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||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| ART-ORIENTED PROGRAMMING 2 ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| International Symposium PARIS, SORBONNE, 19 and 20 October 2007 Friday 19 October 2007 from 3 to 8:15 pm Saturday 20 October 2007 from 9:30 am to 8:30 pm at the Université Paris 1 - Panthéon-Sorbonne Amphithéâtre (Lecture hall) Richelieu 17 rue de la Sorbonne - 75005 Paris Free Entrance(to sign up, send an e-mail to : [EMAIL PROTECTED]) Symposium organized by Laboratoire des Arts et Médias [LAM-LETA] person in charge : David-Olivier Lartigaud http://lam.univ-paris1.fr ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Master Class PURE DATA with Miller Puckette and in presence of Alexander Galloway, Cyrille Henry, Olivier Pasquet. at the École nationale supérieure d’art de Nancy (ENSA Nancy) 1 avenue Boffrand - 54000 NANCY Tel : 03 83 41 61 61 Sunday 21 October 2007 from 10 am to 5 pm A limited amount of space is available(to sign up, send an e-mail to : [EMAIL PROTECTED]) ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Publication Art ++publicationART ++ Publication Art ++ éditionsHYX to appear at the end of October Contact - Information - Press : [EMAIL PROTECTED] / 08 77 65 94 38 ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| General Introduction ColloqueProgrammation orientée art 2 At the time of the previous « Art-oriented Programming » symposium in 2004, the question of programming in art was being hotly debated. Three years later, works continue to be made but they seem to have less visibility. Is this due to a decrease in artistic production? Was it simply a « fashion »? Has programming really become an art? Many works have been made during these last few years and perhaps even more theoretical statements. It has become urgent to clarify matters and make a « fresh start ». To avoid repeating or caricaturing what has already been done, we must objectively take stock of the situation, sort out the stakes and open up a new critical space. In five sessions over two days, this symposium proposes to explore current art and thinking in this field, still lively and rich in promise. ____________________________________ Art and Code : Exhibit/preserve/collect (Friday 19 October – 3-6 pm - amphithéâtre Richelieu) With : Inke Arns(Directrice artistique de Hartware MedienKunstVerein, Dortmund), Wolf Lieser(Directeur de la galerie [DAM], Berlin), Stéphane Maguet(Directeur de la galerie numeriscausa, Paris), Gilles Rouffineau(Professeur à l’École supérieure d’art de Valence, LAM), Antoine Schmitt(Artiste, Paris), Nicolas Thély(Maître de conférences, Université Paris 1 - Panthéon-Sorbonne, LAM). Exhibiting and preserving programmed works is a problem that requires many adjustments with the artist. Does an old work presented on a new machine lose part of its essence? How can we deal with the obsolescence of media? How can we give a future to works so heavily dependent on constantly changing technologies and software? As for the art market, will it be able to adapt? ____________________________________ Art and code : What history for what future? ( Friday 19 October – 6-8:30 pm - amphithéâtre Richelieu) With : Andreas Broeckmann(Historien d’art, Directeur artistique de TESLA, Berlin), Geoff Cox(Artiste, Lecturer à l’Université de Plymouth), Darko Fritz(Artiste et commissaire d’exposition, Amsterdam/Zagreb), David-Olivier Lartigaud(Université Paris 1 - Panthéon-Sorbonne, LAM). The creations of the « computer art » « pioneers » of the sixties and seventies have found a new vitality: celebrated anew, appreciated for their formal and conceptual clarity, these works seem all the more readable in our contemporary context. But isn't « programmed art » too young to be contemplating its past? Could this be a sign of withdrawl, a need to find its place in a genealogy and thereby prove its worth? Or, on the contrary, does this return to the sources offer a change of viewpoint necessary for a renewal of the topic? ____________________________________ Art and Code : Coded Cities/ Programmed Maps (Saturday 20 October – 9:30-12:30 am - amphithéâtre Richelieu) With : Maurice Benayoun(Artist, Université Paris 1 - Panthéon-Sorbonne, Artistic Director of CITU, LAM), Wilfried Hou Je Bek(Artist, Utrecht), Karen O’Rourke, (Maître de conférences, Université Paris 1 - Panthéon-Sorbonne, LAM), Tania Ruiz(Artist, Paris), Jo Walsh(Artist, London). Code and programming seem to adopt the very shape of questions relating to urban life. Dynamic maps and 3-D cartography reflect a new approach to the city seen as a database, a potential in which the artist finds not only inspiration but also the material of her creation. More than just a screen, isn't the city the new place for software art? ____________________________________ Art and Code : Aesthetics / Culture / Society (Saturday 20 October - 2-5pm - amphithéâtre Richelieu) With : Wendy Chun(Professeur, Brown University, Providence), Matthew Fuller(Critique, Center for Cultural Studies, Goldsmiths College, Université de Londres), Alexander Galloway(Artiste, Professeur Assistant à l’Université de New York), Olga Goriunova(Critique, co-fondatrice de runme.org, Moscou), David Zerbib(Université Paris 1 - Panthéon-Sorbonne, LETA). The question of programming in art is founded in -or derives its meaning from - a broader context, that of a kind of « digital culture ». What do we mean when we use this expression? Does this culture really exist? If so, has artistic programming participated in defining this culture or is it simply a product thereof ? The question comes up regularly as to the existence of an aesthetics specific to this « culture ». Is this existence supported by facts? Or is it merely a theoretical construction? ____________________________________ Art et Code : Langages (samedi 20 octobre - 17h/20h30 - amphithéâtre Richelieu) Avec : Samuel Bianchini(Artiste, Maître de conférences, Université de Valenciennes, LAM), Christophe Bruno(Artiste, Paris), Philippe Codognet(Professeur à Keio University, Tokyo), Jacques Lafon(Directeur de l’École européenne supérieure de l’image, site d’Angoulême), Miller Puckette(Professeur à l’Université de Californie, créateur de Max et Pure Data), Douglas Edric Stanley(Artiste, http://www.abstractmachine.net). Free and/or open-source software open up a whole new approach to creation using computers. The success of Pure Data, for example, shows that exemption from payment is not the only reason for this popularity: these applications seem better able to meet certain artists' expectations. But how far does this go? Are productions using free software really that different from works made using commercial software and computer languages? The question of language is not limited to programming. Web 2.0 opens up a new set of problems, that are either exciting or frightening, according to one's viewpoint, in which language is central. ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Master Class PURE DATA with Miller Puckette Dimanche 21 octobre 2007 de 10h00 à 17h00 à L’École nationale supérieure d’art de Nancy (ENSA Nancy) 1 avenue Boffrand - 54000 NANCY tél : 03 83 41 61 61 Placeslimitées(inscription gratuite à l’adresse : [EMAIL PROTECTED]) The Master Class Pure Data, which will take place at the École nationale supérieure d’art de Nancy will allow participants to explore in depth the possibilities offered by this program in a hands-on session with its creator. Miller Puckettea obtenu une thèse en Mathématiques à Harvard en 1986. Membre du Media Lab au MIT (Massachusetts Institute of Technology) de la date de sa création jusqu’en 1987, il devient ensuite chercheur à l’IRCAM (l’Institut de Recherche et de Coordination Musique/Acoustique) où il écrit le logiciel Maxpour Macintosh. En 1989, Miller Puckette rejoint le projet «IRCAM musical workstation» (IMW) où il développe une version étendue de Max intitulée Max/FTS qui devient une référence en recherche musicale. En 1994, Miller Puckette entre au département Musique de l’Université de Californie à San Diego. Il y est actuellement Directeur associé du Centre de Recherche en Art et Informatique (CRCA). Miller Puckette travaille depuis quelques années au développement du logiciel Pure Data, destiné au traitement en temps réel de données multimédia pour les installations interactives et le spectacle vivant. En tant que logiciel libre, Pure Data, dont la communauté d’utilisateurs ne cesse de s’étendre, fédère un grand nombre de développeurs à travers le monde qui participent à son élaboration et étendent ses possibilités. Pure Data est gratuit et disponible sous Linux, Windows et Macintosh. et en présence de Alexander Galloway, Cyrille Henry,artist and independant developer, Cyrille Henry works with captors and physical modeling for gesture analysis, as well as real time sound and visual synthesis. Olivier Pasquet, composer of electronic music and producer. He works in pure music and diverse fields of the performing arts such as theatre, installations, popular contemporary instrumental music (Ircam). Miller Puckette's Site : http://www-crca.ucsd.edu/~msp/ Pure Data Site: http://puredata.info/ ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Publication ART ++ éditions HYX to be published at the end of October Modification of Nintendo cartridges, website hacking, experimental software or poetry written in Perl... What has programming in the field of art been doing for the past ten years? By assembling texts, either original or unpublished in French, this book proposes to analyze and understand the impact of code, programming and digitalization of data on art practise. In their different contributions, theoreticians, critics and artists reveal the new aesthetic, technical and cultural stakes linked to what is known today as « the digital revolution ». This publication follows the symposium Art-oriented Programming, which took place at the Université Paris 1 -Panthéon-Sorbonne in 2004. It is supported by the Scientific Comittee of the Délégation aux arts plastiques as part of the research line Meaning and Use of Computer Programming in Art. ____________________________________ Preface by Anne-Marie Duguet, Professor at the Université Paris 1 Panthéon-Sorbonne. Director of the Laboratoire des Arts et Médias [LAM-LETA]. Book Editor: David-Olivier Lartigaud, Université Paris 1 Panthéon-Sorbonne, LAM. With contributions from : Inke Arns, Critique, Directrice artistique de Hartware MedienKunstVerein, Dortmund. Samuel Bianchini, Artiste, Maître de conférences, Université de Valenciennes, LAM. Andreas Broeckmann, Historien d’art, Directeur artistique de TESLA, ancien directeur artistique de Transmediale, Berlin. Christophe Bruno, Artiste, Paris. Wendy Hui Kyong Chun, Professeur, Brown University, Providence. Florian Cramer,Critique, Directeur de cours au Piet Zwart Institute, Rotterdam. Geoff Cox, Artiste, Université de Plymouth, Alex McLean, Artiste, Londreset Adrian Ward, Artiste, Londres. Jean-Paul Fourmentraux, Docteur en Sociologie, Maître de conférences à l’Université Lille 3. Matthew Fuller, Critique, Center for Cultural Studies, Goldsmiths College, Université de Londres. Olga Goriunova, Critique, co-fondatrice de runme.org, Moscou. Wilfried Hou Je Bek, Artiste, Utrecht. David-Olivier Lartigaud, Université Paris 1 Panthéon-Sorbonne, LAM. Geert Lovink, Théoricien des médias et critique, fondateur et Directeur de The Institute of Network Cultures, Amsterdam. Karen O’Rourke, Maître de conférences, Université Paris 1 Panthéon-Sorbonne, LAM. Gilles Rouffineau, Professeur à l’École supérieure d’art de Valence, coordinateur pédagogique de l’option design graphique, LAM. Antoine Schmitt, Artiste, Paris. Nicolas Thély, Maître de conférences, Université Paris 1 Panthéon-Sorbonne, LAM. Sylvie Tissot, Ingénieur diplômée de l’Institut National des Télécommunications. Jo Walsh, Artiste, Londres. ____________________________________ ART++, format 15 x 20,5 cm, 160 pages. 20 euros. ISBN 978-2-910385-51-5 ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Colloque et Master Class organisés par ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| TheLaboratoire des Arts et Médias[LAM-LETA] The Laboratoire des Arts et des Médias [LAM] is directed byAnne-Marie-Duguet, professor at the Université Paris 1 - Panthéon-Sorbonne. The LAM is one of three laboratories of the LETA, Laboratoire d’Esthétique et de Théorie Appliquée (Laboratory of Aesthetics and Applied Theory), unit of research in the Humanities at the Université Paris 1 - Panthéon-Sorbonne. Site : http://lam.univ-paris1.fr Acknowledgements: l’École doctorale Arts plastiques, esthétique et sciences de l’art Université Paris 1 - Panthéon-Sorbonne. avec le soutien CITU(Interactive Transdisciplinary Creation at the University / Paris 8etParis 1) The CITU is a federation of laboratories founded by the Universities Paris 1 and Paris 8. The CITU is an « activator of research » in the field of transdisciplinary creation and emergent media.d Site : http://www.citu.info/ L’École nationale supérieure d’art de Nancy (ENSA Nancy) Site : http://www.ensa-nancy.fr/ ARTEMNancy ARTEM is a strategic partnership linking three schools in Nancy : l’École Nationale Supérieure des Mines de Nancy (EMN), l’École nationale supérieure d’art de Nancy (ENSA) and le Groupe ICN Ecole de Management. Àt the intersection of Arts, Sciences and Management, ARTEM is supported by Nancy-Université, Greater Nancy, the Département of Meurthe et Moselle and the Lorraine Region . Site : http://www.mines.inpl-nancy.fr/blogartem/ ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| The publication ART++ was realized by |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||L the éditions Hyx and the Laboratoire des Arts et des Médias [LAM] with the support of the Ministère de la Culture et de la Communication (Délégation aux arts plastiques) andl’École doctorale Arts plastiques, esthétique et sciences de l’art (the Doctoral School of the Arts, Aesthetics and Sciences of Art) Université Paris 1 - Panthéon-Sorbonne ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| > THANK YOU ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| # distributed via <nettime>: no commercial use without permission # <nettime> is a moderated mailing list for net criticism, # collaborative text filtering and cultural politics of the nets # more info: http://mail.kein.org/mailman/listinfo/nettime-l # archive: http://www.nettime.org contact: [EMAIL PROTECTED]
