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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• “Tracing’ Infra-Spaces: Complicated beginnings & elliptical ends [Part 1]”, Digimag 60, Dec.2010-Jan.2011, http://www.digicult.it/digimag/article.asp?id=1942
• “Interruptive site-specificity in contemporary digital art”, Digimag 59, November 2010, http://www.digicult.it/digimag/article.asp?id=1927
• “ISEA 2010 RUHR: Unfolding Space”, Digimag, Issue 57, September 2010 http://www.digicult.it/digimag/article.asp?id=1875

DIGICULT is an Italian platform created to spread digital art and culture worldwide. It focuses on the impact of new technologies and modern sciences on art design culture and contemporary society. DIGICULT is the editor of the magazine DIGIMAG which focuses on cultural and artistic issues e.g. art & science software art design etc.

Please visit www.digicult.it & www.digicult.it/digimag for more information.

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2. Chora Platonica and Digital Matrix Dr Eugenia Fratzeskou recent article entitled 'Platonic Chora & Digital...
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Drawing Research Network Annual Conference 2010

Observation:Mapping:Dialogue

14^th September 2010 University of Brighton, Grand Parade Campus

10.30 Welcome by Steve Garner – Sallis Benney Theatre

10.35 Keynote address: Professor Deanna Petherbridge

12.00 SESSION ONE Parallel workshops:

• Kate Walters: Drawing as a way to open the door to expanded consciousness
  David Griffin: Utility of notations
• Doris Rohr: Kinaesthetic awareness and mapping space
• Angela Brew: assisted by Patrick Tresset (AIKON project)   Drawing and Cognition
  Andrea Kantrowitz: Gesture studies
• Jim Butler: The subjective process of drawing
  Tom Jones: Writing Drawings
• Lynne Langton: Drawing in Context ALL DAY DRAWING ACTIVITY IN FOYER

1.00   LUNCH

2.00 – 3.00   SESSION TWO Parallel workshops:

• Amanda Roberts: Extended drawing as a tool of enquiry
  Juliet MacDonald: Paradoxical aspects of drawing as enquiry
• Bettina Reiber: Being-in-the-World and drawing
  Karen Wallis & Jac Saorsa: Drawing the ‘Other’
• Jill Gibbon: Radical Reportage
  Jenny Soep: Drawing the Experience
• Luce Choules: Off the map
  Sarah Casey: Invisible lines and parallel practice

3.45   Poster Prize – Plenary session and round up

4.30   Drinks Reception

The Conference team would like to acknowledge the support of the University of Brighton Faculty of Arts and Centre for Learning & Teaching, LearnHigher Centre of Excellence, the Open University, Derwent  and Intellect books.

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“I recently wrote an article for the Journal of Visual Culture regarding embodiment, memory, and gesture drawing”

Sara Schneckloth
Assistant Professor, Drawing, University of South Carolina, USA

From the abstract:  This article addresses the role played by gesture in theorizing embodiment in drawing practice. The gesture here is cast simultaneously as the material trace left on the drawing surface as well as an intentional act geared toward enabling participatory spectatorship. Both forms of the gesture are enacted through attention to embodiment in drawing as performed through the organs of artist and audience. The surface of a drawing affords openings for gesture’s potential to convey meaning beyond the semiotic and as a site for ongoing physical and aesthetic intervention on the part of the spectator. Drawing’s capacity for enabling multiple forms of embodiment positions it uniquely in the landscape of contemporary art as a site of vision, touch, and experience.

Sage Publications has just made the pdf’s for the article available free of charge at: http://vcu.sagepub.com/content/7/3/277.full.pdf+html

You can also visit Sarah Schneckloth’s Website for more information about her work.

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Chora receives everything, without ever taking the form of the objects that enter her. She is made as a model for all things, which moves and takes the shape of everything she receives; and this is why it seems to be different each time.

A recent article by Dr  Eugenia Fratzeskou published by Digimag can be found here: http://www.digicult.it/digimag/article.asp?id=1823

DIGICULT is an Italian platform created to spread digital art and culture worldwide. It focuses on the impact of new technologies and modern sciences on art design culture and contemporary society. DIGICULT is the editor of the magazine DIGIMAG which focuses on cultural and artistic issues e.g. art & science software art design etc.

Please visit  www.digicult.it & www.digicult.it/digimag for more information

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New article by Dr Eugenia Fratzeskou

From: Digimag Issue 52 March 2010.

The article discusses our changing understanding of reality, which has inspired new strategies for spatial research and practice in art, architecture and related disciplines.

English text: www.digicult.it/digimag/article.asp?id=1730

Italian translation: http://www.digicult.it/digimag/article.asp?id=1716

DIGICULT is an Italian platform created to spread digital art and culture worldwide. It focuses on the impact of new technologies and modern sciences on art design culture and contemporary society. DIGICULT is the editor of the magazine DIGIMAG which focuses on cultural and artistic issues

Please visit  www.digicult.it & www.digicult.it/digimag for more information

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3. Operative Transformations A new article by Dr Eugenia Fratzeskou in DIGIMAG Online...

Real and Virtual Boundaries in Contemporary Site-specific Art

by Dr EUGENIA FRATZESKOU (Author)

(Contact: eugenfratz@yahoo.com)

Publisher: LAP Lambert Academic Publishing (8 Dec 2009)

ISBN-10: 383833051X

ISBN-13: 978-3838330518

Publication Abstract

The latest forms of site-specific and digital art have emerged from artists’ interest in new relationships between physical and virtual spaces, as inspired by the contemporary interdisciplinary understanding of space as an uncontrollably changing informational substance. Such developments necessitate new spatial research strategies for advancing site-specific art. The present study develops pioneering methodologies for enabling that advancement. The existing modes of digital visualisation, site-specificity, virtual and mixed realities in art, design and science are radically challenged, as the built boundaries of architecture ‘unfold’ to reveal a paradoxical hybrid space in a site-specific virtual environment. The digital boundaries of architecture are revealed to be highly inconsistent, undermining the solidity and continuity of built space and our perception of it. Such irregularity exposes the inherent abstraction and inconsistencies that occur in the interchanges between the binary, numerical and graphic levels of digital visualisation systems. This book is particularly useful to artists, architects and professionals who engage with digital visualisation and the related fields.

Ordering:

Amazon Germany: http://www.amazon.de/Visualising-Boolean-Set-Operations-Site-specific/dp/383833051X/ref=sr_1_1?ie=UTF8&s=books-intl-de&qid=1261944842&sr=1-1

Amazon UK: http://www.amazon.co.uk/Visualising-Boolean-Set-Operations-Site-specific/dp/383833051X/ref=sr_1_8?ie=UTF8&s=books&qid=1261941283&sr=1-8

Amazon US: http://www.amazon.com/Visualising-Boolean-Set-Operations-Site-specific/dp/383833051X/ref=sr_1_7?ie=UTF8&s=books&qid=1261944713&sr=1-7

Amazon Japan: http://www.amazon.co.jp/Visualising-Boolean-Operations-EUGENIA-FRATZESKOU/dp/383833051X/ref=pd_rhf_p_t_1

Books on Demand (BoD, Germany):http://www.bod.com/index.php?id=3435&objk_id=289684

Libri.de:http://www.libri.de/shop/action/productDetails/9487928/dr_eugenia_fratzeskou_visualising_boolean_set_operations_383833051X.html

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by Dr EUGENIA FRATZESKOU (Author)

(Contact: eugenfratz@yahoo.com)

Publisher: LAP Lambert Academic Publishing (Mar 2010)

ISBN-10: 3838348389

ISBN-13: 978-3838348384

Publication Abstract

The present study focuses on new types of drawing in fine art, as investigated in relation to their interdisciplinary context. The main aim is to reconsider the conventional idea of the process of creation, that is, one that proceeds from a concept to a preparatory drawing and concludes in a finished work. This investigation involves the questioning of the traditional role of drawing and the status of a ‘finished artwork’. The possibility that the stages of an artwork’s completion are not successive and separated will be explored through the acknowledgement and understanding of their ‘in-between workings’. These ‘workings’ show a wider ‘network’ of the co-ordinates that initially may be rejected as dead ends that lead to an entropic chaos. Exploring the key ideas of the Platonic “chora” and the architect Peter Eisenman’s “interstitial space”, this book presents how the ‘in-between workings’ encourage the evaluation and development of the initial ideas we intended to follow. Therefore, the existence of an ‘interstitial space’ does not signify indeterminacy, but reveals the creatively interwoven activities of intention and outcome as well as theory and practice and their interaction.

Ordering:

Amazon (Germany): http://www.amazon.de/New-Types-Drawing-Fine-Art/dp/3838348389/ref=sr_1_2?ie=UTF8&s=books&qid=1268166103&sr=8-2

Amazon UK: http://www.amazon.co.uk/New-Types-Drawing-Fine-Art/dp/3838348389/ref=sr_1_2?ie=UTF8&s=books&qid=1268165889&sr=8-2

Amazon US: http://www.amazon.com/New-Types-Drawing-Fine-Art/dp/3838348389/ref=sr_1_2?ie=UTF8&s=books&qid=1268166007&sr=8-2

Amazon Japan: http://www.amazon.co.jp/New-Types-Drawing-Fine-Art/dp/3838348389/ref=sr_1_1?ie=UTF8&s=english-books&qid=1268166184&sr=8-1

Books on Demand (BoD, Germany): http://www.bod.com/index.php?id=3430&objk_id=338130

Libri.de: http://www.libri.de/shop/action/productDetails/10454079/dr_eugenia_fratzeskou_new_types_of_drawing_in_fine_art_3838348389.html

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