{"id":63,"date":"2011-12-15T13:59:44","date_gmt":"2011-12-15T12:59:44","guid":{"rendered":"http:\/\/www.coones.de\/?page_id=63"},"modified":"2016-12-20T01:05:19","modified_gmt":"2016-12-20T00:05:19","slug":"relive-programm","status":"publish","type":"page","link":"https:\/\/www.mediaarthistory.org\/?page_id=63","title":{"rendered":"Re:live programme"},"content":{"rendered":"\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
RELIVE PROGRAM<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Opening<\/strong><\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Thu 26 Nov<\/strong><\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
4.00 – 6.00 pm<\/td>\nBMW Edge<\/td>\nRegistration<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
6.30 pm<\/td>\n<\/td>\n<\/td>\nKeynote: Lisa Gitelman<\/td>\n<\/td>\nA Short History of _______<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
8.00 pm<\/td>\n<\/td>\nWelcome Drinks<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
DAY ONE<\/strong><\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Fri 27 Nov<\/strong><\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
8.00 – 9.30 am<\/td>\nFederation Hall<\/td>\nRegistration<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
\n

9.30 – 11.00am<\/td>\n

Federation Hall<\/td>\nWelcome<\/td>\nSu Baker<\/td>\n<\/td>\nIntroduction from VCA<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nChair:<\/td>\nWelcome<\/td>\nGlyn Davis Vice Chancellor<\/td>\n<\/td>\nUniversity of Melbourne<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nPaul Thomas<\/td>\n<\/td>\nStelarc<\/td>\n<\/td>\nProsthetic Head, Special session<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
\n

Morning Tea<\/strong><\/td>\n

<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
11.30 – 1.00pm<\/td>\nFederation Hall<\/td>\nrealtime<\/td>\nMorten S\u00f8ndergaard<\/td>\n<\/td>\nBeyond the Point One Zero World<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nChair:<\/td>\nparticular works, liveness, realtime<\/td>\nEva Kekou<\/td>\n<\/td>\nThe City as a projection space<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nRoss Harley<\/td>\nparticular works<\/td>\nFrancesca Franco<\/td>\n<\/td>\nThe first computer art show at the 1970 Venice Biennale. An experiment or product of the bourgeois culture?<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nSeminar Room<\/td>\nperformance<\/td>\nLarissa Hjorth<\/td>\n<\/td>\nCartographies of the mobile: the personal as political<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nChair:<\/td>\nperformance<\/td>\nChris Chesher<\/td>\n<\/td>\nConverging technologies of spatial navigation in
\ncomputer games and portable digital devices<\/td>\n		<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nKim Machan<\/td>\nperformance<\/td>\nSam Hinton<\/td>\n<\/td>\nConstructing the First Person Shooter<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\nperformance<\/td>\nIngrid Richardson<\/td>\n<\/td>\nPlaying Outside the Magic Circle: the Hybrid Corporealities of Mobile Gaming<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nCinema 2<\/td>\ninnovation<\/td>\nSusan Ballard<\/td>\n<\/td>\nErewhon: framing media utopia in the antipodes<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nChair:<\/td>\nparticular works, performance, innovation, realtime<\/td>\nJon Cates<\/td>\n<\/td>\nRE:COPYing-IT-RIGHT AGAIN<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nLeon Marvell<\/td>\nperformance, innovation<\/td>\nGabriel Menotti Gonring<\/td>\n<\/td>\nExecutable Cinema: Demos, Screensavers and Videogames as Audiovisual Formats<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
\n

Lunch<\/strong><\/td>\n

<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
\n

2 – 3.30pm<\/td>\n

Federation Hall<\/td>\nparticular works<\/td>\nCat Hope<\/td>\n<\/td>\nEarth Pulse: vibrational data as artistic inspiration<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nChair:<\/td>\nparticular works, innovation<\/td>\nJoanna Walewska<\/td>\n<\/td>\nRelationship of art and technology: Edward Ihnatowicz’s philosophical investigation on the problem of perception.<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nRoss Harley<\/td>\nparticular works<\/td>\nMonika Gorska-Olesinska<\/td>\n<\/td>\nPolish digital poetry – lack of “prehistoric” artifacts or missing narrative?<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nCinema 2<\/td>\ninnovation<\/td>\nAndres Burbano<\/td>\n<\/td>\nBetween punched film and the first computers, the work of Konrad Zuse<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nChair:<\/td>\ninnovation and enviroment<\/td>\nMarianne Schmidt<\/td>\n<\/td>\nVirtureal<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nMelinda Rackham<\/td>\ninnovation<\/td>\nDaniela Alina Plewe<\/td>\n<\/td>\nTransactional Art as a Form of Interactive Art<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
3.30 – 5pm<\/td>\nFederation Hall<\/td>\nenviroment<\/td>\nPia Ednie-Brown<\/td>\n<\/td>\nTechnologies of Vitality and a Changing Innovation Climate.<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nChair:<\/td>\ninnovation<\/td>\nMark Guglielmetti<\/td>\n<\/td>\nA-Life: the creation and development of new modes of realism<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nSean Cubitt<\/td>\nenvironment<\/td>\nSuzette Worden<\/td>\n<\/td>\nArt-Science Connections for the visualisation of minerals: historical precedents for media arts<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nCinema 2 (*-online session)<\/td>\nlife sciences<\/td>\nJens Hauser<\/td>\n<\/td>\nStill, Living: Staging the Ephemeral between Nature Morte and Art Involving Biotechnology<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nChair:<\/td>\nlife sciences, machines, innovation<\/td>\nNatasha Vita-More<\/td>\n<\/td>\nInterconnected Significance: Human Enhancement and Radical Life Extension<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nAnna Munster<\/td>\nlife sciences<\/td>\nIonat Zurr*<\/td>\n<\/td>\nHow does zo\u00eb transform bio into media?<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nSeminar Room<\/td>\nparticular works, innovation, machines<\/td>\nLeon Marvell & Rudy Rucker<\/td>\n<\/td>\nLifebox Immortality & How We Got There<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nChair:<\/td>\nparticular works, innovation, machines<\/td>\nLeon Marvell & Rudy Rucker<\/td>\n<\/td>\nLifebox Immortality & How We Got There<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nPaul Brown<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
\n

Dinner<\/strong><\/td>\n

<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
\n

6.30 pm<\/td>\n

BMW Edge<\/td>\n<\/td>\nKeynote: Douglas Kahn<\/td>\n<\/td>\nFar out: Brainwaves in inner space and outer space.<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\nDrinks\/nibbles<\/td>\nLaunch Art Monthly<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
\n

DAY TWO<\/strong><\/td>\n

<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Sat 28 Nov<\/strong><\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
9.30 -11.00am<\/td>\nFederation Hall<\/td>\nperformance<\/td>\nPaul Sermon*<\/td>\n<\/td>\nTelematic Practice and Research Discourses<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nChair:<\/td>\nperformance<\/td>\nKatja Kwastek<\/td>\n<\/td>\n\u201cYour number is 96 \u2013 please be patient\u201d – Modes of Liveness and Presence investigated through the lens of interactive artworks<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nOliver Grau<\/td>\nperformance, particular works<\/td>\nMike Leggett<\/td>\n<\/td>\nEarly Video Art as Private Performance<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nSeminar Room<\/td>\nparticular works<\/td>\nManosh Chowdhury<\/td>\n<\/td>\nThe Corporate Art?: Exhaustion of Electronic Space for the Promotionals in Bangladesh<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nChair:<\/td>\ninnovation<\/td>\nBrogan Bunt<\/td>\n<\/td>\nPre-Socratic Media Theory<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nAlessio Cavallaro<\/td>\nparticular and innovation<\/td>\nJung-Yeon Ma<\/td>\n<\/td>\nA Short History of Media Art Events in Japan and Korea since late 1990s: Japan Media Arts Festival and Seoul International Media Art Biennale<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nCinema 2<\/td>\nperformance<\/td>\nLizzie Muller<\/td>\n<\/td>\nAn indeterminate archive for David Rokeby\u2019s \u201cThe Giver of Names\u201d<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nChair:<\/td>\nparticular works<\/td>\nThomas Mical<\/td>\n<\/td>\nBlurring Media-Architecture in 2009<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nMike Stubbs<\/td>\nparticular works<\/td>\nStefano Raimondi<\/td>\n<\/td>\nNanoart: First Steps Beyond the Columns of Hercules<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
\n

Morning Tea<\/strong><\/td>\n

<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
11.30 – 1.00pm<\/td>\nFederation Hall<\/td>\nperformance<\/td>\nDanielle Wilde<\/td>\n<\/td>\nA New Performativity : Wearables and Body-Devices<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nChair:<\/td>\nPerformance<\/td>\nMelentie Pandilovski<\/td>\n<\/td>\nThe media art activities of the Soros Center For Contemporary Arts – Skopje, Macedonia<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nTed Colless<\/td>\nperformance, machines<\/td>\nLaura Beloff<\/td>\n<\/td>\nThe Hybronaut and Other Unexpected Approaches to Wearable Technology<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nSeminar Room<\/td>\nenvironment<\/td>\nAndrea Gleiniger<\/td>\n<\/td>\n\u00abArchitekturen des Augenblicks\u00bb \u2013 a phenomenological view on the medialization of urban space<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nChair:<\/td>\nenvironment<\/td>\nAnne-Marie Duguet<\/td>\n<\/td>\nNatural phenomena actualized through technology.<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nMelentie Pandilovski<\/td>\nenvironment, innovation<\/td>\nDenisa Kera<\/td>\n<\/td>\nApocalypse and Media Art<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nCinema 2<\/td>\nmachines<\/td>\nAllison de Fren<\/td>\n<\/td>\nDisarticulating the Artificial Woman<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nChair:<\/td>\nmachines<\/td>\nAudrey Samson<\/td>\n<\/td>\nHaunted profiles; social networking sites and the crisis of death.<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nDarren Tofts<\/td>\nmachines<\/td>\nMargaret Seymour<\/td>\n<\/td>\nCyborgs and robots: imitation or provocation?<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
\n

Lunch<\/strong><\/td>\n

<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
2 – 3.30pm<\/td>\nFederation Hall<\/td>\nperformance<\/td>\nLucas Ihlein<\/td>\n<\/td>\nRe-Enacting Expanded Cinema: Three Case Studies<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nChair:<\/td>\nperformance<\/td>\nRyszard W. Kluszczynski<\/td>\n<\/td>\nViewer as Performer<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nAnna Munster<\/td>\ninnovation<\/td>\nMarcin Skladanek<\/td>\n<\/td>\nMetadesign and Media Art<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nSeminar Room<\/td>\nperformance<\/td>\nNIgel Llwyd William Helyer<\/td>\n<\/td>\nThe Sonic Commons; and the privatisation of the aural vis-\u00e0-vis<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nChair:<\/td>\nperformance<\/td>\nChris Salter<\/td>\n<\/td>\nThe Stage as Organism: Liveness, Dynamics and Expression in Early Twentieth Century Scenography<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nDaniel Palmer<\/td>\nparticular works, performance<\/td>\nSlavko Kacunko<\/td>\n<\/td>\nLive Media Art and Japan\u2019s Role: A historical and contemporary sideview<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
3.30 – 5pm<\/td>\nFederation Hall<\/td>\nparticular works, innovation<\/td>\nDarren Tofts<\/td>\n<\/td>\nWriting media art into (and out of) history<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nChair:<\/td>\nparticular works<\/td>\nStephen Jones<\/td>\n<\/td>\nBush Video<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nLeon Marvell<\/td>\nparticular works<\/td>\nEdward Shanken *<\/td>\n<\/td>\nReprogramming Systems Aesthetics: A Strategic Historiography<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nCinema 2<\/td>\nmachines<\/td>\nZita Joyce<\/td>\n<\/td>\nNetworked communities in New Zealand media arts<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nChair:<\/td>\nmachines<\/td>\nErnest Edmonds<\/td>\n<\/td>\nThe Art of Conversation<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nPaul Brown<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
6.30 pm<\/td>\nBMW Edge<\/td>\n<\/td>\nKeynote: Zhang Ga<\/td>\n<\/td>\nFrom timelapse to timecollapse or from representation to presentation<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Dinner<\/strong><\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
\n

DAY THREE<\/strong><\/td>\n

<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Sun 29 Nov<\/strong><\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
9.30 -11.00am<\/td>\nFederation Hall<\/td>\nparticular works<\/td>\nRoss Harley (panel)<\/td>\n<\/td>\nAustralia Video Art Histories: A media arts archeology for the future<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nChair:<\/td>\nparticular works<\/td>\nJohn Conomos<\/td>\n<\/td>\nAustralia Video Art Histories: A media arts archeology for the future<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nPaul Thomas<\/td>\nparticular works<\/td>\nAnne Finnegan<\/td>\n<\/td>\nAustralia Video Art Histories: A media arts archeology for the future<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\nparticular works<\/td>\nDanni Zuvella<\/td>\n<\/td>\nAustralia Video Art Histories: A media arts archeology for the future<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nSeminar Room<\/td>\nparticular works<\/td>\nMike Stubbs<\/td>\n<\/td>\nAbandon Normal Devices – they dont seem to work<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nChair:<\/td>\nparticular works<\/td>\nLissa Mitchell<\/td>\n<\/td>\nNegotiating the future \u2013 a new media collection in a public art museum<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nLisa Gye<\/td>\nparticular works<\/td>\nRosana Monteiro<\/td>\n<\/td>\nReconfiguration of knowledges. Medical images between art, science and technology.<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nCinema 2<\/td>\nparticular works, innovation<\/td>\nIan Clothier<\/td>\n<\/td>\nAnimating the Inanimate: Haiku robots, multiplicities of time and intercultural context<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nChair:<\/td>\nparticular works, performance, machines<\/td>\nCaroline Langill<\/td>\n<\/td>\nThe Living Effect: Autonomous Behaviour in Early Electronic Media Art<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nDarren Toft<\/td>\nparticular works, performance, machines<\/td>\nSarah Kenderdine<\/td>\n<\/td>\nThe Relocation of Theatre: Making UNMAKEABLELOVE<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
\n

Morning Tea<\/strong><\/td>\n

<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
\n

11.30 – 1.00pm<\/td>\n

Federation Hall<\/td>\ninnovation<\/td>\nMartin Constable and Adele Tan<\/td>\n<\/td>\nVisual Digitality: Towards Another Understanding<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nChair:<\/td>\ninnovation<\/td>\nDimitris Charitos<\/td>\n<\/td>\nLocative media art practices: locating meaning and narrative in hybrid spaces<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nHelen Stuckey<\/td>\nperformance, innovation<\/td>\nAnders Carlsson<\/td>\n<\/td>\nThe Forgotten Pioneers of Creative Hacking and Social Networking \u2013 Introducing the Demoscene<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nCinema 2<\/td>\nmachines and innovation<\/td>\nGebhard Sengm\u00fcller<\/td>\n<\/td>\nVSSTV – Rediscovery and Re-Interpretation of a Televisionary Parallel Universe<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nChair:<\/td>\nperformance<\/td>\nRobrecht Vanderbeeken<\/td>\n<\/td>\nRelive the Virtual: An Analysis of Unplugged Performance-installations<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nMelentie Pandilovski<\/td>\nparticular works and machines<\/td>\nLawrence Bird<\/td>\n<\/td>\nRe-animating the technical body in the Metropolis tales: Lang, Tezuka, Rintaro<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
\n

Lunch<\/strong><\/td>\n

<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
\n

2 – 3.30pm<\/td>\n

Federation Hall<\/td>\nparticular works<\/td>\nNina Wenhart<\/td>\n<\/td>\nARS ELECTRONICA – re:shaping a city’s cultural identity<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nChair:<\/td>\nparticular works<\/td>\nDarko Fritz *<\/td>\n<\/td>\nHistories of live meetings – case study: five conferences on computer-generated art and related theories in Zagreb, 1968 \u2013 1978<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nSean Cubitt<\/td>\nparticular works<\/td>\nAna Peraica*<\/td>\n<\/td>\nOvercoming media arts<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nCinema 2<\/td>\nVideotage Panel<\/td>\nHelen Mary Grace<\/td>\n<\/td>\nA Paleontology of the Present<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nChair:<\/td>\nVideotage Panel<\/td>\nNorman Ford<\/td>\n<\/td>\nno title<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nAlessio Cavallaro<\/td>\nVideotage Panel<\/td>\nHector Rodriguez<\/td>\n<\/td>\nThe Black Box<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
3.30 – 5pm<\/td>\nFederation Hall<\/td>\nlife sciences, machines<\/td>\nRoger Malina*<\/td>\n<\/td>\nThe History Of Intimate Science: Artists beyond the senses<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nChair:<\/td>\nPlenary Session<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nPaul Thomas, Sean Cubitt<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Close<\/strong><\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
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<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n","protected":false},"excerpt":{"rendered":"

RELIVE PROGRAM Opening Thu 26 Nov 4.00 – 6.00 pm BMW Edge Registration 6.30 pm Keynote: Lisa Gitelman A Short History of _______ 8.00 pm Welcome Drinks DAY ONE Fri 27 Nov 8.00 – 9.30 am Federation Hall Registration 9.30 – 11.00am Federation Hall Welcome Su Baker Introduction from VCA Chair: Welcome Glyn Davis Vice Chancellor University of Melbourne Paul Thomas Stelarc Prosthetic Head, Special session Morning Tea 11.30 – 1.00pm Federation Hall realtime Morten S\u00f8ndergaard Beyond the Point One Zero World Chair: particular works, liveness, realtime Eva Kekou The City as a projection space Ross Harley particular works Francesca Franco The first computer art show at the 1970 Venice Biennale. An experiment or product of the bourgeois culture? Seminar Room performance Larissa Hjorth Cartographies of the mobile: the personal as political Chair: performance Chris Chesher Converging technologies of spatial navigation in computer games and portable digital devices Kim Machan performance Sam Hinton Constructing the First Person Shooter performance Ingrid Richardson Playing Outside the Magic Circle: the Hybrid Corporealities of Mobile Gaming Cinema 2 innovation Susan Ballard Erewhon: framing media utopia in the antipodes Chair: particular works, performance, innovation, realtime Jon Cates RE:COPYing-IT-RIGHT AGAIN Leon Marvell performance, innovation Gabriel Menotti Gonring Executable Cinema: Demos, Screensavers and Videogames as Audiovisual Formats Lunch 2 – 3.30pm Federation Hall particular works Cat Hope Earth Pulse: vibrational data as artistic inspiration Chair: particular works, innovation Joanna Walewska Relationship of art and technology: Edward Ihnatowicz’s philosophical investigation on the problem of perception. Ross Harley particular works Monika Gorska-Olesinska Polish digital poetry – lack of “prehistoric” artifacts or missing narrative? Cinema 2 innovation Andres Burbano Between punched film and the first computers, the work of Konrad Zuse Chair: innovation and enviroment Marianne Schmidt Virtureal Melinda Rackham innovation Daniela Alina Plewe Transactional Art as a Form of Interactive Art 3.30 – 5pm Federation Hall enviroment Pia Ednie-Brown Technologies of Vitality and a Changing Innovation Climate. Chair: innovation Mark Guglielmetti A-Life: the creation and development of new modes of realism Sean Cubitt environment Suzette Worden Art-Science Connections for the visualisation of minerals: historical precedents for media arts Cinema 2 (*-online session) life sciences Jens Hauser Still, Living: Staging the Ephemeral between Nature Morte and Art Involving Biotechnology Chair: life sciences, machines, innovation Natasha Vita-More Interconnected Significance: Human Enhancement and Radical Life Extension Anna Munster life sciences Ionat Zurr* How does zo\u00eb transform bio into media? Seminar Room particular works, innovation, machines Leon Marvell & Rudy Rucker Lifebox Immortality & How We Got There Chair: particular works, innovation, machines Leon Marvell & Rudy Rucker Lifebox Immortality & How We Got There Paul Brown Dinner 6.30 pm BMW Edge Keynote: Douglas Kahn Far out: Brainwaves in inner space and outer space. Drinks\/nibbles Launch Art Monthly DAY TWO Sat 28 Nov 9.30 -11.00am Federation Hall performance Paul Sermon* Telematic Practice and Research Discourses Chair: performance Katja Kwastek \u201cYour number is 96 \u2013 please be patient\u201d – Modes of Liveness and Presence investigated through the lens of interactive artworks Oliver Grau performance, particular works Mike Leggett Early Video Art as Private Performance Seminar Room particular works Manosh Chowdhury The Corporate Art?: Exhaustion of Electronic Space for the Promotionals in Bangladesh Chair: innovation Brogan Bunt Pre-Socratic Media Theory Alessio Cavallaro particular and innovation Jung-Yeon Ma A Short History of Media Art Events in Japan and Korea since late 1990s: Japan Media Arts Festival and Seoul International Media Art Biennale Cinema 2 performance Lizzie Muller An indeterminate archive for David Rokeby\u2019s \u201cThe Giver of Names\u201d Chair: particular works Thomas Mical Blurring Media-Architecture in 2009 Mike Stubbs particular works Stefano Raimondi Nanoart: First Steps Beyond the Columns of Hercules Morning Tea 11.30 – 1.00pm Federation Hall performance Danielle Wilde A New Performativity : Wearables and Body-Devices Chair: Performance Melentie Pandilovski The media art activities of the Soros Center For Contemporary Arts – Skopje, Macedonia Ted Colless performance, machines Laura Beloff The Hybronaut and Other Unexpected Approaches to Wearable Technology Seminar Room environment Andrea Gleiniger \u00abArchitekturen des Augenblicks\u00bb \u2013 a phenomenological view on the medialization of urban space Chair: environment Anne-Marie Duguet Natural phenomena actualized through technology. Melentie Pandilovski environment, innovation Denisa Kera Apocalypse and Media Art Cinema 2 machines Allison de Fren Disarticulating the Artificial Woman Chair: machines Audrey Samson Haunted profiles; social networking sites and the crisis of death. Darren Tofts machines Margaret Seymour Cyborgs and robots: imitation or provocation? Lunch 2 – 3.30pm Federation Hall performance Lucas Ihlein Re-Enacting Expanded Cinema: Three Case Studies Chair: performance Ryszard W. Kluszczynski Viewer as Performer Anna Munster innovation Marcin Skladanek Metadesign and Media Art Seminar Room performance NIgel Llwyd William Helyer The Sonic Commons; and the privatisation of the aural vis-\u00e0-vis Chair: performance Chris Salter The Stage as Organism: Liveness, Dynamics and Expression in Early Twentieth Century Scenography Daniel Palmer particular works, performance Slavko Kacunko Live Media Art and Japan\u2019s Role: A historical and contemporary sideview 3.30 – 5pm Federation Hall particular works, innovation Darren Tofts Writing media art into (and out of) history Chair: particular works Stephen Jones Bush Video Leon Marvell particular works Edward Shanken * Reprogramming Systems Aesthetics: A Strategic Historiography Cinema 2 machines Zita Joyce Networked communities in New Zealand media arts Chair: machines Ernest Edmonds The Art of Conversation Paul Brown 6.30 pm BMW Edge Keynote: Zhang Ga From timelapse to timecollapse or from representation to presentation Dinner DAY THREE Sun 29 Nov 9.30 -11.00am Federation Hall particular works Ross Harley (panel) Australia Video Art Histories: A media arts archeology for the future Chair: particular works John Conomos Australia Video Art Histories: A media arts archeology for the future Paul Thomas particular works Anne Finnegan Australia Video Art Histories: A media arts archeology for the future particular works Danni Zuvella Australia Video Art Histories: A media arts archeology for the future Seminar Room particular works Mike Stubbs Abandon Normal Devices – they dont seem to work Chair: particular works Lissa Mitchell Negotiating the future \u2013 a new media collection in a public art museum Lisa Gye particular works Rosana Monteiro Reconfiguration […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":38,"menu_order":3,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/www.mediaarthistory.org\/index.php?rest_route=\/wp\/v2\/pages\/63"}],"collection":[{"href":"https:\/\/www.mediaarthistory.org\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.mediaarthistory.org\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.mediaarthistory.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.mediaarthistory.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=63"}],"version-history":[{"count":8,"href":"https:\/\/www.mediaarthistory.org\/index.php?rest_route=\/wp\/v2\/pages\/63\/revisions"}],"predecessor-version":[{"id":2376,"href":"https:\/\/www.mediaarthistory.org\/index.php?rest_route=\/wp\/v2\/pages\/63\/revisions\/2376"}],"up":[{"embeddable":true,"href":"https:\/\/www.mediaarthistory.org\/index.php?rest_route=\/wp\/v2\/pages\/38"}],"wp:attachment":[{"href":"https:\/\/www.mediaarthistory.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=63"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}