View allAll Photos Tagged Intuition
“I was married to him. He would tell me I was the problem. I would second guess myself. He had convinced me for a long time that I was in the wrong. And the abuse was my doing. It took a while to leave. How can you when you’re living with the person? It was probably the hardest thing I’ve ever had to do.
People are always scared to go to the police, because they think it’s not going to go anywhere. Or they’re not going to be supportive. It was a slow process but they did help. If people don’t report it then the abuser gets away with it. And will probably carry on and do it to others. I found out he had abused at least three other girls before me. He had got away without any consequences. And nobody had said anything. That made me even more determined to report him. Trust your intuition; if you think something is wrong do something about it.”
Artists and curators talk about the Intuition and Ingenuity exhibition
Fri 23 March 2012, 1pm
at the Showroom Cinema, Sheffield
This special event brings together artists and curators from the "Intuition and Ingenuity" touring exhibition to discuss the impact of Alan Turing's life and ideas on contemporary art.
2012 is the 100th anniversary of the birth of Alan Turing, one of the greatest minds Britain has ever produced. Between inventing the digital computer and helping to decode the German Enigma machine, to founding the science of Artificial Intelligence, the world today would have been a very different place without him and his ideas. His work on morphogenesis (the biological processes that cause organisms to grow in a particular shapes) and the now famous Turing Test for machine intelligence have captured the imagination of artists for decades whilst his technological developments have given them the tools to create new kinds of artworks. This exhibition, which takes its name from Turing's own writing on the subject of mathematical reasoning, brings together a number of important artists from digital art pioneers to emerging contemporaries.
Speakers
Sue Gollifer (Co-curator), Anna Dumitriu (Artist and co-curator), Alex May (Artist), Gordana Novakovic (Artist) and Ernest Edmonds (Artist)
Speakers Profiles:
Sue Gollifer
Sue Gollifer is an artist an academic and a researcher at the University of Brighton, UK, and an early pioneer of new media art, her work is in national and international public and private collections. She is the Director of the ISEA International Headquarters, and is on a number of National and International Committees, including (CAS) the Computer Arts Society, (DAM), Digital Art Museum, (CAA) College Arts Association, USA, Executive Board and the Vice President for Annual Conference, and CoLab, AUT University, New Zealand and SIGRAPH Art Gallery, Emerging Technologies and Computer Animation Festival review committees and a member of the Board of the ACM SIGGRAPH's DIGITAL ARTS COMMUNITY (DAC). She has been a curator of a number of International Digital Art Exhibitions including, ArCade, the UK Open International Biennale Exhibition, of Digital Fine Art Prints 1995 - 2007 and the SIGGRAPH Art Gallery Exhibition'04: Synaesthesia. In 2006 she was awarded an iDMAa Award, The International Digital Media Arts Award for her 'Exceptional Services to the International New Media Community'. Gollifer is the assistant editor of the journal Digital Creativity, published by Taylor Routledge. arts.brighton.ac.uk/staff/sue-gollifer
Anna Dumitriu
Anna Dumitriu is an artist whose work blurs the boundaries between art and science. Her work has a strong international exhibition profile and is held in several major public collections, including the Science Museum in London. She is currently working on a Wellcome Trust funded art project entitled "Communicating Bacteria", collaborating as a Visiting Research Fellow: Artist in Residence with the Adaptive Systems Research Group at The University of Hertfordshire (focussing on social robotics) and Leverhulme Trust Artist in Residence on the on the UK Clinical Research Consortium Project "Modernising Medical Microbiology". She is also a contributing editor to Leonardo Electronic Almanac, co-chair of the Alan Turing Year 2012 Arts and Culture Subcommittee and a member of the Alan Turing Year 2012 International Advisory Committee. See unnecessaryresearch.org, www.normalflora.co.uk and www.artscienceethics.com
Alex May
Alex May works with light emitting technologies, computer programming, math, power tools, and physical objects as a canvas to create hybrid collisions of images and unexpected context. Developing his own software to combine 17th Century scientific theories of perspective and projective geometry with the real-time possibilities of readily available technologies such as high power graphics cards, Arduino, and Microsoft's Kinect, Alex's work uncovers and explores new artistic mediums that offer joyful extensions of the human experiences at best, and darkly invasive and upsetting self-reflection as its shadow.
Gordana Novakovic
Originally a painter, with 12 solo exhibitions to her credit, Gordana has more than twenty years' experience of developing and exhibiting large-scale time-based media projects. Her artistic practise and theoretical work that intersects art, science and advanced digital technologies has formed five Cycles: Parallel Worlds, The Shirt of a Happy Man, Infonoise and the ongoing Fugue. A constant mark of her work throughout her experiments with new technologies has been her distinctive method of creating an effective cross-disciplinary framework for the emergence of synergy through collaboration. Gordana exhibited and lectured at leading interdisciplinary festivals and symposia, and artistic and scientific conferences. Her works from the ongoing Fugue Cycle (www.fugueart.com) has been widely presented and exhibited. Alongside her artistic practice, in the last six years Gordana has been artist-in-residence and also a Teaching Fellow at Computer Science Department, University College London, where she has founded and curates the Tesla Art and Science Group www-typo3.cs.ucl.ac.uk/research/tesla/. She has received a number of international and British academic awards. gordananovakovic.net/ www.fugueart.com/
Ernest Edmonds
Ernest Edmonds was born in London in 1942. He has a PhD in logic and has been inspired by Alan Turing throughout his career. He is a research professor at UTS, Sydney, and DMU, Leicester. His art is in the constructivist tradition and he concentrates on systems and computation. He first used computers in his art practice in 1968. He first showed a generative time-based work in 1985. The Victoria and Albert Museum, London, is collecting his archives. His work is represented in the Digital Art Museum (DAM Projects GmbH, Berlin): www.dam.org/artists/phase-one/ernest-edmonds
Lovebytes 2012 - Digital Spring
A Festival of Art, Science and Technology
22-24 March
Sheffield UK
Intuition Summer Festival 2009. Het was weer een topfeest. Hemelse trance onder een strak blauwe hemel. Jammer dat het geluid in de buitenarea niet echt top was. Binnen was het net een dampende sauna 's avonds. Dat bleek wel want alle lenzen besloegen, waardoor het focussen binnen lastig was. Al met al toch nog een aardig setje, dat de sfeer van de dag goed weergeeft. Beleef die topdag en jullie party-momenten nu nog één keer opniew, door de slideshow te draaien. Thx. again Paul voor de leuke foto's! En Menno en Alda, respect! Jullie zijn er weer ingeslaagd om een topfeest neer te zetten. Pachtige line-up met de beste trance van het moment! Klasse! En last but not least, thx. to all nice partypeople and dj's for the nice photo-opportunities. Het was weer fun om jullie allemaal ontmoet te hebben :) Vooral de mini-after in de camper van Anja was erg gezellig :) Leuk om nog even door te gaan tot 03.00 uur op de parkeerplaats. Thx. Frans & Ginny voor de music en ride home! Moeten we vaker doen :)
Laat je op- en aanmerkingen achter op de foto! Ik hoor het graag van jullie! Hiervoor moet je wel eerst een Flickr-account aanmaken. Kun je gelijk je eigen partypics van Intuition Summer Festival daar online zetten :) Doodeenvoudig en erg makkelijk! Een free account is gratis. Hiermee kun je tot 100 MB of 200 foto's per maand plaatsen op Flickr. Een pro-account kost je nog geen 15 Euro per jaar. En je kunt dan onbeperkt foto's uploaden in elk formaat.
Foto(s) van Intuition Summer Festival 2009 nabestellen voor maar 1 Euro? Geef het/de fotonummer(s) door. Stuur een mail naar: dutchpartypics@yahoo.com. Daarna volgen details en stuur ik je via e-mail de high res. foto zonder logo toe!
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UN VALUE: Human Rights
This is not to say that one with a great amount of experience is always going to have an accurate intuition, however, the chances of it being more reliable are definitely amplified. The boy is taught to obey his teacher. Credit: United Nations/Mondal Nitai
Artists and curators talk about the Intuition and Ingenuity exhibition
Fri 23 March 2012, 1pm
at the Showroom Cinema, Sheffield
This special event brings together artists and curators from the "Intuition and Ingenuity" touring exhibition to discuss the impact of Alan Turing's life and ideas on contemporary art.
2012 is the 100th anniversary of the birth of Alan Turing, one of the greatest minds Britain has ever produced. Between inventing the digital computer and helping to decode the German Enigma machine, to founding the science of Artificial Intelligence, the world today would have been a very different place without him and his ideas. His work on morphogenesis (the biological processes that cause organisms to grow in a particular shapes) and the now famous Turing Test for machine intelligence have captured the imagination of artists for decades whilst his technological developments have given them the tools to create new kinds of artworks. This exhibition, which takes its name from Turing's own writing on the subject of mathematical reasoning, brings together a number of important artists from digital art pioneers to emerging contemporaries.
Speakers
Sue Gollifer (Co-curator), Anna Dumitriu (Artist and co-curator), Alex May (Artist), Gordana Novakovic (Artist) and Ernest Edmonds (Artist)
Speakers Profiles:
Sue Gollifer
Sue Gollifer is an artist an academic and a researcher at the University of Brighton, UK, and an early pioneer of new media art, her work is in national and international public and private collections. She is the Director of the ISEA International Headquarters, and is on a number of National and International Committees, including (CAS) the Computer Arts Society, (DAM), Digital Art Museum, (CAA) College Arts Association, USA, Executive Board and the Vice President for Annual Conference, and CoLab, AUT University, New Zealand and SIGRAPH Art Gallery, Emerging Technologies and Computer Animation Festival review committees and a member of the Board of the ACM SIGGRAPH's DIGITAL ARTS COMMUNITY (DAC). She has been a curator of a number of International Digital Art Exhibitions including, ArCade, the UK Open International Biennale Exhibition, of Digital Fine Art Prints 1995 - 2007 and the SIGGRAPH Art Gallery Exhibition'04: Synaesthesia. In 2006 she was awarded an iDMAa Award, The International Digital Media Arts Award for her 'Exceptional Services to the International New Media Community'. Gollifer is the assistant editor of the journal Digital Creativity, published by Taylor Routledge. arts.brighton.ac.uk/staff/sue-gollifer
Anna Dumitriu
Anna Dumitriu is an artist whose work blurs the boundaries between art and science. Her work has a strong international exhibition profile and is held in several major public collections, including the Science Museum in London. She is currently working on a Wellcome Trust funded art project entitled "Communicating Bacteria", collaborating as a Visiting Research Fellow: Artist in Residence with the Adaptive Systems Research Group at The University of Hertfordshire (focussing on social robotics) and Leverhulme Trust Artist in Residence on the on the UK Clinical Research Consortium Project "Modernising Medical Microbiology". She is also a contributing editor to Leonardo Electronic Almanac, co-chair of the Alan Turing Year 2012 Arts and Culture Subcommittee and a member of the Alan Turing Year 2012 International Advisory Committee. See unnecessaryresearch.org, www.normalflora.co.uk and www.artscienceethics.com
Alex May
Alex May works with light emitting technologies, computer programming, math, power tools, and physical objects as a canvas to create hybrid collisions of images and unexpected context. Developing his own software to combine 17th Century scientific theories of perspective and projective geometry with the real-time possibilities of readily available technologies such as high power graphics cards, Arduino, and Microsoft's Kinect, Alex's work uncovers and explores new artistic mediums that offer joyful extensions of the human experiences at best, and darkly invasive and upsetting self-reflection as its shadow.
Gordana Novakovic
Originally a painter, with 12 solo exhibitions to her credit, Gordana has more than twenty years' experience of developing and exhibiting large-scale time-based media projects. Her artistic practise and theoretical work that intersects art, science and advanced digital technologies has formed five Cycles: Parallel Worlds, The Shirt of a Happy Man, Infonoise and the ongoing Fugue. A constant mark of her work throughout her experiments with new technologies has been her distinctive method of creating an effective cross-disciplinary framework for the emergence of synergy through collaboration. Gordana exhibited and lectured at leading interdisciplinary festivals and symposia, and artistic and scientific conferences. Her works from the ongoing Fugue Cycle (www.fugueart.com) has been widely presented and exhibited. Alongside her artistic practice, in the last six years Gordana has been artist-in-residence and also a Teaching Fellow at Computer Science Department, University College London, where she has founded and curates the Tesla Art and Science Group www-typo3.cs.ucl.ac.uk/research/tesla/. She has received a number of international and British academic awards. gordananovakovic.net/ www.fugueart.com/
Ernest Edmonds
Ernest Edmonds was born in London in 1942. He has a PhD in logic and has been inspired by Alan Turing throughout his career. He is a research professor at UTS, Sydney, and DMU, Leicester. His art is in the constructivist tradition and he concentrates on systems and computation. He first used computers in his art practice in 1968. He first showed a generative time-based work in 1985. The Victoria and Albert Museum, London, is collecting his archives. His work is represented in the Digital Art Museum (DAM Projects GmbH, Berlin): www.dam.org/artists/phase-one/ernest-edmonds
Lovebytes 2012 - Digital Spring
A Festival of Art, Science and Technology
22-24 March
Sheffield UK
Artists and curators talk about the Intuition and Ingenuity exhibition
Fri 23 March 2012, 1pm
at the Showroom Cinema, Sheffield
This special event brings together artists and curators from the "Intuition and Ingenuity" touring exhibition to discuss the impact of Alan Turing's life and ideas on contemporary art.
2012 is the 100th anniversary of the birth of Alan Turing, one of the greatest minds Britain has ever produced. Between inventing the digital computer and helping to decode the German Enigma machine, to founding the science of Artificial Intelligence, the world today would have been a very different place without him and his ideas. His work on morphogenesis (the biological processes that cause organisms to grow in a particular shapes) and the now famous Turing Test for machine intelligence have captured the imagination of artists for decades whilst his technological developments have given them the tools to create new kinds of artworks. This exhibition, which takes its name from Turing's own writing on the subject of mathematical reasoning, brings together a number of important artists from digital art pioneers to emerging contemporaries.
Speakers
Sue Gollifer (Co-curator), Anna Dumitriu (Artist and co-curator), Alex May (Artist), Gordana Novakovic (Artist) and Ernest Edmonds (Artist)
Speakers Profiles:
Sue Gollifer
Sue Gollifer is an artist an academic and a researcher at the University of Brighton, UK, and an early pioneer of new media art, her work is in national and international public and private collections. She is the Director of the ISEA International Headquarters, and is on a number of National and International Committees, including (CAS) the Computer Arts Society, (DAM), Digital Art Museum, (CAA) College Arts Association, USA, Executive Board and the Vice President for Annual Conference, and CoLab, AUT University, New Zealand and SIGRAPH Art Gallery, Emerging Technologies and Computer Animation Festival review committees and a member of the Board of the ACM SIGGRAPH's DIGITAL ARTS COMMUNITY (DAC). She has been a curator of a number of International Digital Art Exhibitions including, ArCade, the UK Open International Biennale Exhibition, of Digital Fine Art Prints 1995 - 2007 and the SIGGRAPH Art Gallery Exhibition'04: Synaesthesia. In 2006 she was awarded an iDMAa Award, The International Digital Media Arts Award for her 'Exceptional Services to the International New Media Community'. Gollifer is the assistant editor of the journal Digital Creativity, published by Taylor Routledge. arts.brighton.ac.uk/staff/sue-gollifer
Anna Dumitriu
Anna Dumitriu is an artist whose work blurs the boundaries between art and science. Her work has a strong international exhibition profile and is held in several major public collections, including the Science Museum in London. She is currently working on a Wellcome Trust funded art project entitled "Communicating Bacteria", collaborating as a Visiting Research Fellow: Artist in Residence with the Adaptive Systems Research Group at The University of Hertfordshire (focussing on social robotics) and Leverhulme Trust Artist in Residence on the on the UK Clinical Research Consortium Project "Modernising Medical Microbiology". She is also a contributing editor to Leonardo Electronic Almanac, co-chair of the Alan Turing Year 2012 Arts and Culture Subcommittee and a member of the Alan Turing Year 2012 International Advisory Committee. See unnecessaryresearch.org, www.normalflora.co.uk and www.artscienceethics.com
Alex May
Alex May works with light emitting technologies, computer programming, math, power tools, and physical objects as a canvas to create hybrid collisions of images and unexpected context. Developing his own software to combine 17th Century scientific theories of perspective and projective geometry with the real-time possibilities of readily available technologies such as high power graphics cards, Arduino, and Microsoft's Kinect, Alex's work uncovers and explores new artistic mediums that offer joyful extensions of the human experiences at best, and darkly invasive and upsetting self-reflection as its shadow.
Gordana Novakovic
Originally a painter, with 12 solo exhibitions to her credit, Gordana has more than twenty years' experience of developing and exhibiting large-scale time-based media projects. Her artistic practise and theoretical work that intersects art, science and advanced digital technologies has formed five Cycles: Parallel Worlds, The Shirt of a Happy Man, Infonoise and the ongoing Fugue. A constant mark of her work throughout her experiments with new technologies has been her distinctive method of creating an effective cross-disciplinary framework for the emergence of synergy through collaboration. Gordana exhibited and lectured at leading interdisciplinary festivals and symposia, and artistic and scientific conferences. Her works from the ongoing Fugue Cycle (www.fugueart.com) has been widely presented and exhibited. Alongside her artistic practice, in the last six years Gordana has been artist-in-residence and also a Teaching Fellow at Computer Science Department, University College London, where she has founded and curates the Tesla Art and Science Group www-typo3.cs.ucl.ac.uk/research/tesla/. She has received a number of international and British academic awards. gordananovakovic.net/ www.fugueart.com/
Ernest Edmonds
Ernest Edmonds was born in London in 1942. He has a PhD in logic and has been inspired by Alan Turing throughout his career. He is a research professor at UTS, Sydney, and DMU, Leicester. His art is in the constructivist tradition and he concentrates on systems and computation. He first used computers in his art practice in 1968. He first showed a generative time-based work in 1985. The Victoria and Albert Museum, London, is collecting his archives. His work is represented in the Digital Art Museum (DAM Projects GmbH, Berlin): www.dam.org/artists/phase-one/ernest-edmonds
Lovebytes 2012 - Digital Spring
A Festival of Art, Science and Technology
22-24 March
Sheffield UK
Artists and curators talk about the Intuition and Ingenuity exhibition
Fri 23 March 2012, 1pm
at the Showroom Cinema, Sheffield
This special event brings together artists and curators from the "Intuition and Ingenuity" touring exhibition to discuss the impact of Alan Turing's life and ideas on contemporary art.
2012 is the 100th anniversary of the birth of Alan Turing, one of the greatest minds Britain has ever produced. Between inventing the digital computer and helping to decode the German Enigma machine, to founding the science of Artificial Intelligence, the world today would have been a very different place without him and his ideas. His work on morphogenesis (the biological processes that cause organisms to grow in a particular shapes) and the now famous Turing Test for machine intelligence have captured the imagination of artists for decades whilst his technological developments have given them the tools to create new kinds of artworks. This exhibition, which takes its name from Turing's own writing on the subject of mathematical reasoning, brings together a number of important artists from digital art pioneers to emerging contemporaries.
Speakers
Sue Gollifer (Co-curator), Anna Dumitriu (Artist and co-curator), Alex May (Artist), Gordana Novakovic (Artist) and Ernest Edmonds (Artist)
Speakers Profiles:
Sue Gollifer
Sue Gollifer is an artist an academic and a researcher at the University of Brighton, UK, and an early pioneer of new media art, her work is in national and international public and private collections. She is the Director of the ISEA International Headquarters, and is on a number of National and International Committees, including (CAS) the Computer Arts Society, (DAM), Digital Art Museum, (CAA) College Arts Association, USA, Executive Board and the Vice President for Annual Conference, and CoLab, AUT University, New Zealand and SIGRAPH Art Gallery, Emerging Technologies and Computer Animation Festival review committees and a member of the Board of the ACM SIGGRAPH's DIGITAL ARTS COMMUNITY (DAC). She has been a curator of a number of International Digital Art Exhibitions including, ArCade, the UK Open International Biennale Exhibition, of Digital Fine Art Prints 1995 - 2007 and the SIGGRAPH Art Gallery Exhibition'04: Synaesthesia. In 2006 she was awarded an iDMAa Award, The International Digital Media Arts Award for her 'Exceptional Services to the International New Media Community'. Gollifer is the assistant editor of the journal Digital Creativity, published by Taylor Routledge. arts.brighton.ac.uk/staff/sue-gollifer
Anna Dumitriu
Anna Dumitriu is an artist whose work blurs the boundaries between art and science. Her work has a strong international exhibition profile and is held in several major public collections, including the Science Museum in London. She is currently working on a Wellcome Trust funded art project entitled "Communicating Bacteria", collaborating as a Visiting Research Fellow: Artist in Residence with the Adaptive Systems Research Group at The University of Hertfordshire (focussing on social robotics) and Leverhulme Trust Artist in Residence on the on the UK Clinical Research Consortium Project "Modernising Medical Microbiology". She is also a contributing editor to Leonardo Electronic Almanac, co-chair of the Alan Turing Year 2012 Arts and Culture Subcommittee and a member of the Alan Turing Year 2012 International Advisory Committee. See unnecessaryresearch.org, www.normalflora.co.uk and www.artscienceethics.com
Alex May
Alex May works with light emitting technologies, computer programming, math, power tools, and physical objects as a canvas to create hybrid collisions of images and unexpected context. Developing his own software to combine 17th Century scientific theories of perspective and projective geometry with the real-time possibilities of readily available technologies such as high power graphics cards, Arduino, and Microsoft's Kinect, Alex's work uncovers and explores new artistic mediums that offer joyful extensions of the human experiences at best, and darkly invasive and upsetting self-reflection as its shadow.
Gordana Novakovic
Originally a painter, with 12 solo exhibitions to her credit, Gordana has more than twenty years' experience of developing and exhibiting large-scale time-based media projects. Her artistic practise and theoretical work that intersects art, science and advanced digital technologies has formed five Cycles: Parallel Worlds, The Shirt of a Happy Man, Infonoise and the ongoing Fugue. A constant mark of her work throughout her experiments with new technologies has been her distinctive method of creating an effective cross-disciplinary framework for the emergence of synergy through collaboration. Gordana exhibited and lectured at leading interdisciplinary festivals and symposia, and artistic and scientific conferences. Her works from the ongoing Fugue Cycle (www.fugueart.com) has been widely presented and exhibited. Alongside her artistic practice, in the last six years Gordana has been artist-in-residence and also a Teaching Fellow at Computer Science Department, University College London, where she has founded and curates the Tesla Art and Science Group www-typo3.cs.ucl.ac.uk/research/tesla/. She has received a number of international and British academic awards. gordananovakovic.net/ www.fugueart.com/
Ernest Edmonds
Ernest Edmonds was born in London in 1942. He has a PhD in logic and has been inspired by Alan Turing throughout his career. He is a research professor at UTS, Sydney, and DMU, Leicester. His art is in the constructivist tradition and he concentrates on systems and computation. He first used computers in his art practice in 1968. He first showed a generative time-based work in 1985. The Victoria and Albert Museum, London, is collecting his archives. His work is represented in the Digital Art Museum (DAM Projects GmbH, Berlin): www.dam.org/artists/phase-one/ernest-edmonds
Lovebytes 2012 - Digital Spring
A Festival of Art, Science and Technology
22-24 March
Sheffield UK
Kmart at the Palm Plaza in Temecula has reached the end of the line and is currently working on closing down, this is a small look at the store's closing sale
Random greeting card brand, I guess they weren't expecting this...
Artists and curators talk about the Intuition and Ingenuity exhibition
Fri 23 March 2012, 1pm
at the Showroom Cinema, Sheffield
This special event brings together artists and curators from the "Intuition and Ingenuity" touring exhibition to discuss the impact of Alan Turing's life and ideas on contemporary art.
2012 is the 100th anniversary of the birth of Alan Turing, one of the greatest minds Britain has ever produced. Between inventing the digital computer and helping to decode the German Enigma machine, to founding the science of Artificial Intelligence, the world today would have been a very different place without him and his ideas. His work on morphogenesis (the biological processes that cause organisms to grow in a particular shapes) and the now famous Turing Test for machine intelligence have captured the imagination of artists for decades whilst his technological developments have given them the tools to create new kinds of artworks. This exhibition, which takes its name from Turing's own writing on the subject of mathematical reasoning, brings together a number of important artists from digital art pioneers to emerging contemporaries.
Speakers
Sue Gollifer (Co-curator), Anna Dumitriu (Artist and co-curator), Alex May (Artist), Gordana Novakovic (Artist) and Ernest Edmonds (Artist)
Speakers Profiles:
Sue Gollifer
Sue Gollifer is an artist an academic and a researcher at the University of Brighton, UK, and an early pioneer of new media art, her work is in national and international public and private collections. She is the Director of the ISEA International Headquarters, and is on a number of National and International Committees, including (CAS) the Computer Arts Society, (DAM), Digital Art Museum, (CAA) College Arts Association, USA, Executive Board and the Vice President for Annual Conference, and CoLab, AUT University, New Zealand and SIGRAPH Art Gallery, Emerging Technologies and Computer Animation Festival review committees and a member of the Board of the ACM SIGGRAPH's DIGITAL ARTS COMMUNITY (DAC). She has been a curator of a number of International Digital Art Exhibitions including, ArCade, the UK Open International Biennale Exhibition, of Digital Fine Art Prints 1995 - 2007 and the SIGGRAPH Art Gallery Exhibition'04: Synaesthesia. In 2006 she was awarded an iDMAa Award, The International Digital Media Arts Award for her 'Exceptional Services to the International New Media Community'. Gollifer is the assistant editor of the journal Digital Creativity, published by Taylor Routledge. arts.brighton.ac.uk/staff/sue-gollifer
Anna Dumitriu
Anna Dumitriu is an artist whose work blurs the boundaries between art and science. Her work has a strong international exhibition profile and is held in several major public collections, including the Science Museum in London. She is currently working on a Wellcome Trust funded art project entitled "Communicating Bacteria", collaborating as a Visiting Research Fellow: Artist in Residence with the Adaptive Systems Research Group at The University of Hertfordshire (focussing on social robotics) and Leverhulme Trust Artist in Residence on the on the UK Clinical Research Consortium Project "Modernising Medical Microbiology". She is also a contributing editor to Leonardo Electronic Almanac, co-chair of the Alan Turing Year 2012 Arts and Culture Subcommittee and a member of the Alan Turing Year 2012 International Advisory Committee. See unnecessaryresearch.org, www.normalflora.co.uk and www.artscienceethics.com
Alex May
Alex May works with light emitting technologies, computer programming, math, power tools, and physical objects as a canvas to create hybrid collisions of images and unexpected context. Developing his own software to combine 17th Century scientific theories of perspective and projective geometry with the real-time possibilities of readily available technologies such as high power graphics cards, Arduino, and Microsoft's Kinect, Alex's work uncovers and explores new artistic mediums that offer joyful extensions of the human experiences at best, and darkly invasive and upsetting self-reflection as its shadow.
Gordana Novakovic
Originally a painter, with 12 solo exhibitions to her credit, Gordana has more than twenty years' experience of developing and exhibiting large-scale time-based media projects. Her artistic practise and theoretical work that intersects art, science and advanced digital technologies has formed five Cycles: Parallel Worlds, The Shirt of a Happy Man, Infonoise and the ongoing Fugue. A constant mark of her work throughout her experiments with new technologies has been her distinctive method of creating an effective cross-disciplinary framework for the emergence of synergy through collaboration. Gordana exhibited and lectured at leading interdisciplinary festivals and symposia, and artistic and scientific conferences. Her works from the ongoing Fugue Cycle (www.fugueart.com) has been widely presented and exhibited. Alongside her artistic practice, in the last six years Gordana has been artist-in-residence and also a Teaching Fellow at Computer Science Department, University College London, where she has founded and curates the Tesla Art and Science Group www-typo3.cs.ucl.ac.uk/research/tesla/. She has received a number of international and British academic awards. gordananovakovic.net/ www.fugueart.com/
Ernest Edmonds
Ernest Edmonds was born in London in 1942. He has a PhD in logic and has been inspired by Alan Turing throughout his career. He is a research professor at UTS, Sydney, and DMU, Leicester. His art is in the constructivist tradition and he concentrates on systems and computation. He first used computers in his art practice in 1968. He first showed a generative time-based work in 1985. The Victoria and Albert Museum, London, is collecting his archives. His work is represented in the Digital Art Museum (DAM Projects GmbH, Berlin): www.dam.org/artists/phase-one/ernest-edmonds
Lovebytes 2012 - Digital Spring
A Festival of Art, Science and Technology
22-24 March
Sheffield UK
Artists and curators talk about the Intuition and Ingenuity exhibition
Fri 23 March 2012, 1pm
at the Showroom Cinema, Sheffield
This special event brings together artists and curators from the "Intuition and Ingenuity" touring exhibition to discuss the impact of Alan Turing's life and ideas on contemporary art.
2012 is the 100th anniversary of the birth of Alan Turing, one of the greatest minds Britain has ever produced. Between inventing the digital computer and helping to decode the German Enigma machine, to founding the science of Artificial Intelligence, the world today would have been a very different place without him and his ideas. His work on morphogenesis (the biological processes that cause organisms to grow in a particular shapes) and the now famous Turing Test for machine intelligence have captured the imagination of artists for decades whilst his technological developments have given them the tools to create new kinds of artworks. This exhibition, which takes its name from Turing's own writing on the subject of mathematical reasoning, brings together a number of important artists from digital art pioneers to emerging contemporaries.
Speakers
Sue Gollifer (Co-curator), Anna Dumitriu (Artist and co-curator), Alex May (Artist), Gordana Novakovic (Artist) and Ernest Edmonds (Artist)
Speakers Profiles:
Sue Gollifer
Sue Gollifer is an artist an academic and a researcher at the University of Brighton, UK, and an early pioneer of new media art, her work is in national and international public and private collections. She is the Director of the ISEA International Headquarters, and is on a number of National and International Committees, including (CAS) the Computer Arts Society, (DAM), Digital Art Museum, (CAA) College Arts Association, USA, Executive Board and the Vice President for Annual Conference, and CoLab, AUT University, New Zealand and SIGRAPH Art Gallery, Emerging Technologies and Computer Animation Festival review committees and a member of the Board of the ACM SIGGRAPH's DIGITAL ARTS COMMUNITY (DAC). She has been a curator of a number of International Digital Art Exhibitions including, ArCade, the UK Open International Biennale Exhibition, of Digital Fine Art Prints 1995 - 2007 and the SIGGRAPH Art Gallery Exhibition'04: Synaesthesia. In 2006 she was awarded an iDMAa Award, The International Digital Media Arts Award for her 'Exceptional Services to the International New Media Community'. Gollifer is the assistant editor of the journal Digital Creativity, published by Taylor Routledge. arts.brighton.ac.uk/staff/sue-gollifer
Anna Dumitriu
Anna Dumitriu is an artist whose work blurs the boundaries between art and science. Her work has a strong international exhibition profile and is held in several major public collections, including the Science Museum in London. She is currently working on a Wellcome Trust funded art project entitled "Communicating Bacteria", collaborating as a Visiting Research Fellow: Artist in Residence with the Adaptive Systems Research Group at The University of Hertfordshire (focussing on social robotics) and Leverhulme Trust Artist in Residence on the on the UK Clinical Research Consortium Project "Modernising Medical Microbiology". She is also a contributing editor to Leonardo Electronic Almanac, co-chair of the Alan Turing Year 2012 Arts and Culture Subcommittee and a member of the Alan Turing Year 2012 International Advisory Committee. See unnecessaryresearch.org, www.normalflora.co.uk and www.artscienceethics.com
Alex May
Alex May works with light emitting technologies, computer programming, math, power tools, and physical objects as a canvas to create hybrid collisions of images and unexpected context. Developing his own software to combine 17th Century scientific theories of perspective and projective geometry with the real-time possibilities of readily available technologies such as high power graphics cards, Arduino, and Microsoft's Kinect, Alex's work uncovers and explores new artistic mediums that offer joyful extensions of the human experiences at best, and darkly invasive and upsetting self-reflection as its shadow.
Gordana Novakovic
Originally a painter, with 12 solo exhibitions to her credit, Gordana has more than twenty years' experience of developing and exhibiting large-scale time-based media projects. Her artistic practise and theoretical work that intersects art, science and advanced digital technologies has formed five Cycles: Parallel Worlds, The Shirt of a Happy Man, Infonoise and the ongoing Fugue. A constant mark of her work throughout her experiments with new technologies has been her distinctive method of creating an effective cross-disciplinary framework for the emergence of synergy through collaboration. Gordana exhibited and lectured at leading interdisciplinary festivals and symposia, and artistic and scientific conferences. Her works from the ongoing Fugue Cycle (www.fugueart.com) has been widely presented and exhibited. Alongside her artistic practice, in the last six years Gordana has been artist-in-residence and also a Teaching Fellow at Computer Science Department, University College London, where she has founded and curates the Tesla Art and Science Group www-typo3.cs.ucl.ac.uk/research/tesla/. She has received a number of international and British academic awards. gordananovakovic.net/ www.fugueart.com/
Ernest Edmonds
Ernest Edmonds was born in London in 1942. He has a PhD in logic and has been inspired by Alan Turing throughout his career. He is a research professor at UTS, Sydney, and DMU, Leicester. His art is in the constructivist tradition and he concentrates on systems and computation. He first used computers in his art practice in 1968. He first showed a generative time-based work in 1985. The Victoria and Albert Museum, London, is collecting his archives. His work is represented in the Digital Art Museum (DAM Projects GmbH, Berlin): www.dam.org/artists/phase-one/ernest-edmonds
Lovebytes 2012 - Digital Spring
A Festival of Art, Science and Technology
22-24 March
Sheffield UK
Intuition Summer Festival 2009. Het was weer een topfeest. Hemelse trance onder een strak blauwe hemel. Jammer dat het geluid in de buitenarea niet echt top was. Binnen was het net een dampende sauna 's avonds. Dat bleek wel want alle lenzen besloegen, waardoor het focussen binnen lastig was. Al met al toch nog een aardig setje, dat de sfeer van de dag goed weergeeft. Beleef die topdag en jullie party-momenten nu nog één keer opniew, door de slideshow te draaien. Thx. again Paul voor de leuke foto's! En Menno en Alda, respect! Jullie zijn er weer ingeslaagd om een topfeest neer te zetten. Pachtige line-up met de beste trance van het moment! Klasse! En last but not least, thx. to all nice partypeople and dj's for the nice photo-opportunities. Het was weer fun om jullie allemaal ontmoet te hebben :) Vooral de mini-after in de camper van Anja was erg gezellig :) Leuk om nog even door te gaan tot 03.00 uur op de parkeerplaats. Thx. Frans & Ginny voor de music en ride home! Moeten we vaker doen :)
Laat je op- en aanmerkingen achter op de foto! Ik hoor het graag van jullie! Hiervoor moet je wel eerst een Flickr-account aanmaken. Kun je gelijk je eigen partypics van Intuition Summer Festival daar online zetten :) Doodeenvoudig en erg makkelijk! Een free account is gratis. Hiermee kun je tot 100 MB of 200 foto's per maand plaatsen op Flickr. Een pro-account kost je nog geen 15 Euro per jaar. En je kunt dan onbeperkt foto's uploaden in elk formaat.
Foto(s) van Intuition Summer Festival 2009 nabestellen voor maar 1 Euro? Geef het/de fotonummer(s) door. Stuur een mail naar: dutchpartypics@yahoo.com. Daarna volgen details en stuur ik je via e-mail de high res. foto zonder logo toe!
© Dutchpartypics | Korsjan Punt 2009. Powered by Nikon D50/D80 DSLR, Nikon AF-S 18 - 105 mm VR, f: 3.5 - 5.6, Nikon AF-S 55 - 200 mm VR, f 3.5 - 5.6, Nikon AF-S 70 - 300 mm, f 4 - 5.6, Tamron XR DI 17 - 35 mm, f 2.8 - 4.0, Tamron XR DI 28 - 75 mm, f: 2.8 - 4.0 en Sigma EX DC-HSM 10 - 20 mm, f 4.0 - 5.6. Flash: Nikon Speedlight SB600 / Sunpak PF30X, incl. omnibounce. Compact: Panasonic Lumix FX500 and Sony Cybershot DSC-H10.
NIKON: At the heart of the image! & DUTCHPARTYPICS: Pounding, vivid pictures! Make your photos come alive!
Intuition Summer Festival 2009. Het was weer een topfeest. Hemelse trance onder een strak blauwe hemel. Jammer dat het geluid in de buitenarea niet echt top was. Binnen was het net een dampende sauna 's avonds. Dat bleek wel want alle lenzen besloegen, waardoor het focussen binnen lastig was. Al met al toch nog een aardig setje, dat de sfeer van de dag goed weergeeft. Beleef die topdag en jullie party-momenten nu nog één keer opniew, door de slideshow te draaien. Thx. again Paul voor de leuke foto's! En Menno en Alda, respect! Jullie zijn er weer ingeslaagd om een topfeest neer te zetten. Pachtige line-up met de beste trance van het moment! Klasse! En last but not least, thx. to all nice partypeople and dj's for the nice photo-opportunities. Het was weer fun om jullie allemaal ontmoet te hebben :) Vooral de mini-after in de camper van Anja was erg gezellig :) Leuk om nog even door te gaan tot 03.00 uur op de parkeerplaats. Thx. Frans & Ginny voor de music en ride home! Moeten we vaker doen :)
Laat je op- en aanmerkingen achter op de foto! Ik hoor het graag van jullie! Hiervoor moet je wel eerst een Flickr-account aanmaken. Kun je gelijk je eigen partypics van Intuition Summer Festival daar online zetten :) Doodeenvoudig en erg makkelijk! Een free account is gratis. Hiermee kun je tot 100 MB of 200 foto's per maand plaatsen op Flickr. Een pro-account kost je nog geen 15 Euro per jaar. En je kunt dan onbeperkt foto's uploaden in elk formaat.
Foto(s) van Intuition Summer Festival 2009 nabestellen voor maar 1 Euro? Geef het/de fotonummer(s) door. Stuur een mail naar: dutchpartypics@yahoo.com. Daarna volgen details en stuur ik je via e-mail de high res. foto zonder logo toe!
© Dutchpartypics | Korsjan Punt 2009. Powered by Nikon D50/D80 DSLR, Nikon AF-S 18 - 105 mm VR, f: 3.5 - 5.6, Nikon AF-S 55 - 200 mm VR, f 3.5 - 5.6, Nikon AF-S 70 - 300 mm, f 4 - 5.6, Tamron XR DI 17 - 35 mm, f 2.8 - 4.0, Tamron XR DI 28 - 75 mm, f: 2.8 - 4.0 en Sigma EX DC-HSM 10 - 20 mm, f 4.0 - 5.6. Flash: Nikon Speedlight SB600 / Sunpak PF30X, incl. omnibounce. Compact: Panasonic Lumix FX500 and Sony Cybershot DSC-H10.
NIKON: At the heart of the image! & DUTCHPARTYPICS: Pounding, vivid pictures! Make your photos come alive!
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The snail shell for the SNAILICIOUS dish from November - "Intuition room". Select the snail shell for the next dish @ snailicious.net/inspiration
Intuition, Magique
Unconventional and iconoclastic graffitis, writings, posters, humanities, artistic alterations, paintings, portraits and sculptures in situ at @La Demeure du Chaos HQ @artprice.
Les graff, écrits, affiches, belles lettres, détournements, peintures, portraits et sculptures in situ décalés & iconoclastes de @La Demeure du Chaos HQ @artprice.
Les belles lettres graffées sur les murs et sculptures de @La Demeure du Chaos HQ @Artprice. Des idées ? écrire à belleslettres@demeureduchaos.org .
The humanities, graffitis on the walls and sculptures by @La Demeure du Chaos the HQ of @Artprice. Any ideas? Email humanities@demeureduchaos.org
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Regard de thierry Ehrmann, auteur de la Demeure du Chaos / Abode of Chaos
Découvrez gratuitement l’intégralité de l’Opus IX de la Demeure du Chaos (504 pages)
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Free download of the entire Abode of Chaos' Opus IX (504 pages)
Secrets revealed of the Abode of Chaos (144 pages, adult only) >>>
"999" English version with English subtitles is available >>>
HD movie - scenario thierry Ehrmann - filmed by Etienne Perrone
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voir les secrets de la Demeure du Chaos avec 144 pages très étranges (adult only)
999 : visite initiatique au coeur de la Demeure du Chaos insufflée par l'Esprit de la Salamandre
Film HD d'Etienne PERRONE selon un scénario original de thierry Ehrmann.
courtesy of Organ Museum
©2019 www.AbodeofChaos.org
It is customary that boys are taught to obey the teachers.
© ILO / Mondal Nitai
This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License. To view a copy of this license, visit creativecommons.org/licenses/by-nc-nd/3.0/igo/deed.en_US.
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Artists and curators talk about the Intuition and Ingenuity exhibition
Fri 23 March 2012, 1pm
at the Showroom Cinema, Sheffield
This special event brings together artists and curators from the "Intuition and Ingenuity" touring exhibition to discuss the impact of Alan Turing's life and ideas on contemporary art.
2012 is the 100th anniversary of the birth of Alan Turing, one of the greatest minds Britain has ever produced. Between inventing the digital computer and helping to decode the German Enigma machine, to founding the science of Artificial Intelligence, the world today would have been a very different place without him and his ideas. His work on morphogenesis (the biological processes that cause organisms to grow in a particular shapes) and the now famous Turing Test for machine intelligence have captured the imagination of artists for decades whilst his technological developments have given them the tools to create new kinds of artworks. This exhibition, which takes its name from Turing's own writing on the subject of mathematical reasoning, brings together a number of important artists from digital art pioneers to emerging contemporaries.
Speakers
Sue Gollifer (Co-curator), Anna Dumitriu (Artist and co-curator), Alex May (Artist), Gordana Novakovic (Artist) and Ernest Edmonds (Artist)
Speakers Profiles:
Sue Gollifer
Sue Gollifer is an artist an academic and a researcher at the University of Brighton, UK, and an early pioneer of new media art, her work is in national and international public and private collections. She is the Director of the ISEA International Headquarters, and is on a number of National and International Committees, including (CAS) the Computer Arts Society, (DAM), Digital Art Museum, (CAA) College Arts Association, USA, Executive Board and the Vice President for Annual Conference, and CoLab, AUT University, New Zealand and SIGRAPH Art Gallery, Emerging Technologies and Computer Animation Festival review committees and a member of the Board of the ACM SIGGRAPH's DIGITAL ARTS COMMUNITY (DAC). She has been a curator of a number of International Digital Art Exhibitions including, ArCade, the UK Open International Biennale Exhibition, of Digital Fine Art Prints 1995 - 2007 and the SIGGRAPH Art Gallery Exhibition'04: Synaesthesia. In 2006 she was awarded an iDMAa Award, The International Digital Media Arts Award for her 'Exceptional Services to the International New Media Community'. Gollifer is the assistant editor of the journal Digital Creativity, published by Taylor Routledge. arts.brighton.ac.uk/staff/sue-gollifer
Anna Dumitriu
Anna Dumitriu is an artist whose work blurs the boundaries between art and science. Her work has a strong international exhibition profile and is held in several major public collections, including the Science Museum in London. She is currently working on a Wellcome Trust funded art project entitled "Communicating Bacteria", collaborating as a Visiting Research Fellow: Artist in Residence with the Adaptive Systems Research Group at The University of Hertfordshire (focussing on social robotics) and Leverhulme Trust Artist in Residence on the on the UK Clinical Research Consortium Project "Modernising Medical Microbiology". She is also a contributing editor to Leonardo Electronic Almanac, co-chair of the Alan Turing Year 2012 Arts and Culture Subcommittee and a member of the Alan Turing Year 2012 International Advisory Committee. See unnecessaryresearch.org, www.normalflora.co.uk and www.artscienceethics.com
Alex May
Alex May works with light emitting technologies, computer programming, math, power tools, and physical objects as a canvas to create hybrid collisions of images and unexpected context. Developing his own software to combine 17th Century scientific theories of perspective and projective geometry with the real-time possibilities of readily available technologies such as high power graphics cards, Arduino, and Microsoft's Kinect, Alex's work uncovers and explores new artistic mediums that offer joyful extensions of the human experiences at best, and darkly invasive and upsetting self-reflection as its shadow.
Gordana Novakovic
Originally a painter, with 12 solo exhibitions to her credit, Gordana has more than twenty years' experience of developing and exhibiting large-scale time-based media projects. Her artistic practise and theoretical work that intersects art, science and advanced digital technologies has formed five Cycles: Parallel Worlds, The Shirt of a Happy Man, Infonoise and the ongoing Fugue. A constant mark of her work throughout her experiments with new technologies has been her distinctive method of creating an effective cross-disciplinary framework for the emergence of synergy through collaboration. Gordana exhibited and lectured at leading interdisciplinary festivals and symposia, and artistic and scientific conferences. Her works from the ongoing Fugue Cycle (www.fugueart.com) has been widely presented and exhibited. Alongside her artistic practice, in the last six years Gordana has been artist-in-residence and also a Teaching Fellow at Computer Science Department, University College London, where she has founded and curates the Tesla Art and Science Group www-typo3.cs.ucl.ac.uk/research/tesla/. She has received a number of international and British academic awards. gordananovakovic.net/ www.fugueart.com/
Ernest Edmonds
Ernest Edmonds was born in London in 1942. He has a PhD in logic and has been inspired by Alan Turing throughout his career. He is a research professor at UTS, Sydney, and DMU, Leicester. His art is in the constructivist tradition and he concentrates on systems and computation. He first used computers in his art practice in 1968. He first showed a generative time-based work in 1985. The Victoria and Albert Museum, London, is collecting his archives. His work is represented in the Digital Art Museum (DAM Projects GmbH, Berlin): www.dam.org/artists/phase-one/ernest-edmonds
Lovebytes 2012 - Digital Spring
A Festival of Art, Science and Technology
22-24 March
Sheffield UK
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[Images courtesy of Balmond Studio]
Last summer, BUILD met with engineer-architect-artist, Cecil Balmond at his London Studio to discuss his most recent projects and the thinking behind his experimental design process. Prior to opening Balmond Studio, his career spanned 40-plus years at Ove Arup & Partners where he worked on pioneering projects with renowned architects all over the globe. Balmond discussed the notion of architecture in a dynamic environment, the designer’s intuition, and his most recent projects. For part 1 of the conversation, hop over to ARCADE Magazine, Issue 36.1, available in print and on their website.
Tell us about your previous role as Deputy Chairman at Arup, where you led thousands of engineers and architects.
There were seven of us on the board of directors at Arup and I was head of building business globally with around 6,000 people under my supervision. When I joined, Arup was a company of about 5,000 people and when I left it was 11,000 people. The job was a huge bureaucratic task in one way, but on the other hand, I was the only director who had an active design group. My design group ranged from 25 to 60 people and we handled about 30 jobs per year. I would choose two or three of these projects and I’d personally lead the design.
It was at this time that I began setting up the Arup architectural practices in Beijing, Shanghai, and Turkey, as well as the sector architectures such as ARUP Sport and Arup Health. Arup Sport was a great success and we hired expert architects to lead the projects, like Richard Rogers and Norman Foster.
How would you characterize the spirit at Arup?
Arup was a special organization because really it was led by Ove Arup at the beginning, who was a philosopher and a mathematician more so than an engineer. He was a man of the world with open ideas. That way of being really filtered down to certain people, like myself and others, who, if I’m honest, believed in design, and not necessarily engineering or architecture. Design was a much wider thing to us. Architecture had its own expert skill zone, and when it comes to the real grit of architecture, the specifications, window schedules, and the engineering, there is a horrendous, humungous amount of calculating to be done. But those are the mechanical parts of it. A great engineer is simply wonderful to watch at work because they’re intuitive, and I don’t just mean structural engineers, but environmental engineers, lighting engineers, etc. They’re dealing with intangibles almost, and yet they have an intuition that influences the building in a very holistic way. This method of working significantly contributed to my thinking that there are no limits in design.
Was there a particular moment or project that encouraged you to formalize your practice as an engineer-architect-artist?
No, it’s like a lot of things in life, you drift. It’s a question of being an opportunist. Occasions occur where your instinct is primed to take advantage of key opportunities. If you are a creative person, you are pushing, not knowing what you are pushing at and then something comes up and you just jump, you take it, and I think my career has been a series of those jumps.
There was a cathartic moment at about age 35 when I was smoking outside my office and decided when I went back in I could never do the same thing again. It was that decisive, I just knew. But I didn’t know what was next. So, I went back in and threw out all my learning and started learning again. I went through a personal mentorship for the next five years. I studied at night, going back to the original treaties of mathematics, going back to the three forbidding books and six postulates of the Greek mathematician Euclid. I went back to the very first precepts set by the Greeks, like the philosophy of the point above a line, above a plane, the line being drawn through thepoint, above the plane, being parallel, and so on. The books written about those postulates engaged my mind totally. It provided me with a mobile sense of geometry. Those postulates soon led to the idea of proportion.
The next step took five to ten years and it involved believing in a mobile sense of geometry, where forms are constantly in motion and architecture is only a snapshot in time. This led to a proportional sense of space and ultimately an episodic treatment of design. This sequence was dependent on releasing my hand and thinking more freely. It required that I start thinking differently about design, that buildings don’t stop at the four corners, and that they don’t necessarily have to have a floor, a roof, and sides. It was a personal odyssey of unlearning and it is key to the work I’m doing today.
Is there a common way that you approach each design project?
The way I work is generally scale-less as an idea. I tend to start with a metaphor or a feeling, something really vague. Then comes a sketch of something in space, some notion of space, or more accurately the notion of the intersection of space between it, it’s interiority, and the relation of the context of where it is. Just purely conceptually and it’s nothing to see yet. It might just be a few lines or a blotch. Then comes the idea of what is it. Is it art, engineering, or an architecture piece? Then comes the functionality, then comes the choice of scale. Once you choose scale, the material locks in. If it’s very small its thread or wire. If its humongous, its steel or trusses. Then comes configuration of scale. Last of all would be structure — actual structure as it means to an architect today. The actual skeleton, the actual thing is the last thing. If you start with that at all, you’ve lost the building. You’ve lost the spirit, you’ve lost what the building can do. At the end of my book Informal, there is a very interesting table of the hierarchy of decision making that goes through my mind.
You note that challenging assumptions is critical to your work. What is a recent example where challenging an assumption made a significant difference to the outcome of the project?
Toyo Ito and I designed the 2002 Serpentine Gallery Pavilion together and we decided to start with a box. Upon looking at a map of London’s Hyde Park, where the Pavilion is located each year, we realized that the park is a collection of crisscrossing lines. Then came the idea that this pavilion is the gathering of lines. We started playing around with algorithms and the type of geometries similar to the movement of a ball around a billiard table until we hit upon a geometry that came back on itself and completed the box. This exercise allowed us to break the boundaries of the envelope and challenge the notion of the box. Even though it was a 50-foot by 50-foot structure, the viewers inside had no idea that they were in a box. Spatially, it was much bigger than the bounding box of its geometry.
Tell us about your discovery of aperiodic tile invented by the mathematician Robert Ammann.
20 years ago, I felt that architects and the graphic arts had no idea what mathematics does, so I started researching numbers. I quickly realized that the prime numbers have powerful sequences that are unpredictable. They look like a kind of music when I interpret them, and they’ve held my interest for years. The geometry of these tiles is based on the prime numbers and this is what makes them aperiodic in that their assembly results in a new pattern each time — they never repeat. Daniel Libeskind and I applied the tile to the V&A Spiral which is the proposal for an extension to the Victoria and Albert Museum in London.
Your QXQ project addresses the need for prefabricated, modular housing. In your experience, what are the hurdles of implementing prefabricated, modular housing on a mass scale?
It’s the biggest challenge in the industry and no one’s cracked it — not even Arup. Years ago, they went in with a huge contractor here in the U.K. who does housing and they spent a lot of money researching prefab design. The result ended up looking like every other prefab. And that’s the problem, because in the end, for mass production, you need corners and right angles, and once you have corners and right angles, to save money you close the surface and then you’ve got a box. You can go and cut corners and triangles out and make it look interesting, but it’s still a box. You haven’t cracked the sense of living.
In order to be successful, prefabrication shouldn’t start with conventional ideas. It would be great to think that prefab housing could inject a new idea of living in such prescribed spaces. No one has been successful at this yet and I tried a bit with the QXQ project. So many boxes have already been done and I don’t want to do another box. What can I add to it apart from cuteness and your sensibility of design? I was interested in refuge housing and wanted to investigate low technology, using my ideas to make things less expensive. I wanted to try to use architecture in adaptable ways using cheap materials but highly sophisticated design techniques to make an interesting statement while being functional. My design started with a dodecahedron and sliced off parts. This allows stacking in any direction and, interestingly, it created the idea of a colony of tightly fit modules rather than a collection of prefabricated homes. All the sudden, you’re into biomorphic design and while the architecture and structure are straight-forward, the services become challenging. Where do the ventilation, water, and sewer systems fit? We haven’t quite cracked it yet. We’re building two units as a test, but we really need to build 12 of them to check our assumptions, and we need to be building hundreds of units to be commercially viable. There are a number of interested clients from all over the world and a particular army was interested in 40,000 units. That’s the kind of scale we need to make the concept great, but we need to get the first one right.
Rem Koolhaas cites that, “through your work, engineering can now enter a more experimental and emotional territory.” Are academic engineering programs following your lead?
I know certain architecture and engineering programs have taken my books as curriculum. The Scandinavians were the first to take up Informal, then some universities in the States and in England started using the book. I think it’s impacted young architects more than the engineering community as I suspect that the engineers may be enticed by the work but are afraid to pick up the book because the thinking is so radically different.
How has a non-linear approach to design affected the other areas of your life?
I started organizing parts of my practice at Arup in a non-linear basis and it was very successful. Rather than applying top-down thinking, I began using an informal, emergent thinking. As an example, I deliberately don’t file my books, so I go searching my library and randomly pick a book, and then open up to the middle of the book and I read. That immediately kicks me into something I never even thought of. In the early ‘90s I became convinced that the world was non-linear. We simply fight it to be linear in order to understand it. But actually, it was not understandable in the first place.
You’ve had a synergistic relationship with artist Anish Kapoor, including your collaborations on the 2003 Marsyas exhibit at the Tate Modern, the Temenos sculpture in north England, and the Arcelormittal Orbit built for the 2012 summer Olympics. Tell me a bit about the balance you two have found working together.
Anish and I came together originally for the Marsyas exhibit at the Tate Modern. It’s not so much the mechanics of the form making with Anish, it’s more about the discussions we have of what does it mean. I think that’s the driving spur between us. The mechanics of how you make the form is part of whoever’s skill set it falls under. So, if the items involve big spans, I’m doing it. If it’s an issue of color and surface, he’s doing it. Creative tensions about what is good or not arise, but it’s precisely these discussions that lead to the power of the form. It’s about a visceral reading of the form and how it moves you physically.
In any of these designs, you’ve got non-linear architectures and engineering forms, but it seems like you’re typically able to use a standard kit-of-parts like steel channels and I-beams. Do you feel that the materials and parts ever limit the form factor?
No, because I always take the materials as a given out of pragmatism rather than thinking that I’m going to invent a new material or form. This isn’t to say that you compromise what you’re doing, but you need to rationalize how you’ll build a design and in that comes certain decisions to make about the material.
Do you have any structural inventions that you’re particularly proud of?
The roof of the Arnhem Centraal project in the Netherlands includes a giant column that’s approximately 100-feet wide. It twists in space to support the roof and ground floor planes and it’s one of my best inventions. I thought the design would be prohibitively expensive, but it wasn’t.
Sensibilities and Intuitions of the Master Designer; an Interview with Cecil Balmond, part 2 syndicated from thegardenresidences.wordpress.com
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Artists and curators talk about the Intuition and Ingenuity exhibition
Fri 23 March 2012, 1pm
at the Showroom Cinema, Sheffield
This special event brings together artists and curators from the "Intuition and Ingenuity" touring exhibition to discuss the impact of Alan Turing's life and ideas on contemporary art.
2012 is the 100th anniversary of the birth of Alan Turing, one of the greatest minds Britain has ever produced. Between inventing the digital computer and helping to decode the German Enigma machine, to founding the science of Artificial Intelligence, the world today would have been a very different place without him and his ideas. His work on morphogenesis (the biological processes that cause organisms to grow in a particular shapes) and the now famous Turing Test for machine intelligence have captured the imagination of artists for decades whilst his technological developments have given them the tools to create new kinds of artworks. This exhibition, which takes its name from Turing's own writing on the subject of mathematical reasoning, brings together a number of important artists from digital art pioneers to emerging contemporaries.
Speakers
Sue Gollifer (Co-curator), Anna Dumitriu (Artist and co-curator), Alex May (Artist), Gordana Novakovic (Artist) and Ernest Edmonds (Artist)
Speakers Profiles:
Sue Gollifer
Sue Gollifer is an artist an academic and a researcher at the University of Brighton, UK, and an early pioneer of new media art, her work is in national and international public and private collections. She is the Director of the ISEA International Headquarters, and is on a number of National and International Committees, including (CAS) the Computer Arts Society, (DAM), Digital Art Museum, (CAA) College Arts Association, USA, Executive Board and the Vice President for Annual Conference, and CoLab, AUT University, New Zealand and SIGRAPH Art Gallery, Emerging Technologies and Computer Animation Festival review committees and a member of the Board of the ACM SIGGRAPH's DIGITAL ARTS COMMUNITY (DAC). She has been a curator of a number of International Digital Art Exhibitions including, ArCade, the UK Open International Biennale Exhibition, of Digital Fine Art Prints 1995 - 2007 and the SIGGRAPH Art Gallery Exhibition'04: Synaesthesia. In 2006 she was awarded an iDMAa Award, The International Digital Media Arts Award for her 'Exceptional Services to the International New Media Community'. Gollifer is the assistant editor of the journal Digital Creativity, published by Taylor Routledge. arts.brighton.ac.uk/staff/sue-gollifer
Anna Dumitriu
Anna Dumitriu is an artist whose work blurs the boundaries between art and science. Her work has a strong international exhibition profile and is held in several major public collections, including the Science Museum in London. She is currently working on a Wellcome Trust funded art project entitled "Communicating Bacteria", collaborating as a Visiting Research Fellow: Artist in Residence with the Adaptive Systems Research Group at The University of Hertfordshire (focussing on social robotics) and Leverhulme Trust Artist in Residence on the on the UK Clinical Research Consortium Project "Modernising Medical Microbiology". She is also a contributing editor to Leonardo Electronic Almanac, co-chair of the Alan Turing Year 2012 Arts and Culture Subcommittee and a member of the Alan Turing Year 2012 International Advisory Committee. See unnecessaryresearch.org, www.normalflora.co.uk and www.artscienceethics.com
Alex May
Alex May works with light emitting technologies, computer programming, math, power tools, and physical objects as a canvas to create hybrid collisions of images and unexpected context. Developing his own software to combine 17th Century scientific theories of perspective and projective geometry with the real-time possibilities of readily available technologies such as high power graphics cards, Arduino, and Microsoft's Kinect, Alex's work uncovers and explores new artistic mediums that offer joyful extensions of the human experiences at best, and darkly invasive and upsetting self-reflection as its shadow.
Gordana Novakovic
Originally a painter, with 12 solo exhibitions to her credit, Gordana has more than twenty years' experience of developing and exhibiting large-scale time-based media projects. Her artistic practise and theoretical work that intersects art, science and advanced digital technologies has formed five Cycles: Parallel Worlds, The Shirt of a Happy Man, Infonoise and the ongoing Fugue. A constant mark of her work throughout her experiments with new technologies has been her distinctive method of creating an effective cross-disciplinary framework for the emergence of synergy through collaboration. Gordana exhibited and lectured at leading interdisciplinary festivals and symposia, and artistic and scientific conferences. Her works from the ongoing Fugue Cycle (www.fugueart.com) has been widely presented and exhibited. Alongside her artistic practice, in the last six years Gordana has been artist-in-residence and also a Teaching Fellow at Computer Science Department, University College London, where she has founded and curates the Tesla Art and Science Group www-typo3.cs.ucl.ac.uk/research/tesla/. She has received a number of international and British academic awards. gordananovakovic.net/ www.fugueart.com/
Ernest Edmonds
Ernest Edmonds was born in London in 1942. He has a PhD in logic and has been inspired by Alan Turing throughout his career. He is a research professor at UTS, Sydney, and DMU, Leicester. His art is in the constructivist tradition and he concentrates on systems and computation. He first used computers in his art practice in 1968. He first showed a generative time-based work in 1985. The Victoria and Albert Museum, London, is collecting his archives. His work is represented in the Digital Art Museum (DAM Projects GmbH, Berlin): www.dam.org/artists/phase-one/ernest-edmonds
Lovebytes 2012 - Digital Spring
A Festival of Art, Science and Technology
22-24 March
Sheffield UK
Intuition Summer Festival 2009. Het was weer een topfeest. Hemelse trance onder een strak blauwe hemel. Jammer dat het geluid in de buitenarea niet echt top was. Binnen was het net een dampende sauna 's avonds. Dat bleek wel want alle lenzen besloegen, waardoor het focussen binnen lastig was. Al met al toch nog een aardig setje, dat de sfeer van de dag goed weergeeft. Beleef die topdag en jullie party-momenten nu nog één keer opniew, door de slideshow te draaien. Thx. again Paul voor de leuke foto's! En Menno en Alda, respect! Jullie zijn er weer ingeslaagd om een topfeest neer te zetten. Pachtige line-up met de beste trance van het moment! Klasse! En last but not least, thx. to all nice partypeople and dj's for the nice photo-opportunities. Het was weer fun om jullie allemaal ontmoet te hebben :) Vooral de mini-after in de camper van Anja was erg gezellig :) Leuk om nog even door te gaan tot 03.00 uur op de parkeerplaats. Thx. Frans & Ginny voor de music en ride home! Moeten we vaker doen :)
Laat je op- en aanmerkingen achter op de foto! Ik hoor het graag van jullie! Hiervoor moet je wel eerst een Flickr-account aanmaken. Kun je gelijk je eigen partypics van Intuition Summer Festival daar online zetten :) Doodeenvoudig en erg makkelijk! Een free account is gratis. Hiermee kun je tot 100 MB of 200 foto's per maand plaatsen op Flickr. Een pro-account kost je nog geen 15 Euro per jaar. En je kunt dan onbeperkt foto's uploaden in elk formaat.
Foto(s) van Intuition Summer Festival 2009 nabestellen voor maar 1 Euro? Geef het/de fotonummer(s) door. Stuur een mail naar: dutchpartypics@yahoo.com. Daarna volgen details en stuur ik je via e-mail de high res. foto zonder logo toe!
© Dutchpartypics | Korsjan Punt 2009. Powered by Nikon D50/D80 DSLR, Nikon AF-S 18 - 105 mm VR, f: 3.5 - 5.6, Nikon AF-S 55 - 200 mm VR, f 3.5 - 5.6, Nikon AF-S 70 - 300 mm, f 4 - 5.6, Tamron XR DI 17 - 35 mm, f 2.8 - 4.0, Tamron XR DI 28 - 75 mm, f: 2.8 - 4.0 en Sigma EX DC-HSM 10 - 20 mm, f 4.0 - 5.6. Flash: Nikon Speedlight SB600 / Sunpak PF30X, incl. omnibounce. Compact: Panasonic Lumix FX500 and Sony Cybershot DSC-H10.
NIKON: At the heart of the image! & DUTCHPARTYPICS: Pounding, vivid pictures! Make your photos come alive!
It's been a long working month in Vancouver. Just wanted to share the nice view of my everyday walking home landscape.
“The intuitive mind is a sacred gift and the rational mind is a faithful servant. We have created a society that honors the servant and has forgotten the gift.” - Albert Einstein
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Y en español para mis 'apañeros'.....
"La mente intuitiva es un regalo sagrado y la mente racional es un fiel sirviente. Hemos creado una sociedad que rinde honores al sirviente y ha olvidado al regalo". - Albert Einstein
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I hope you like it, couldn't sleep til I finished and uploaded!!
Dedicated to all those who spread the love.... Thank you!
Thanks for looking :-)
Artists and curators talk about the Intuition and Ingenuity exhibition
Fri 23 March 2012, 1pm
at the Showroom Cinema, Sheffield
This special event brings together artists and curators from the "Intuition and Ingenuity" touring exhibition to discuss the impact of Alan Turing's life and ideas on contemporary art.
2012 is the 100th anniversary of the birth of Alan Turing, one of the greatest minds Britain has ever produced. Between inventing the digital computer and helping to decode the German Enigma machine, to founding the science of Artificial Intelligence, the world today would have been a very different place without him and his ideas. His work on morphogenesis (the biological processes that cause organisms to grow in a particular shapes) and the now famous Turing Test for machine intelligence have captured the imagination of artists for decades whilst his technological developments have given them the tools to create new kinds of artworks. This exhibition, which takes its name from Turing's own writing on the subject of mathematical reasoning, brings together a number of important artists from digital art pioneers to emerging contemporaries.
Speakers
Sue Gollifer (Co-curator), Anna Dumitriu (Artist and co-curator), Alex May (Artist), Gordana Novakovic (Artist) and Ernest Edmonds (Artist)
Speakers Profiles:
Sue Gollifer
Sue Gollifer is an artist an academic and a researcher at the University of Brighton, UK, and an early pioneer of new media art, her work is in national and international public and private collections. She is the Director of the ISEA International Headquarters, and is on a number of National and International Committees, including (CAS) the Computer Arts Society, (DAM), Digital Art Museum, (CAA) College Arts Association, USA, Executive Board and the Vice President for Annual Conference, and CoLab, AUT University, New Zealand and SIGRAPH Art Gallery, Emerging Technologies and Computer Animation Festival review committees and a member of the Board of the ACM SIGGRAPH's DIGITAL ARTS COMMUNITY (DAC). She has been a curator of a number of International Digital Art Exhibitions including, ArCade, the UK Open International Biennale Exhibition, of Digital Fine Art Prints 1995 - 2007 and the SIGGRAPH Art Gallery Exhibition'04: Synaesthesia. In 2006 she was awarded an iDMAa Award, The International Digital Media Arts Award for her 'Exceptional Services to the International New Media Community'. Gollifer is the assistant editor of the journal Digital Creativity, published by Taylor Routledge. arts.brighton.ac.uk/staff/sue-gollifer
Anna Dumitriu
Anna Dumitriu is an artist whose work blurs the boundaries between art and science. Her work has a strong international exhibition profile and is held in several major public collections, including the Science Museum in London. She is currently working on a Wellcome Trust funded art project entitled "Communicating Bacteria", collaborating as a Visiting Research Fellow: Artist in Residence with the Adaptive Systems Research Group at The University of Hertfordshire (focussing on social robotics) and Leverhulme Trust Artist in Residence on the on the UK Clinical Research Consortium Project "Modernising Medical Microbiology". She is also a contributing editor to Leonardo Electronic Almanac, co-chair of the Alan Turing Year 2012 Arts and Culture Subcommittee and a member of the Alan Turing Year 2012 International Advisory Committee. See unnecessaryresearch.org, www.normalflora.co.uk and www.artscienceethics.com
Alex May
Alex May works with light emitting technologies, computer programming, math, power tools, and physical objects as a canvas to create hybrid collisions of images and unexpected context. Developing his own software to combine 17th Century scientific theories of perspective and projective geometry with the real-time possibilities of readily available technologies such as high power graphics cards, Arduino, and Microsoft's Kinect, Alex's work uncovers and explores new artistic mediums that offer joyful extensions of the human experiences at best, and darkly invasive and upsetting self-reflection as its shadow.
Gordana Novakovic
Originally a painter, with 12 solo exhibitions to her credit, Gordana has more than twenty years' experience of developing and exhibiting large-scale time-based media projects. Her artistic practise and theoretical work that intersects art, science and advanced digital technologies has formed five Cycles: Parallel Worlds, The Shirt of a Happy Man, Infonoise and the ongoing Fugue. A constant mark of her work throughout her experiments with new technologies has been her distinctive method of creating an effective cross-disciplinary framework for the emergence of synergy through collaboration. Gordana exhibited and lectured at leading interdisciplinary festivals and symposia, and artistic and scientific conferences. Her works from the ongoing Fugue Cycle (www.fugueart.com) has been widely presented and exhibited. Alongside her artistic practice, in the last six years Gordana has been artist-in-residence and also a Teaching Fellow at Computer Science Department, University College London, where she has founded and curates the Tesla Art and Science Group www-typo3.cs.ucl.ac.uk/research/tesla/. She has received a number of international and British academic awards. gordananovakovic.net/ www.fugueart.com/
Ernest Edmonds
Ernest Edmonds was born in London in 1942. He has a PhD in logic and has been inspired by Alan Turing throughout his career. He is a research professor at UTS, Sydney, and DMU, Leicester. His art is in the constructivist tradition and he concentrates on systems and computation. He first used computers in his art practice in 1968. He first showed a generative time-based work in 1985. The Victoria and Albert Museum, London, is collecting his archives. His work is represented in the Digital Art Museum (DAM Projects GmbH, Berlin): www.dam.org/artists/phase-one/ernest-edmonds
Lovebytes 2012 - Digital Spring
A Festival of Art, Science and Technology
22-24 March
Sheffield UK