Showing items 1 through 13 of 13.
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Keynote Address: The Future of the Arts and Arts Education in the Digital Age |
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The digital age is in a sense behind us – in that the interface is disappearing, or certainly migrating, from a cabled, box-bound environment to a wireless multi-sensory, multi-modal form. Already the hand held has taken ascendancy over the laptop for most young users engaged in
social rituals of exchange and communication. We look to a future in which we wear the computer, and hope for the breakthrough in biochip design, which allows us to carry itself if not directly in the brain. At the leading edge of artistic inquiry our interest is moving from the pixels to particles. It will be moistmedia that is likely to challenge our artistic and design skills and aspirations. In all of this a transdisciplinary approach to arts education is called for. New metaphors, new language, new methodologies will arise.
The first requirement in anticipating these changes is to establish a worldwide (meaning all regions, all cultures) research network at the most intensive level of inquiry. The Planetary Collegium is one model that can be considered: art, science and consciousness research become the three co-ordinates across which new knowledge, new experiences and new varieties of human identity will be engendered. |
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Response and Discussion & Floor Discussion |
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Dr Charles Green/Paul Thomas |
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Charles Green, Senior Lecturer, School of Fine Arts, Classical Studies and Archaeology, University of Melbourne.
Floor discussion chaired by: Paul Thomas, Director of the Studio of Electronic Arts, School of Art, Curtin University of Technology. |
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A Bit of Digital Spectrum |
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Ken Rinaldo and Amy Youngs |
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Many artists see digital tools as just another tool of expression but working in the digital realm offers unprecedented new ways of visualizing, distributing, controlling and making art. Perhaps for the first time in history we are at a juncture where pure notions of concept and idea can be realized virtually first, before being committed to material. While the benefits of digital tools are exciting they offer both opportunities and challenges, which must be addressed in order to fully understand the implications these tools will have to our visual arts culture. |
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Computer technologies |
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Development of a “digital” research and pedagogical culture within a
Creative Arts context requires extensive links to be forged between what might be termed “aesthetic” practitioners and “technical” practitioners. In my view this means coherent links between the arts, computer sciences and information sciences. Research synergies can thereby be established, as well as efficiencies in hardware and software support, programming and content development. The possibilities afforded by digital technologies question the traditional pedagogic domains of the arts and sciences, and new forms of discourse and dialogue need to be established to address these new modes. Similarly researchers in these fields need to be multi-skilled in visualisation and programming, or at least know where to get assistance, in order to realise research projects. I will discuss various examples of these processes occurring at the University of Melbourne. |
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Finding common ground physical and musical gesture |
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Since 1996 the School of Dance at the WA Academy of Performing Arts, Edith Cowan University has been providing the opportunity for its students to work with interactive electronic technologies particularly in the creation of sound/music. The availability of the unit University-wide through the Studio for Research in Performance Technology (SRPT) has had the unexpected effect of drawing students from a wide variety of disciplines into a multi-arts environment. It has also built up a substantial body of research/performance.
Finding a common ground between the languages of Dance and Sound is a clear focus for the studio and is central to much of the multi-disciplinary work that takes place there. This paper will discuss some of the issues involved in trying to discover such a nexus. It will also give a summary of research being conducted in this field at Edith Cowan University’s Studio for Research in Performance Technology. |
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Chaired by Mike Philips |
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Response and Discussion |
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Edward Colless, Head of Art History and Theory, Victorian College of the Arts |
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Chaired by Suzette Worden |
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Auto-Creativity V1.5: A slash and burn transmedia compression codec for artists and designers. |
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Auto-Creativity V1.5 develops a critical, analytical and deep understanding of the transformative qualities of digital media, which is developed in parallel with, and intrinsically linked to, practical production skills that question traditional media practice and explore new paradigms for a ‘New Media’ practice.
Auto-Creativity V1.5 embraces the paradigm shift that defines digital practice and enables the effective use of emergent methods and tools of digital media production. By integrating the theory and practice of digital media production within an On-Line synchronous and asynchronous mind-set Auto-Creativity V1.5.will fully embrace the potential of “being digital”.
Auto-Creativity V1.5 offers a Twenty First Century “Vision in Motion” |
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Training, careers, ideas |
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How does an emphasis on technical training and vocational skills affect the generation and exploration of ideas. What is the role of an organisation like ANAT in developing models for research and development, both in the acquisition of skills and creative thinking? |
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Tags: BEAP, Digital age, education, Roy Ascott
This entry was posted
on Saturday, August 10th, 2002 at 11:31 pm and is filed under Mass archive.
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