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Day 1
Thursday, 29 September 2005
Day 2
Friday, 30 September 2005
Day 3
Saturday, 1 October 2005
8:30am – 9:20am Max Bell Aud.  London 3:30pm, Moscow 6:30pm, Tokyo 11:30pm Welcome Address  by Conf. Chair Oliver Grau (8:30am)Address Sara Diamond/Susan Kennard – Roger MalinaKeynoteIntroduction:
Ryszard Kluszczynski
Edmond Couchot: Media Art: Hybridization and Autonomy Towards the Autonomous Image

Plenary (9:20am -11:05am, Max Bell Aud.)

London 4:20pm, Moscow 7:20pm, Tokyo 12:20am


Session I: MediaArtHistories:
Times & Landscapes 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.



Coffee break

(11:20am – 1:10pm, Max Bell Aud.)

6:20pm, Moscow 9:20pm, (fri)Tokyo 2:20

II: Methodologies (Chairs: Mark Hansen and Erkki Huhtamo)

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.


– 2:10pm

Lunch break

(2:10pm -4:10pm, Max Bell Aud.)

London 9:10pm, Moscow 12:10am, (fri)Tokyo 5:10

III: Image Science and ‘Representation’: From a Cognitive Point of View
(Chair: Barbara Stafford)

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
perceptual systems …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.


– 4:25pm


SESSION 1 (4:25pm – 6:25pm)

11:25pm, (fri)Moscow 2:25, (fri)Tokyo 7am

IV: Art 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


SESSION 2 (4:25pm-6:25pm, Max Bell Aud.)

London 11:25pm, (fri)Moscow 2:25, (fri)Tokyo 7am

V: MediaArtHistories: Times and Landscapes 2

 (Chairs: Edward Shanken and Charlie Gere)

Although there has been important scholar-ship on intersections between
art and tech-nology, there is no comprehensive techno-logical 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 develop-ments 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


Reception at the Walter Phillips Gallery)

Cook/Steve Dietz

Sara Diamond: Introduction

Kiendl: Greeting

The Art
Formerly Known As New Media

“The Art Formerly Known As New Media” is an exhibition at the
Walter 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
Insti-tute. 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, pro-duced or
previously presented at Banff. It is a “refreshed” look at how
traditional forms of new media work such as interactive install-ations,
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 rela-tions, public
space, memory, leisure, contemporary art, and what it means to be human
as we increasingly become machine.

Plenary (8:45am – 10:45am, Max Bell Aud.)London 3:45pm, Moscow 6:45pm, Tokyo 11:45pmSession
VI: Collecting, Preserving and Archiving the Media Arts
 (Chair: Steve Dietz) Collections grow because of different influences such as art dealers,
the art 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?Speakers:


Coffee break

SESSION 1 (11am -1:00pm, Max Bell Aud.)

London 6pm, Moscow 9pm, (sat)Tokyo 2am

VII: Database/New Scientific Tools

 (Chairs: Rudolf Frieling and 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?


SESSION 2 (11am-1:00pm)
6pm, Moscow 9pm, (sat)Tokyo 2am

VIII: Pop/Mass/Society

 (Chairs: Machiko Kusahara and 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.


– 2:00pm

Lunch break


(2:00pm – 4:00pm)

London 9pm, Moscow 12am, (sat)Tokyo 5am

of the field will be invited to present their research visually. 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


– 7:00pm



Lab walk-thru


(8:00pm – 9:00pm, Max Bell Aud.) (sat) London 3am, (sat)
Moscow 6am, (sat)Tokyo 11am


  Introduction: Roger Malina

SARAT MAHARAJ: Post-Guten(morgen)berg:
Soundings for a North/South Atlas of Art and New Media Histories.

Plenary (8:30am – 10:30am, Max Bell Aud.)London
3:30pm, Moscow 6:30pm, Tokyo 11:30pm
IX: Cross-Culture – Global Art
 (Chairs: Sara Diamond)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.Speakers:


Coffee break

SESSION 1 (10:45am – 12:45pm)

London 5:45pm, Moscow 8:45pm, (sun)Tokyo 1:45

X: Cross-Disciplinary research methods

(Chairs: Frieder Nake and Ron Burnett)

   The pressure to become interdisciplinary is very intense — coming
from a variety of disciplines and institutions. Ironically, this
pressure has been around for a very long time. So, why don’t
we just strive for excellence irrespective of discipline? Don’t the artistic
practices within the field of New Media push us in that direction anyway?


London 5:45pm, Moscow 8:45pm, (sun)Tokyo 1:45

XI: Rejuvenate: Film, Sound and Music in Media Arts History (Chairs: Douglas
Kahn and Sean Cubitt)

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.


– 1:45pm

Lunch break

– 2:45pm, Max Bell Aud.)

London 8:45pm, Moscow 11:45pm, (fri)Tokyo 4:45

Sara Diamond

Lucia Santaella:
The Semiosis of
Media Art, Science and Technology

SESSION 1 (2:45pm – 4:45pm)

9:45pm, Moscow 12:45am, (sun)Tokyo 5:45

XII: Collaborative Practice/ Networking (history)

 (Chairs: Ryszard Kluszczynski and Diana Domingues)

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.


SESSION 2 (2:45pm-4:45pm, Max Bell Aud.)

London 9:45pm, Moscow 12:45am, (sun)Tokyo 5:45

XIII: What 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.


SESSION 1 (5pm – 7pm)

London 12am, (sun) Moscow 3am, (sun )Tokyo 8am

XIV: High Art/Low Culture – the Future of Media Art Sciences? (Chair:
Karin Bruns)

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
digital culture.


SESSION 2 (5pm-7pm, Max Bell Aud.)

London 12am, (sun) Moscow 3am, (sun) Tokyo 8am

XV: History of Institutions

 (Chairs: Itsuo Sakane and Jasia Reichardt)

are inevitable parallels between the development of what we now call media
art and life at large. Excess of information leads to insecurity —
what to believe, what to select, what to keep and what to discard.

Sustainability, conservation, education and access are topics relevant
to today’s media art, and as relevant to it as to our natural resources.
Now that media art has a history, how do we keep track of it and preserve