Mass archive

Educating Artists for the Future: Learning at the Intersections of Art, Science, Technology, and Culture

Thursday, January 3rd, 2008

Edited by Mel Alexenberg

Educating Artists for the Future

In Educating Artists for the Future, some of the world’s most innovative thinkers in higher education in art and design offer fresh directions for educating artists for a rapidly evolving post-digital future. Their creative redefinition of art at the interdisciplinary interface where scientific enquiry and new technologies shape aesthetic and cultural values offers groundbreaking guidelines for art education in an era of emerging new media. This is the first book concerned with educating artists for the post-digital age, propelling artists into unknown territory.

A culturally diverse range of art educators focus on teaching their students to create artworks that explore the complex balance between cultural pride and global awareness. They demonstrate how the dynamic interplay between digital, biological, and cultural systems calls for alternative pedagogical strategies that encourage student-centered, self-regulated, participatory, interactive, and immersive learning. Educating Artists for the Future charts the diaphanous boundaries between art, science, technology, and culture that are reshaping art education.

IE2007 Australasian Conference on Interactive Entertainment

Wednesday, December 5th, 2007

IE 2007 will focus on the idea of convergence and cross-platforming and its impact on the past, present and future of gaming and digital industries. This conference will provide professionals, researchers, and developers an opportunity to discuss some of the critical and hypothetical frameworks for emerging modes and models of interactive entertainment.

Delegates in the areas of digital games, media and content in Australia and internationally will be invited to attend IE 2007. This is a strategic event at which professionals and researchers can present their exciting innovations and latest works. IE 2007 will also act as a forum to facilitate international collaboration in research and development in these fast emerging areas.

Media Art and Its Critics in the Australian Context

Sunday, November 11th, 2007

Daniel Palmer

Media Art Histories Archive

This paper

explores the critical reception of media ar

t in Australia over the past three decades, with a view to encouraging more situated critical histories and historically aware critical practices. I give particular emphasis to the responses to key electronic and media art exhibitions by non-specialist critics, writing in newspapers and art journals. Starting with so-called ‘experimental video’ in the 1970s, I explore critical coverage of such seminal events as ‘Some Recent Australian Videotapes’ at the Art Gallery of New South Wales in 1980, curated by Bernice Murphy and Stephen Jones; ‘The Australian Video Festival’ in 1986; the ‘Third International Symposium on Electronic Art’ in 1992; various exhibitions held by Experimenta since the 1990s; ‘ConVerge: Where Art and Science Meet’, the 2002 Adelaide Biennale of Art; ‘2004: Australian Culture Now’, a collaboration between the National Gallery of Victoria and the Australian Centre for the Moving Image (ACMI), and the biennial Anne Landa Award at the Art Gallery of New South Wales. While this survey reveals an ‘anti-science’ bias, to some extent it also challenges the conception that Australian art critics have ignored or dismissed media art on conservative aesthetic grounds. As such, I draw out some consequences of a too-confident avant-gardism on the part of the new media art community, including a collective fascination with the newness of ‘new media’ art. Another key theme to emerge from this local history is the hybrid role of the video interface. I argue that video art helped to enable the development of ‘new media art’ in the late 1980s, and can be seen as part of a broader shift, with performance art, from the representational tradition of visual art to one engaged in the more presentational modes – incorporating the sense of the viewer participating in the space of the object, images or action. The current position of Australian video art as a bridge between media art and mainstream contemporary art raises the complex issue of how national media art histories relate to broader national and international art contexts. More fundamentally, the survey shows the acute impact of media art’s global networks on local artistic and critical practices.

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Computers in Art and Design Education (CADE) Conference

Wednesday, September 12th, 2007

Computers in Art and Design Education (CADE) Conference

The Biennale of

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Electronic Arts Perth (BEAP) is proud to host the 2007 Computers in Art and Design Education (CADE) Conference as part of its education programme.


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Conference is a major international event for those interested in exploring ideas which converge at the intersection of pedagogical methods, arts, design, science, and technology.

Over three stimulating days, forty educators, creative arts practitioners and theorists at the forefront of their practise will explore the latest research and technologies. They will discover new professional methodologies for creative arts education as they contemplate the theme “Stillness”.

CADE conference proceedings

Master of Science (Biological Art)

Saturday, January 27th, 2007

Biological art is a broad term that covers artistic engagement with the knowledge and tools of life sciences.

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This is a growing field of research in which the manipulation of living systems is performed for the creation of ar

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twork for cultural discussion.

UWA is recognised as the leader in this field. The University provides a space where biological art can be pursued within a scientific setting; through the establishment in the year 2000 of SymbioticA: the art and science collaborative research laboratory within the School of Anatomy and Human Biology.

Teaching in the core units of the course will draw on internationally recognised arts practitioners from the Tissue Culture and Art Project (Oron Catts and Ionat Zurr), scientists from within the School of Anatomy and Human Biology and guest lectures from international scholars and artists undertaking residencies at SymbioticA. A diverse and wide spectrum of expertise in a number of faculties at UWA will be utilised, potentially including Life and Physical Sciences, Arts, Humanities and Social Sciences, Natural and Agricultural Sciences, and Architecture, Landscape and Visual Arts.

Why study biological arts?

The Graduate Diploma of Science (Biological Art) and Master of Science (Biological Art) is intended for people who already hold a degree in Science, Humanities and the Visual Arts but who wish to undertake interdisciplinary studies to engage with the crossover of art and science.

The course is designed for art practitioners, scientists, and humanities scholars who wish to engage with creative bioresearch. The course will focus on recent advances in the Life Sciences, both in theory and practice. Emphasis is placed on developing critical thought, ethical and cultural issues and cross-disciplinary experimentation in art and science with an excess to scientific laboratories, techniques and expertise.

Ozco media art scoping study

Monday, September 25th, 2006
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BEAPworks Exhibition 06

Thursday, August 24th, 2006

The Biennale is dedicated to supporting the ongoing professional development and promotion of Western Australian creators working in the field of electronic and living arts.

In 2005 BEAPworks presented research and development projects with an adv

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enturous approach to emerging technologies. This year the BEAPworks exhibition again showcases local artists exploring new pathways for creating electronic and biological art: Donna Franklin, Nicola Kaye, Stephen Terry, Tanja Visosevic, Guy

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Ben Ary, Mark Cypher. These artists deal with a variety of concerns that focus on our ever-growing computer mediated existence.

Christy Dena: ARTISTS [AS] EDUCATORS: MEDIA ARTS: The university: A New Home for New Media

Wednesday, August 23rd, 2006
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Vital Signs

Thursday, September 8th, 2005

Extract from Call for papers

Conference Director: Lyndal Jones

Ten years after the heady days of Paul Keating’s Creative Nation, where multimedia became the focus for cultural and industrial innovation, there is n

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ow a prevailing notion that new technology has not fulfilled the promise of transforming Australia

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into leaders in either information tech-nology or new media.

The recent announcement by the Australia Council that it was dismantling the New Media Arts Board seemed, to the artists who identify themselves as New Media artists, as a betrayal of their cultural contribution over the last decade. At the same time, the ephemeral nature of the digital work that has already been created and the lack of strategies for its conservation means that the new media cultural heritage is under threat of simply disappearing.

Vital Signs is the next event in a series of annual conferences presented by RMIT University, School of Creative Media ( This year’s conference will focus on the urgent issues for New Media artists relating to both our future and our past. We are interested in bringing together the key players of new media art to discover – collectively – new ways forward. We are interested in reading the Vital Signs.

Vital Signs will feature presentations by selected speakers who are at the cutting edge of their fields. We also look forward to inviting conference papers and artworks from practising artists, academics and cultural theorists across the whole range of disciplines that are encompassed by their use of new media – including photography, writing, film, video, animation, games, interactive media, installations, music, performance and visual art. Most particularly we are interested in the works of artists who regard themselves as exclusively New Media artists.

Christy Dena: Postgrad [R]evolution: New media art: The Creative Degree as Interface

Tuesday, August 23rd, 2005

Real Time Issue 68 Special Feature: Christy Dena is a PhD candidate at the School of Creative Arts, University of Melbourne. She is researching and creating cross-media works in the departments of New Media and Creative Writing. She experiments with

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print and chatbot technology and works as a teacher, trainer and mentor.