: Itsuo Sakane)
(more information soon)
SAKANE: "On the History of Interaction between Art and Technology
-Toward the Cultural Evolution of Human-being"
REICHARDT: The Computer in Art
(more information soon)
NAKE: Significant events in the history of Digital and Computer Art
- RON BURNETT:
Is New Media New?
(more information soon)
Experts of the field will be invited to present their research visually.
The session at Banff is two hours long and there will be no other session
at the conference at the same time. In a large space at the Banff New
Media Institute every presenter will have his own poster board space.
During the presentation, the presenter remains at the display board to
answer questions and discuss the contents of the display.
ROBERTSON: Webs of Resistance: Knitting, the Body, and the Net
FROST: Better Serving the List Serve
GULAN: Web Biennial: International Contemporary Art Exhibition for and
on the World Wide Web
MALIK: Media Art in Pakistan_ Not another "in your face" advertisement
SALMOND: Legitimizing the Video Game
VICTORIA GUGLIETTI: Dialogue- Assimilation- Subversion: Contemporary
New Media Native Art in Canada
HAMEED: The unspoken archive: New media representations of the middle
KLUETSCH: Aesthetic Values
- JOHN MAXWELL:
The "Dynabook": A Study in Survivals
- DON FORESTA:
GRACE BORDA & ALICE MING WAI JIM: [esc]aping: Mapping Digital Diasporas
MATUCK: Human-computer creative interfaces and the emergence of e-authors
NAPPI: What's in a Name? The Ontology of Media Arts
RIESER: Interactive Art and Public spaces: Spatial Narratives for the
- JAN ALTMANN:
Expressive bacteria: the art of photomicroscopy
DYSON: Question of collaborations between artists and scientists
Reception at the Walter Phillips Gallery, Thursday, September 29.
Formerly Known As New Media
"The Art Formerly Known As New Media" is an exhibition at the
Phillips Gallery (Sept. 17 - Oct. 23) curated by Sarah Cook and Steve
Dietz on the occasion of the 10th anniversary of the Banff New Media
Institute. Selected from the hundreds of artists who have participated
in the Institute's programming (symposia, co-productions, labs), the
exhibition is not an historical retrospective of work commissioned,
produced or previously presented at Banff. It is a "refreshed"
how traditional forms of new media work such as interactive
installations, interfaces, software, responsive performances, immersive
spaces, and the world wide web have been explored through BNMI's
programming in terms of broader questions of economics, politics,
social relations, public space, memory, leisure, contemporary art, and
what it means to be human as we increasingly become machine.