The ISEA International Reviewing Committee included 88 experts of 29 different nationalities from various media art related fields. Apart from the presentation panels, the ISEA Conference has also included a keynote program with Brian Massumi, Peter Weibel, Roy Ascott, Margaret Morse, Harald Welzer with Marko Peljhan, David d’Heilly with Fernando Garcia Dory, round-tables and workshops that have been realised with the cooperating institutions.

At the ISEA Ruhr 2010 Conference, crucial issues of the current debates in electronic art and media philosophy have beendiscussed. The themes have varied from aesthetic discourses to questions of art and engineering. The focal points of the Conference have been ‘Sounds’ and ‘Ecologies’. Among others, there have been panels on art and media in Latin America, on new art theory, on preservation of historical media art, on the phenomenon of materialisation and dematerialisation, on the role of the user in digital art, on the emerging notions of spatial layering & hybrid realities, on the latest developments in code art etc.

Dr Eugenia Fratzeskou presented her lecture Unfolding Space at the Algorithmic Topologypanel, one of the 51 panels of the ISEA Ruhr 2010 Conference. The panel was moderated by Timothy Druckrey (Director of the Graduate Photographic & Electronic Media program at MICA, curator, writer & editor) and took place on 27th August 2010 at VolksHochSchule Dortmund.

The focal point of the paper has been the ways in which the cosmological understanding of space as an uncontrollably changing informational substance and the expanded use of virtual environments necessitate new spatial research strategies for advancing site-specific art. The author’s research into interspatiality has inspired the creation of interpassages between digital and built spaces, enabling innovative spatial interventions. The conventional modes of VR are challenged, as built boundaries unfold to reveal the hidden dimensions of architecture by visualising paradoxical heterogeneous spaces in a virtual environment. Most importantly, the inherent abstraction and flaws of VR are revealed through innovative types of site-specific digital drawing.

Visit the ISEA Ruhr 2010 Conference Proceedings and Dr Eugenia Fratzeskou’s end-of-conference report in Digimag for more information.

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ISEA 2011 Istanbul Conference was the academic core of the Symposium and took place mainly at the prestigious Sabanci Center’s towers situated at Levent, the rapidly developing and expanding business district of Istanbul. The ISEA2011 Istanbul Conference hosted more than 450 paper presentations, over 70 panels and 60 workshops that were complemented by fora, networking, meetings and special events. All submissions were selected and reviewed by an international jury of professionals and academics from various disciplinary backgrounds. Sean Cubitt, Roman Verostko, Oliver Grau, William Uricchio, Jay Bolter, Sara Diamond, Christiane Paul and Terrence Masson contributed as keynote speakers. The Conference comprised of a rich variety of topics including mapping, user experience and space; perfection, error and the sublime; art and activism in the digital age; interdisciplinary teaching and new media arts; algorithmic art; robotics; sound; bacteria art; consumption; augmented reality; hacking, and many others. The combination of presenters, the themes and the structure of presentations inspired rigorous discussions on emerging issues, inspired new ideas and potential, while facilitating the development of new collaborations and partnerships.

Mapping & the User Experience was one of the paper sessions of the ISEA2011 Istanbul Conference andtook place on 19 September 2011 at Sabanci Center. The issue of mapping was one of the most important emerging topics that dominated several paper sessions and workshops such as Mapping the City and Urban Identity, Mapping and the Subject as Body, Mapping as Walking as Learning to See in the Digital Age as well as exhibitions and events dealing not only with space and architecture but also with a rich variety of other emerging fields, discourses, inter-disciplinary types of international research and practice. The importance of mapping is recognised and highlighted as a challenging integral part of spatial practice and research across digital and electronic media arts, hard sciences and the humanities. The issue of exactitude in ‘mapping’ the physical world has been debated extensively in science and has deeply influenced the formulation of scientific paradigms. As we pass from Modernist reduction and mathematical formalism to contemporary complexity, uncertainty and complementarity, our perception and understanding of the relationship between physical and virtual worlds are changing in the most unexpected manner. In particular, the developments in Quantum physics and scientific visualisation have revealed an emerging kind of multi-dimensionality that characterises the fuzzy boundaries between reality and virtuality and probes new relationships between part and whole. As a result, a new understanding of space and reality in general, as well as of the limitations of science, is developing.

A synopsis of Dr Eugenia Fratzeskou’s paper Mapping Uncertainty follows:

The issue of exactitude in ‘mapping’ the physical world has been  debated extensively in science and has deeply influenced the  formulation of scientific paradigms. As we pass from Modernist reduction  and mathematical formalism to contemporary complexity, uncertainty and  complementarity, our perception and understanding of the relationship  between physical and virtual worlds are changing in the most unexpected  manner. In particular, the developments in Quantum physics and  scientific visualisation have revealed an emerging kind of  multi-dimensionality that characterises the fuzzy boundaries between  reality and virtuality and probes new relationships between part and  whole. As a result, a new understanding of space and reality in general,  as well as of the limitations of science, is developing.

In  contemporary art, architecture and the related disciplines, the changing  relationship of data flows and data matrices inspires new types of  spatial research and practice. As a designed environment, built  space can be perceived as a fragment of an excessive superimposition of  dynamically interacting algorithmic, geometrical, topological and  structural grids. A creative exploration of the data flows into, from  and within the physical structures of the built environment, challenges  our common assumptions about space and our experience of it.

Emerging  types of site-specific digital art are developing, for creatively  investigating the point of intersection between the various types of  reality and their ‘exchanges’. This paper offers an investigation into  the ways through which, potential in-between spaces can be creatively  revealed, through new kinds of site-specific intervention. The emphasis is placed on how it is possible to ‘trace’ and interact with the half-  and by- products of algorithmic flows that remain unbuilt, their  meta-dimentionality and the emerging paradoxes, through different modes  of innovative spatial intervention such as, mixed realities para-sites, ‘injections’, ‘cuts’, interruptive site-specificity and others. Selected cases from the author’s own practice and research in digital  site-specific art and other examples of spatial practices and research in art and architecture are discussed in conjunction with the  relevant scientific, cosmological and philosophical theories.

For more information visit: http://isea2011.sabanciuniv.edu/content/mapping-and-user-experience

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Having its roots in cinematic modes of presentation and spectatorship as well as in scientific simulation, data visualisation and statistics, the development of animation has been influenced by the paradigms deriving from these fields. Contemporary forms of animation enable an evolutionary endogenic design that is complex, transitory and emergent. The ‘spaces’ that are generated, differ from the outworn model of Cartesian space, that is, of a stable, ordered, inert, neutral and void space that is fully controllable through the use of Cartesian co-ordinates. Essentially therefore, the ‘spaces’ emerge from the fields of cymatics & Quantum Physics, the contexts of informationalism and connectivity.

The new kinds of space emerge through informational fields & flows, they are dynamically multi-causal, nonlinear, relational, irreducible and incidental, as constants have been substituted with variables. Consequently those spaces conform neither to the notions of ‘ground zero’, singularity and objecthood, nor and the norms of Modernist abstraction and disciplinary autonomies.

The architectural designer, theorist and academic Greg Lynn’s work is based on a creative investigation of the ways in which digital animation can be adapted as a tool for architectural design, through an in-depth engagement with the dialogue between architecture and animation and the ways the one changes the other. As we can see in Lynn’s work, Computer Aided Design provides the opportunity to “retool and rethink” architecture, as “calculus-based design” is introduced. Such a digital tool enables the creation of spaces of emergence, through non-linearbehaviour (interaction) and new kinds of geometry such as “motion or action” geometry, as termed by Lynn.

Please see Digimag online magazine for the full articles. There are two articles in this series. You can also see the Archives for Dr Eugenia Fratzeskou. Also available in Italian.

Visit SARCHA Associates  for more research updates.

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‘Back to the Drawing Board’ at The Crocus Gallery, Nottingham 08  – 22 October
‘The Drawing Project’ at The Crompton Tavern, Derby 03 – 27 October (a Crocus Gallery and N.O.N. Project)

NatWest are currently accepting votes for their Community Force project. We need votes to win £6000 which will cover our running costs for 2012.

Communities are important to all of us. At the heart of each and every one you’ll find great people doing great things to make them better places. NatWest CommunityForce is a new initiative which sees us working with local communities to support the people, projects and charities making a real difference where you live. - NatWest Community Force website

Please vote for us at: http://communityforce.natwest.com/project/4448. Pass this on and ask friends to vote for us as The Crocus Gallery is a valuable resource for artists. To avoid charging artists to exhibit work we rely on funding. It is a resource that enables artists to show work and also offers opportunities for young aspiring arts professionals to gain knowledge and experience in the running of an art gallery.

Thanks for your help and we look forward to seeing the results,

Alyn Mulholland, Gallery Manager

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Below is a quote from Julio Lopez Tornel

There is a tendency in the wider contemporary art context to regard abstraction as an out-dated mode of practice; as formalistic and largely decorative, despite the movement’s initially being born of a radical idealism.

Where does the common ground lie between scientific and automatic drawings? Within their mutual disregard for aesthetics. They try to break the membrane of the visible to show the precise structure of things (whether objects, or the mind). To embrace this core function, and catch it “in fraganti”.

My work constantly refers to the invisible, striving to evidence through physical realities that which can only be sensed. Invisibility and idealism are two parallel ideas within the visual field: the visible being the material, the surface, and the periphery – the excretion into existence. And yet I believe there is sensation in all, right down to the nucleus (chaotic and absurd, perhaps) that which we see being a result of this materialisation.

I want to violate the surfaces with my graphite appendages, to wield them as scalpels, to rip off the curtain of nature to openly show their true charm and beauty. To draw between visionary and voyeur; visible only to those who scrutinise. The vertigo resulting from the dizzying need to see deeper – faster.
- Julio Lopez Tornel

Centre for Recent Drawing is open for this exhibition 4 – 27 August 2011; from 1 – 6pm Thursdays to Saturdays at 2 – 4 Highbury Station Road, Highbury Islington, London. C4RD is a Registered UK Charity 1123530, and would particularly like to acknowledge the support for this exhibition of www.artupdate.com.

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The cyber on line-off line transference of electric cells to cellulose provides new tension between site-non-site as it were, which is not casual but for me motivates a heightened relay of marking process. This specifically is the cyber gesture “stated” as photo mark in the print matrix and correspondingly there emerges an expanded potential between the immaterial and material for the incisive mark to recover to the foundations of flux both gravity and spectrum as a drawing nature of nature philosophy.

Van VanGorder looks to drawing for the sake of drawing within the potentials of publishing which the printed word and image provoke towards an art nexus that considers all art events a form of publishing.

Download the article DRN Inventing Nature

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The practice of drawing for Gosia Wlodarczak is one of “being present within space, time, and language.” Choosing to work in public and private spaces rather than in a studio, Wlodarczak records her environment as it appears in front of her eyes and in her body, her hand responding to movements, details, impressions. A 12-day performance drawing process of pigment marking on glass wall and windows. Work commissioned by the Singapore Biennale 2011.

Visit www.gosiawlodarczak.com for more about Gosia Wlodarczak

Find out more about Singapore Biennale below:

Singapore Biennale: Open House 2011

In Singapore, during Hari Raya, Deepavali and Chinese New Year, people open their homes to others, inviting them to visit, eat and talk. This is not only a gesture of hospitality and goodwill but also an opportunity to reflect, negotiate and exchange.

In the same way, Singapore Biennale has thrown open its doors to invite artists to Singapore to visit,create art and offer their own perspectives and creative approaches on ideas like culture, points of views, connections with others and moving across borders.

Explore more about the event here: About Singapore Biennale 2011

Find out more by visiting the Open House Notebook Blog

Posted by Gosia:

About Gosia Wlodarczak
Born in 1959, Poland, Gosia Wlodarczak arrived in Australia in 1996 and lives and works in Melbourne. In 1984 she graduated Master of Fine Arts with Distinction at Poznan Academy of Fine Arts, Poland. Since in Australia she was awarded numerous prizes and grants including: Australia Council Skills and Development Grant (2008), Edith Cowan University Public Art Project, Western Australia (2007); Australia Council New Work Grant for Established Artists (2006). Gosia has participated in numerous group exhibitions including: I walk the line: new Australian drawing at the Museum of Contemporary Art, Sydney where she was commisioned to held a drawing performance; Sound Vision 09 Bellingham Electronic Arts Festival at the Western Washington University, USA (both in 2009). A four times finalist for The Dobell Drawing Prize at the Art Gallery of New South Wales (2003 – 2006), she exhibited in mix tape at the Art Gallery of Western Australia (2003-04), and the 5th Drawing Biennale at the Drill Hall Gallery, Australian National University (2004). In 2010 Gosia has undertaken a three months residency in New York, USA, and has been invited to participate in the Contemporary Australian Drawings 1 exhibition at RMIT Gallery. Her work is represented in collections including: National Gallery of Australia; Art Gallery of South Australia; Edith Cowan University; Murdoch University; Poznan Academy of Fine Arts.

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Dates and times: Tuesday 28 June 12 – 2.30 and 4 – 5.30; Wednesday 29 June 12 – 2.30 and 4 – 5.00; Thursday 30 June 12 – 2.30 (live discussion 6-7 Thursday)

Location: Parfitt Gallery, Croydon Higher Education College, Barclay Rd, Croydon, CR9 1DX

For more information please download press_release.

For more info email: michael.hall@croydon.ac.uk

Phone 020 8686 5700.  www.parfittgallery.croydon.ac.uk

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Where: KG52 Gallery, Kammakargatan 52, Stockholm

When: 28th April – 14th May 2011 (Tuesday – Thursday 12pm – 6pm  and Friday – Saturday 12pm – 4pm) Private View Thursday 28th April.

For more information see: www.drawingandthebody.com

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Wall Drawings by Greig Burgoyne & Reena Makwana
18 March – 16 April 2011
Preview 17th March, 6-9 pm

Please visit website for further details: http://dallarosagallery.com/current-exhibition

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