Roy Ascott
          Peter Anders
          Donna J.Cox
          Maia Engeli
          Josep G.Torrelles
          Eduardo Kac
          Jim Laukes
          Narcs & Roc Pars
          Kepa Landa
          Eugenio Tisselli
          Jos Lozano
          Kieran Lyons
          David Gmez
          Jaume Ferrer
          Robert Nideffer
          Marcos Novak
          Michael Punt
          Niranjan Rajah
          Gretchen Schiller
          Thecla Schiphorst
          Gretchen Schiller
          Victoria Vesna

ROY ASCOTT (Founding Director CAiiA-STAR)
University of Wales College Newport
University of Plymouth

Bio
A pioneer of cybernetics and telematics in art*, Roy Ascott has shown at the Venice Biennale, Electra Paris, Ars Electronica Linz, V2 Holland, Milan Triennale, Biennale do Mercosul, Brazil, European Media Festival, and gr2000az at Graz, Austria. He has been Dean of San Francisco Art Institute, California, Professor for Communications Theory in Vienna, and Principal of Ontario College of Art, Toronto. He advises media organisations in Brazil, Japan, Korea, Europe and North America. Publications include: Art & Telematics: Toward the Construction of New Aesthetics, NTT, Tokyo, 1998; Reframing Consciousness (1999) and Art Technology Consciousness (2000), Intellect Books UK. He is an Adjunct Professor in the School of the Arts UCLA. * See: Packer, R. & Jordan, K. (eds). Multimedia: from Wagner to Virtual Reality. New York: Norton.2001.

Presentation
When the Jaguar lies down with the Lamb.
This presentation investigates the metaphoric contiguity of Silicon Valley and the Amazonian rain forest, in the context of our post-biological culture, and speculates on the role that the rehabilitation of archaic knowledge might play in the advancement of technological art. The Jaguar shaman and Dolly the clone mark out shifting boundaries that define our new epistemology of mind and matter, where particles, neurons, atoms and genes converge as the substrate upon which our mixed realities can be built. Our experience of life on the Net, in cyberspace and on the Web, has already prepared us to reconsider the Western conventions of time and space, the apparent immutability of human identity and the isolation of the discrete mind, and to replace those illusions with a more constructive vision of a collaborative and coherent future. The place of art in all of this, with its ability to move creatively through cultures however distant or exotic, to find new meaning and method in ancient practices and esoteric knowledge, is to compliment the urgent progression of science, and creatively embrace the innovations of technology. Advances in molecular science and ubiquitous telematics define a challenging locus for explorations in interactive art. By employing Dr. Jeremy Narby's model of DNA communication in shamanic practice, the psychoactive domain of plant technology can be productively related to the spiritual ambitions of art in the post-biological world. This study seeks to show how, so to speak, the jaguar might lie down with the lamb.

email: roy@caiia-star.net


PETER ANDERS (STAR)
Mindspace.net

Bio
Peter Anders is an architect, educator, and information design theorist. He has published widely on the architecture of cyberspace and is the author of "Envisioning Cyberspace which presents design principles for on-line spatial environments. The book was published by McGraw Hill in 1998. Anders received his degrees from the University of Michigan (B.S.1976) and Columbia University (M.A.1982). He is currently a fellow of the University of Plymouth CAiiA-STAR Ph.D. program. He was a principle in an architectural firm in New York City until 1994 when he formed MindSpace.net, an architectural practice specializing in media/information environments. He is also the director of CLEAR, the Center for Learning Environment Applications and Research, at Saginaw Valley State University. He has received numerous design awards for his work and has taught graduate level design studios and computer-aided design at universities including the New Jersey Institute of Technology, University of Detroit-Mercy, and the University of Michigan. His work has been featured in professional journals and he has presented his research on the architecture of cyberspace in several international venues including The New York Architectural League, Xerox PARC, ISEA, CAiiA, Cyberconf, ACADIA, AEC, ACM-Multimedia, InterSymp and the World Future Society.

Presentation
Toward an Architecture of Mind
Todays technologies offer a new class of symbol, one that - while not material - has a presence bordering on the tangible. Virtual reality, computer modeling, and video games exemplify this class, challenging our conventions of reality and fiction. They prompt a reassessment of symbols in many disciplines - particularly in the fields of architecture and design. Despite their service to our material world, these disciplines - architecture in particular - rarely engage it directly. Their practitioners deal almost exclusively with symbols (drawings, models, specifications) that mediate intentions to fabricators and clients. With the advent of computer-aided design, these symbols have curiously become more palpable as well as more abstract. More abstract because they are manifestations of data, yet more palpable in their engaging presentation. While the design professions clearly benefit from these new symbols, their symbols near-tangibility can compete with the designers product. Paradoxically, if the symbols become as "real as the product, fabrication becomes redundant. This paradox requires designers to redefine objects and space as informational entities deeply bound with our physical being. This assessment includes the things we sense directly or through our extensions, and those that we imagine or dream. Only through this reassessment can designers better understand their disciplines and the changes brought on by their tools. This presentation will address this resolution. In particular, the author will present the concept of cybrids - hybrids of physical and cyberspaces - as entities that could not exist without reconciling the new class of symbols with the materiality they convey.

URL: http://mindspace.net

email: tr@mindspace.net


DONNA J. COX (CAiiA)
National Center for Supercomputing Applications
University of Illinois at Urbana-Champaign

Bio
Cox has featured in art and science museums, television, and IMAX theaters around the world. She has authored many papers on scientific visualization and information design. In 1997, she was nominated for Academy Award for IMAX movie and received the Leonardo Coler-Maxwell Award in 1998 for her seminal paper coining the term Renaissance Teams. She recently received a patent for a virtual reality choreography system (creators Donna Cox, Robert Patterson and Marcus Thiebaux). She was elected as a council member of Internet 2 Commission; serves on the Editorial Board for Leonardo (International Journal for Art, Technology and Science); and is a researcher in CAiiA/STAR.

Presentation
Creation Myths and Contemporary Science
The author is a recognized pioneer in computer art and scientific visualization. Since 1985, she has worked as an artist with "Renaissance Teams" at the National Center for Supercomputing Applications (NCSA) to visualize astrophysical data of supercomputer simulations of the formation of the early universe. Modern "Big Bang" scientific theorists believe that the universe formed over 15 billion years ago and that galaxies formed on filaments to create the structure of the universe that is understood today. Cox has been involved in three major projects where she visualizes Big Bang data from supercomputer simulations. One of these projects opens June 15, 2001, at the Hayden Planetarium's new Big Bang theater in New York City. Over 10 million people have seen Cox and her team's images in large-display, general audience environments.Cox will describe the 'grid' virtual technology used to create the animations for these museum displays. She will show avatars 'flying' over vast simulations showing scientific phenomenon and will describe the high-technology used to create the most popular scientific model of how the universe was born, including work from her collaborations as Associate Producer/Art Director for Scientific Visualization for the 1997 Academy Award nominated IMAX movie "Cosmic Voyage". These immersive experiences are linked both in concept and form to studies in mythology and metaphor. The author explores the relationship between technology, visualization and mythological structure. This presentation will show recent digital imagery the making of 'high art' of science.

URL: http://www.ncsa.uiuc.edu/People/cox/

email: cox@ncsa.uiuc.edu


MAIA ENGELI (STAR)
Swiss Federal Institute of Technology Zurich (ETH)

Bio
Maia Engeli is an information architect, specialized in the design of information access and exchange. She combines digital networks, computer graphics and artificial intelligence to create information and communication environments that supplement human talent and cognitive skills. Her work focuses on dynamic qualities of online information environments, their structural conception as well as their visual representation. This has been exemplified in numerous course environments and research projects. Maia Engeli is Assistant Professor for Architecture and CAAD at the ETH Zurich and the head of the ETH World Center that supports the ETH community in the creation of the new virtual/physical presence of the ETH Zurich.

Presentation
Conceptual Competition: ETH World - Virtual and Physical Presence
ETH World is a project that is novel in many respects. Its aim is the design of a new, integrated infostructure - a virtual and physical presence for the ETH Zurich for the 21st century. In the spring of 2000, an international competition was launched to seek a masterplan for the design of ETH World. Fifty teams from all over the world answered the invitation to enter the ETH World competition, the first of its kind. Since we can expect more competitions for infostructure designs to be launched in the future, the analysis of the submitted projects is particularly interesting. The wealth of submitted ideas was analysed with regard to the design of the virtual world and interfaces to vast amounts of information, the proposed usage and development of devices, and the physical presence of ETH World. From this analysis valuable insights can be gained. The winning project "beyond luxury" proposes an approach to the design of ETH World that clearly distinguishes between available solutions, solutions that need to be developed and aspects that are being researched. There is also a clear plan on the involvement of the ETH community for the realisation of ETH World. An awareness of pragmatic considerations, including feasibility and the needs of the users, is another distinct quality of the winning project. To guide the design and implementation process a set of eight key-aspects is introduced: "Community", "Open Source", "User-Orientation", "Communication", "Knowledge Transfer", "Openness", "Independence", and "Playful Learning".

URL: http://www.birkhauser.ch/books/va1/6416e.htm

email: engeli@arch.ethz.ch


JOSEP GIRIBET TORRELLES
Pompeu Fabra University

Bio
Born in Trrega, Catalunya, Spain. Originally a sculptor, Josep Giribet Torrelles has a degree in Fine Arts from Barcelona University followed by studies in Mathematics and Computer Graphics. He is the founder of the multimedia company, CALIDOS, which produces web and multimedia products, especially childrens computer games. At present he is professor at the Pompeu Fabra University and the Audiovisual Institute in Barcelona, and is developing doctoral research into synesthesia.

Presentation
Guest Speaker
Art-Id/Cyb-Id: Identities in CyberSpace

Back in 1995, Roy Ascot gathered a small group of digital artists from different European countries. The intention was to explore the possibilities of artist's collaboration in CyberSpace. The new medium offered an extraordinary field of possibilities by developing new ways of artist relationship and creation. The experience was incredible rich and exciting for all the artists and encouraged us to follow this way. In 1999 we started a second experience with increased number of invited artists (Art-Id). This time also allowed the audience worldwide to transform and create new Identities. We called this Identities Cyb-Ids. The project is named 'Art-Id/Cyb-Id: Identities in CyberSpace. This is the story of an artistic research experience.

URL: http://www.iua.upf.es/~giribet

email: josep@calidos.com


EDUARDO KAC (CAiiA)
The School of the Art Institute of Chicago

Bio
Eduardo Kac is internationally recognized for his interactive network installations and his transgenic art. A pioneer of telecommunications art in the pre-Web '80s, Eduardo Kac emerged in the early '90s as an innovative figure in contemporary art with his radical telepresence works. His visionary combination of robotics and networking explores the fluidity of subject positions in the post-digital world. At the dawn of the twenty-first century Kac shocked the world with his "transgenic art"--first with a groundbreaking installation entitled Genesis (1999), which included an "artist's gene" he invented, and then with his fluorescent rabbit called Alba (2000). Kacs work has been exhibited internationally at venues such as Exit Art and NY Media Arts Center, New York; InterCommunication Center (ICC), Tokyo; Chicago Art Fair and Julia Friedman Gallery, Chicago; and Museum of Modern Art, Rio de Janeiro. Kac's work has been showcased in biennials such as Yokohama Triennial, Japan, Venice Biennale, Italy, and Saint Petersburg Biennial, Russia. His work is part of international collections and has been featured both in contemporary art publications (Flash Art, Artforum, ARTnews, Kunstforum, Tema Celeste, Artpress) and in the mass media (ABC, BBC, PBS, Le Monde, Boston Globe, Washington Post, Chicago Tribune, New York Times). Eduardo Kac is a Ph.D. research fellow at the Centre for Advanced Inquiry in Interactive Arts (CAiiA) at the University of Wales, Newport, United Kingdom. He is an Associate Professor of Art and Technology at the School of the Art Institute of Chicago. Eduardo Kac is represented by Julia Friedman Gallery, Chicago.

Presentation
Telepresence, Biotelematics and Transgenic Art
In this presentation Kac will trace the development of his work from telepresence art, first proposed by the artist in 1986, to transgenic art, developed since 1998. Through his Telepresence Art, which combines networking and telerobotics, Kac has created influential works, such as "Ornitorrinco" (1989)and "Rara Avis" (1996). Biotelematics, according to Kac, combines networking with a biological process. Kac will discuss radical biotelematic works such as "Teleporting an Unknown State" (1994/96) and "Time Capsule" (1997. Transgenic art employs genetic engineering techniques to create unique living beings. The nature of this new art is defined not only by the birth and growth of a new plant or animal but above all by the nature of the relationship between artist, public, and transgenic organism. Kac will discuss landmark works such as "Genesis" (1999) and "GFP Bunny" (2000).

URL: http://www.ekac.org

email: ekac@artic.edu


JIM LAUKES (CAiiA)
University of Arizona

Bio
Jim Laukes has worked, involving various combinations, in film, television and installation media, strategic planning, community organizing, publishing, appropriate technology and higher education. He is Associate Director of the Center for Consciousness Studies, University of Arizona and a doctoral candidate at CAiiA, University of Wales College Newport.

Presentation
On the Unlikely Road from World Brain to Collective Intelligence
When H.G. Wells proposed a "World Brain" in his 1938 book of that title, he envisioned a knitting together of all the intellectual workers of the world through common interest in order to overcome the disorder and chaos of disconnected knowledge. Critical examination of the nature and structure of the planned arrangements reveal a system of control that lack mechanisms that would be responsive and democratic. Contemporary schemes of collective or distributed intelligence offer different approaches to similar problems. How have these ideas improved on earlier approaches? What special possibilities does the current technological environment offer? Does research in consciousness add valuable insights to this discussion?

email: jlaukes@U.Arizona.edu


NARCS PARS & ROC PARS
Audio-visual Institute - Universitat Pompeu Fabra

Bio
GALERIA VIRTUAL is a research and experimental production team, working on interdisciplinary projects which integrate contemporary art and digital audio-visual technologies, paying special attention to Virtual Reality (VR).
Since February 1993, GALERIA VIRTUAL has worked on different proposals in collaboration with artists and intellectuals (J. Fontcuberta, P. Hoberman, M. Serra, A. Lewin-Richter), has published specialized articles (British Computer Society, Academic Press, Presence, etc.) and has participated in international exhibitions and conferences (Centre d'Art Santa Mnica, Art Gallery Ontario, M.N.C.A.R.S., Tate Gallery, among others). This work has deserved the attention of several communication media (City TV, Canal+, Cape X, World Art, ICCNews, etc.) and the interest of curators and critics (D. De Kerckhove, J.L. Brea, J. Lebrero, J. Grieve, etc.), and has recieved grants and funds from private and public institutions (Museu de la Cincia, KRTU, etc.). Since 1994 GALERIA VIRTUAL has developed its work at the Audiovisual Institute, Universitat Pompeu Fabra, Barcelona.

Presentation
An Interaction-driven strategy for virtual reality applications.
Our research has concentrated since 1993 on the range of possibilities of virtual reality (VR) as a technology and on finding the specific properties of VR as a digital interactive real time generated audio-visual medium. While studying the strategies used to develop VR applications we have found that VR application design is usually guided by a content-driven strategy, which gives priority to the application's content and context. In this strategy the topic defines a context and the context is determinant in the choice of the metaphor used in the interaction elements and interface. Nevertheless, the content-driven approach exhibits certain limitations when experimenting with new approaches to interface design and exploring specific qualities of VR as an art production medium or an audio-visual communication medium.
We have defined a new strategy, which we call interaction-driven strategy, as a possible way to overcome these restrictions. The idea is to develop an application by concentrating on how the user is to interact with the application, regardless of a specific content. In other words, analysing the interfaces, interaction with the elements and participation/manipulation/contribution of the user in such a way that the obtained results may allow for a spontaneous emergence of the final topic, content, "aroma", tone, etc., of the application. This is especially interesting in creative/artistic applications of VR, but also in CHI experiments. We present a specific case of an artistic VR application, from which this strategy has emerged. This multi-user VR experience, "El Ball del Fanalet or Lightpools" has been successfully presented at the Mir Foundation and at the Centre d'Art Santa Mnica in Barcelona (Spain).

URL: http://www.iua.upf.es/~gvirtual

email: Technical Director npares@iua.upf.es
            Artistic Director rpares@iua.upf.es


KEPA LANDA
Collaborator of Medialab Madrid

Bio
Kepa Landa was born in Arizcun, Navarra. 1969. He studied Fine Arts in Cuenca (1990-1994). He has been Commissaire of Exhibitions in the Museo Internacional de Electrografa de Cuenca (1995-1996). He has carried out research on art on the Internet from the CAiiA (Center for Advanced Inquiry in Interactive Arts. Science/Technology/Art/Research) platform at the University of Wales College Newport (1997-2000). He is currently a research assistant and lecturer at the Newport School of Art, Media and Design (1999-2000). He co-edits ((RAS)) Revista de Arte Sonoro. He has also co-written the book "Futuros Emergentes" on interactive art, with texts from CAiiA-STAR artists (2001). He was a member of the jury at the Navarre Video Festival.

Presentation
Writing in the air
Project by Kepa Landa, Eugenio Tisselli and Jose Lozano
This project intends to generate an interactive multi-user environment that will let us experiment with different situations. The interface will be a torch that will illuminate and activate sensors in the walls that will generate a response by a computer. This projects has been conceived more as work in progress than as a final piece. There will be different outcomes from the same installation in order to appreciate how the users will react in a multi-user environment. Will the users negotiate meanings? Some of the outcomes will be abstract /musical sounds, others will be meaningful recorded words. In a second stage we intend to offer the piece to dance/performance companies to generate specific choreographies for this interactive environment. One of these experiments will be a choreography based on the principles of emergent behavior where dancers become boids.

email: kepa@rhizome.org


EUGENIO TISSELLI
ESDI

Bio
Eugenio Tisselli was born in Mexico City, on January 23rd 1972. He studies Computers Engineering, and in 1998 the Master in Digital Arts, at the Pompeu Fabra University, in Barcelona, where he develops MIDIPoet as his final project: a tool that allows the linking between physical gestures, perceived through sensors, and the display and movement of computer texts and images. Since then, he has combined his musical activities with the design and implementation of projects related with interactivity, understood as an element in the composition and interpretation of virtual pieces. He has collaborated with artists such as Sergi Jord, Carles Hac Mor, Esther Xargay, La Fura dels Baus or Konic Thtr.

Presentation
Writing in the air
Project by Kepa Landa, Eugenio Tisselli and Jose Lozano
This project intends to generate an interactive multi-user environment that will let us experiment with different situations. The interface will be a torch that will illuminate and activate sensors in the walls that will generate a response by a computer. This projects has been conceived more as work in progress than as a final piece. There will be different outcomes from the same installation in order to appreciate how the users will react in a multi-user environment. Will the users negotiate meanings? Some of the outcomes will be abstract /musical sounds, others will be meaningful recorded words. In a second stage we intend to offer the piece to dance/performance companies to generate specific choreographies for this interactive environment. One of these experiments will be a choreography based on the principles of emergent behavior where dancers become boids.


JOS LOZANO
ESDI

Bio
Jos Lozano was born in Colombia, in 1974. He graduated in Electrical Engineering, which he studied at the Universidad de los Andes. He starts to study the relationships between the physics of sound and musical instruments from an engineer's point of view. Afterwards, he studies the Master in Digital Arts, at the Pompeu Fabra University, in Barcelona. His work is centered on interaction, interfaces, control, programming and sound. He has collaborated with artists such as Konic Thtr, Galera Virtual, Quarteto de Bec Frullato and Pedro Ballesteros.

Presentation
Writing in the air
Project by Kepa Landa, Eugenio Tisselli and Jose Lozano
This project intends to generate an interactive multi-user environment that will let us experiment with different situations. The interface will be a torch that will illuminate and activate sensors in the walls that will generate a response by a computer. This projects has been conceived more as work in progress than as a final piece. There will be different outcomes from the same installation in order to appreciate how the users will react in a multi-user environment. Will the users negotiate meanings? Some of the outcomes will be abstract /musical sounds, others will be meaningful recorded words. In a second stage we intend to offer the piece to dance/performance companies to generate specific choreographies for this interactive environment. One of these experiments will be a choreography based on the principles of emergent behavior where dancers become boids.


KIERAN LYONS (CAiiA)
University of Wales College Newport

Bio
Kieran Lyons teaches in the School of Art, Media and Design at the University of Wales, Newport. He is an artist specializing in Digital Installation work and is currently working on a new commission for the Ffotogallery in Cardiff and the Mostyn Art Centre in Llandudno. The subject of the work is the road that links the two galleries and which is also the main arterial link between the North and South Coasts of Wales.

Presentation
Two journeys: The Machine with 5 Hearts; Duchamp and Travel
The 'posthuman' condition described by Katherine Hayles (1999), looks to the definitions of Hans Moravec and beyond these to the pioneering thinking of Alan Turing. I have begun to make a detailed study of an event that seems to predict these definitions of hybrid forms when Marcel Duchamp wrote the notes for his automobile journey in 1912, called The Jura-Paris Road. The note appears in his Notes for the Green Box (1934) and in the later group of Notes, published after his death by Pierre Matisse (1980). In his description of this journey, Duchamp and his fellow travellers seem to network with one another while merging their sensibilities with the electrical processes and mechanics of the automobile. . The characters that Duchamp describes in this note make them early precursors of the cyborg condition and part of this presentation will be devoted to an examination of this relationship. Also, Duchamp makes suggestions about the spatial distances and temporal register of the journey. This synthesis between the travellers, their car and the physical features of the road, (its length, time and its surface condition) suggests also the strange geometries that he began to investigate with his Three Standard Stoppages of 1913. I will also be looking at a separate journey that Duchamp took in the spring of 1912 that seems to predict this interest in dimensional and topological thinking.

email: k.lyons@1649.ndo.co.uk


DAVID GMEZ I FONTANILLS
Universitat Oberta de Catalunya

Bio
Degree in Arts by the University of Barcelona (1991). He worked some years as a graphic artist as a producer multimedia and interactive products. He's teaching task take place in the Universitat Oberta de Catalunya, Universitat Autnoma de Barcelona and the Design Schools Elisava and ESDI.

He's interested, artistically and politically in the non-linear paths and systems, the structure of towns and territory, the participation and taking of decisions. He's co-founder of the TAG and member of engraving workshop Contraprova. He has taken part in several artistic contributions related to the mazes and towns.

Presentation
TAG: Taller d'Intangibles
The TAG (Intangible workshop) is a team created in 1996 by Jaume Ferrer and David Gmez. Its objective is defining and carrying out artistic projects in the field of digital arts and through space actions; exploring the possibilities of interactive systems, the design of worlds with their own laws and the limits of intangibility.

2000:. enlloc. creative site.
http://www.enlloc.org

1997-99:. Tol tol tol. virtual ecosystem. Developed with VRML and Javascript. Supported by IUA-UPF. Barcelona-Mbius Prize 1999.
http://www.enlloc.org/tol

URL: http://www.enlloc.org/dvd

email: dvd@enlloc.org


JAUME FERRER I ROSERA
Universitat Oberta de Catalunya

Bio
Degree in Arts by the University of Barcelona (1991) and at the moment he is working as an computer graphics teacher as well as being a technician in the computer centre of Fundaci CRIT. During seven years he combined his job as an industrial designer with his hobby for recreative geometry, chaos and visual narrative, until he decided it was time to devote his time entirely to computer graphics.

He is interested in the interactivity of complex systems, in building links between art and technology and in the socials implications of the development of the information society. In the TAG, he has parcipated in several artistic contributions of conceptual type and related to the mazes.

Presentation
TAG: Taller d'Intangibles
The TAG (Intangible workshop) is a team created in 1996 by Jaume Ferrer and David Gmez. Its objective is defining and carrying out artistic projects in the field of digital arts and through space actions; exploring the possibilities of interactive systems, the design of worlds with their own laws and the limits of intangibility.

2001:. Proposta_A. Collective creation proposal.
http://www.enlloc.org/enxarxa/proposta_A

2001:. SJ_01_JC. Net.art action.
http://www.enlloc.org/dvd/domota/sj01jc.html

2000:. Net.art seminar. Workshop for visual artists in Hangar.
http://www.hangar.org/netart

2000:. enlloc. creative site.
http://www.enlloc.org

URL: http://www.enlloc.org/jaume

email: jaumeferrer@enlloc.org


ROBERT NIDEFFER
Depts of Studio Art and Information and Computer Science
University of California, Irvine

Bio
Robert F. Nideffer researches, teaches, and publishes in the areas of virtual environments and behavior, interface theory and design, technology and culture, and contemporary social theory. He holds an MFA in Computer Arts, and a Ph.D. in Sociology, and is an Assistant Professor in Studio Art and Information and Computer Science at UC Irvine, where he also serves as an Associate Director of the Center for Virtual Reality, and as an Affiliated Faculty in the Visual Studies Program. Currently he is hard at play initiating an Interdisciplinary Gaming Studies Program (IGaSP).

Presentation
Guest Speaker
Head Games by PROXY
PROXY is a new-genre HEAD GAME about agents and agency. It is an overtly academic, non-democratic, text-driven, conceptually motivated, unpredictable and often impenetrable set of rule-driven role-plays. None of which are ever made quite clear. PROXY is motivated by the following research and development concerns: personalizing information discovery; designing multiple interfaces into shared information spaces; facilitating distributed and collaborative data processing; enabling synchronous and asynchronous modes of communication and information exchange. These R&D concerns are being addresed with the creation of a Java-based Mobile Agent Management (MAM) system.

URL: http://proxy.arts.uci.edu


MARCOS NOVAK (CAiiA)
ie4D

Bio
Marcos Novak is a transarchitect: an architect, artist, composer, and theorist who employs algorithmic techniques to design actual, virtual and hybrid intelligent environments. Seeking to expand the definition of architecture to include electronic space, he originated the concept of "liquid architectures in cyberspace" and the study of a dematerialized architecture for the new, virtual public domain.Novak is the founding director of the Laboratory For Immersive Virtual Environments and the Advanced Design Research Program at the School of Architecture at the University of Texas at Austin. His writings have appeared in numerous books and journals and have been translated into several languages. Interviews and documentaries on his work have appeared in several countries on CNN, PBS, BBC, NHK on television and radio. He lectures and exhibits internationally.

Presentation
Eversion of virtuality: invisible architectures
Our relation with the virtual has been dominated by the metaphor of " immersion ". Nevertheless, in an inevitable way, that which we meet in the virtual escapes into familiar space. So I propose the concept of "version " as necessarily complementary to that of "immersion". Eversion states that the contents of advanced technologies, like ubiquitous computing and Augmented Reality, will be the peopling of familiar space by phenomena which we initially have met only in the virtual , like artificial life and consciousness. My current research relates to the creation of spaces in which we can act by the means of sensors and which bring together several kinds of invisibility and virtuality.

URL: http://www.centrifuge.org/marcos/

email: marcos@centrifuge.org


MICHAEL PUNT (Deputy Director of CAiiA)
University of Wales College Newport

Bio
Michael Punt is a member of the Amsterdam School for Cultural Analysis at the University of Amsterdam where he obtained his doctorate. He teaches Film Studies and Information Design in the School of Art Media and Design at the University of Wales College, Newport. He has made 15 films and published over fifty articles on cinema and digital media in the last decade including "CD Rom: Radical Nostalgia". His recent publications include a book-length study on early cinema, (Early Cinema and the Technological Imaginary) and articles on cinema history and digital technology for 'The Velvet Light Trap', 'Leonardo', 'Design Issues' and 'Convergence', which have been translated into five languages. He is Editor in Chief of 'Leonardo Digital Reviews' a member of the Leonardo/ISATS board, and the MIT/Leonardo book series committee. Since 1996 he has been a regular contributor to 'Skrien', a Dutch journal of film and television criticism, where he wrote a monthly column on cinema, art and the Internet for four years. His most recent book, in collaboration with Robert Pepperell, 'The Post- Digital Membrane: imagination, technology and desire', was published by Intellect Books in 2000. His essay 'More Sign than Star: Diana, Death and the Internet', will be published in 'Stars in Our Eyes - the Star Phenomenon in the Contemporary Era', edited by Angela Ndalianis early in 2001 (Wesport: Greenwood Press). His new book, Imagination, Technology and Pleasure: the emergence of cinema, will be published by Intellect Books in 2002.

Presentation
A Jelly baby on the Knee
Imagine a table in a caf (smoking/non-smoking as you prefer). There are three places two are occupied. On one side sits an artist and writer (male or female) who began a career working with film and then moved on to computer animation and now works with sound installations in unconventional venues. On the other is a writer and artist (male or female) who also made films but has written for a decade on the history of technology - particularly cinema. They are talking mostly about the same thing - sometimes at cross-purposes - but always driving the conversation in the same direction. They insist that we are inhabiting a present which is like thick membrane: on one side is the past and on the other is the future as it has been projected by other writers and artists. The purpose of their conversation is to try to identify the differential pressures either side of the present in order to understand the dynamics of the processes of osmosis that they think is going on all about them. Imagine a table in a caf (smoking/non-smoking as you prefer). In the empty place there is the reader: a fully desiring articulate reader anxious and able to make interventions, quarrel, agree, become exasperated and possible even slightly bored anxious to reach for the fast forward button or re-edit the tape in a non-linear environment. Imagine the outcome of such a scene. What might happen to ideas which were born in conventional text treated with such disrespect? What might happen when claims are subject to different categories of evidence, voices that shift from past to present, from impersonal to colloquial or when asides and ironies are collapsed into a single image, and fully developed arguments are pitched alongside flip one-liners written with the portentous ring of the announcement of the end of the world? Imagine a Jelly baby standing on your knee.

email: mpunt@easynet.co.uk


NIRANJAN RAJAH (CAiiA)
Faculty of Applied and Creative Arts, Universiti Malaysia, Sarawak

Bio
Niranjan Rajah is an art historian, a cultural theorist, a curator and an artist. He is deputy Dean of the Faculty of Applied and Creative Arts, Universiti Malaysia Sarawak. Niranjan has served on the Malaysian National Art Gallery's Planning and Acquisitions Committee (1996-97) and has curated and co-curated national and international exhibitions, including Malaysia's '1st Electronic Art Show' (National Art Gallery, Kuala Lumpur, 1997). Niranjan has recently been an ISOP visiting professor at the department of Design/ Media Arts, UCLA (Winter 2001) and is currently a member of the Board of Directors of ISEA.

Presentation
Online Pooja: The Internet as a site for the Contemplation of the Divine
This paper will examine the use of the Internet for worship and for the contemplation of the divine. It will investigate the possibilities of using the World Wide Web as an interface with the Divine. This will involve a comparison of traditional ontological frameworks with the new ontology engendred by computer mediated communications. There will be an overview of current use of the Internet rituals of worship and for sacred art. There will also be a presentation of experimental web interfaces for meditation and contemplation in various traditions as well as a VRML temple to Lord Shiva that is presently under construction.

URL: http://www.hgb-leipzig.de/waterfall/

email: niranjan@faca.unimas.my


GRETCHEN SCHILLER (STAR)
Universit Paul Valry, Montpellier III
Banff Centre for the Arts

Bio
Gretchen Schiller was born in Yellowknife, NWT, Canada. Her work and collaborations: Shifting Ground, Camara , Suspended Ties and trajets have been exhibited throughout the USA, Canada and Europe. She currently runs a digital arts program at the University of Paul Valery, Montpellier 111, France. She is interested in transfiguring movement perceptions and inviting the public to inhabit their own physically mediated bodies. She uses digital media to explore movement qualities that offer alternative physical tensions and kineasthetic empathy.

Presentation
Kinesfields: transfiguring movement perceptions.
Our sense of movement initiation across digitally and analog spaces is causing a paradigm shift in our inherited dance practice and terminology. Our previously described kinesphere is shifting to a spatially distributed and networked kinesfield. This is causing us to examine our physical rapport across space and within ourselves. This presentation will look at a taxonomy of movement inscription processes that have contributed to this shift both historically and in current artistic practice. Methods of decoding, representing, reproducing, translating and transfiguring movement and inscription will be discussed during the presentation with text and visual examples.

URL: http://www.trajets.net

email: gretchen.schiller@univ-montp3.fr


THECLA SCHIPHORST (STAR)
Technical University of British Columbia

Bio
Thecla Schiphorst is a Vancouver based computer media artist, an Associate Professor in Interactive Arts at the Technical University of British Columbia. She is the recipient of the 1998 PetroCanada Award in New Media.. She is a member of the original design team that developed Life Forms, the computer compositional tool for animation and choreography, and has worked with choreographer Merce Cunningham since 1991. She has an interdisciplinary MA in computer compositional systems from SFU, undergraduate studies in dance and computer systems, and a Diploma of Technology from BCIT in Computer Programming and Systems Analysis. Her interactive art work, Bodymaps: artifacts of touch has been exhibited in venues in Europe, Asia, Canada and the United States. Her most recent work Felt Histories was recently premiered at Artspeak Gallery in Vancouver, and exhibited at the Kenderdine Gallery in Saskatoon, Digital Salon in New York, and Oakville Galleries in Oakville Ontario in 2000. She designed, directed and produced the award winning multi-media interactive Project entitled immerce which uses an interface metaphor which aligns ideas of movement, the body, and the artists' process to design mechanisms for interactive selection. This piece won three first place festival awards at the International Digital Media Awards Festival, a Graphex award in design, and was selected to be shown at the ARC awards in Los Angeles. She has published numerous essays and articles, and lectures extensively, facilitating workshops and exhibiting her work. She is the past chair of the Conference on Dance and Technology held at Simon Fraser University in July of l993, has served on numerous juries including Siggraph, CHI and the Canada Council for the Art. Thecla Schiphorst is the co-founder of Digital Earth, a non-profit cultural society and co curator of the web-based project The Ecology of Communications, and Transverse Worlds which is hosted by digital eARTh. Thecla is is the Co-Director of Then/Else, Research Interactivity Centre at TechBC.

Presentation
Body Interface: navigating sense and state space
Dominant western paradigms in the design and development of digital technology typically exclude knowledge domains of experiential body practice. Digital technology, particularly interface design can be informed by, and benefit from, knowledge that is expressed within the methodologies, processes and practice of disciplines which incorporate body practice as a means to accessing and constructing knowledge. This presentation will examine Schiphorst's research in Body Interface systems in the context of developing art practice. Contemporary research in neuroscience and the cognitive sciences suggest that the sensori-motor systems of the body are inter-connected to such as degree that the body can be seen as a OEfluid' system, capable of re-configuring functionality [Varela , Damasio ]. Various forms of experiential body practice are suggested within the fields of somatics, theatre, dance, psychology, sports and non-western forms of physical practice. Various methodologies of experiential body practice share the existence of definable processes based on the direction of attention in order to affect, alter or produce body state [Varela2, Johnson ]. Within Somatic disciplines, for example, retraining of perception through attention is produced through application of directed movement in the body [Sweigard , Benhke , Bartinieff , Cohen ]. The concept of OErepeatability' of body-states, suggests that through the direction of attention along with a definable set of procedures the body can be trained to access or construct specific body states. The control of brainwaves through bio-feedback is an example. The definition of extra-ordinary body-state is based on a western notion of normalcy, which typically excludes and invalidates a more extended dynamic range of body-state that may be accessible to the human body. The development of body interface systems which explore these constructs has led to previous works such as LifeForms, immerce, Bodymaps, and Felt Histories. Current technological design research is focussed on networked wearable body systems will also be explored and presented.

email: schiphorst@techbc.ca


VICTORIA VESNA (PhD graduate CAiiA)
University of California Los Angeles

Bio
Victoria Vesna is an artist, professor and Chair of the Department of Design | Media Arts at the UCLA School of the Arts. Vesna's work can be defined as experimental research that connects networked environments to physical public spaces. She explores how communication technologies effect collective behavior, and shifting perceptions of identity in relation to scientific innovation. Vesna is currently building a 'community of people with no time' and is exploring the performative aspects of cellular telephones in public spaces. In 2000 she completed her Ph.D. at CAiiA, University of Wales, entitled "Networked Public Spaces: An Investigation into Virtual Embodiement".

Presentation
notime: cellular transactions
This talk focuses on the performative, "notime cellular transactions", dealing with real time, physical space interruptions, and the performative aspects of everyday life. Telephones, with their rich social history arguably continue to be the most ubiquitous communication technology used by humans. With the introduction of cellular phones, established analogue, centralized systems have been most visibly fragmented and many social environments have been changing in radical ways. Issues of public and private communication have been amplified while fear of health hazards loom. With no social protocols for cell phone use in public spaces established, constant sounds of interruptions have become a daily collective performance, whether we are using the phones or responding to someone in close proximity receiving a call. These transactions are visualized using biological metaphors of cellular interactions and tensegrity systems found in nature. "Building a Community of People with No Time" (notime) is a series of projects taking place on the net and in physical public spaces. It is conceived to raise questions about our perception of time and identity as we overextend our personal networks through communication technologies. There are three manifestations of notime: as a net project, a physical installation and a performance. All are interconnected and networked. Online, the project attempts to rethink the idea of the avatar as a physical representation to that of energetic bodies carrying information and evolving with the time people devote to participating. The installation is a sculptural space in which people navigate the community of people with no time with their bodies and by their presence in the space. The performance involves interaction with the audience mediated by cell phones.

URL: http://notime.arts.ucla.edu
         http://vv.arts.ucla.edu

email: vv@ucla.edu

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