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Seeing… Vision and Perception in a Digital Culture [uk London]

chart.jpgCHArt (Computers and the History of Art) 2008 Conference: Seeing… Vision and Perception in a Digital Culture :: November 6-7, 2008 :: The Clore Lecture Theatre, Clore Management Centre, Birkbeck, University of London, Torrington Square, London :: Places are limited so early booking is recommended. The booking form is available online. Bookings made before 1 October 2008 will be entitled to a discount. Conference fees (pounds sterling) – include coffee/tea breaks and lunch.

This year’s CHArt conference takes seeing as its theme and the associated questions of vision, perception, visibility and invisibility, blindness and insight – all in the context of our contemporary digital culture in which our eyes are assaulted by ever greater amounts of visual stimulus, while we are also increasingly being surveyed, on a continual basis.

What does it mean to see and be seen nowadays? How have advances in neuroscience or developments in technology altered our understanding of vision and perception? What kind of visual spaces do we now inhabit? What new kinds of visual experiences are now available? And what are now lost or no longer possible? How does the increasing digitalisation of media affect the experience of seeing? What and who might be rendered invisible by the processes of digital culture? What are our current digital culture’s blindspots? What are its politics of seeing? The 2008 conference investigates such questions.

PROGRAMME

THURSDAY 6 NOVEMBER

KEYNOTE ADDRESS – Paul Brown, Visiting Professor at the Centre for Computational Neuroscience and Robotics (CCNR), University of Sussex, Brighton, UK.

SESSION 1 – REPRESENTATION

Night-Colored-Eye: Night vision in Video or the Mediated Perception of Invisibility
Eduardo Abrantes, New University of Lisbon, Portugal.

Realism vs Reality TV in the War on Terror: Artworks and Models of Interpretation
David Crawford, Göteborg University, Sweden.

Amalgamating Vision: Photography, Artificial Intelligence and Visual Art
Simone Gristwood, Birkbeck, University of London, UK.

Digital Synaesthesia: Hearing Colour/Seeing Sound/Visualising Gesture
Birgitta Hosea, Central Saint Martins School of Art, London, UK.

SESSION 2 – REPRESENTATION (cont.)

Seeing What You Believe, Believing What You See: Revisiting ‘Photorealism’
David Humphrey, Royal College of Art, London.

The Participatory Off-screen: Spatial Perception and Suture in Interactive Soap KateModern
Valentina Rao, Factory Girl Games; Pomaia, Pisa, Italy.

Not-just-seeing, not-just-reading (On the perception and cognition of digital literature)
Janez Strehovec, Ljubljana, Slovenia.

SESSION 3 – SPACE

GIS and WebGIS Technologies for Enhanced Seeing in Archeology. The Case of the Roman Aqueducts
Luciana Bordoni, ENEA; Attilio Colagrossi and Lorenzo Felli, Institut for Research and Protection of the Environment (IRPA), Italy.

Performing the Archive for the Visibility of Information in Space
Monika Fleischmann and Wolfgang Strauss, Fraunhofer Institute IAIS, MARS – Media Arts and Research Studies, Germany.

Seeing in 3D: New Problems In Accessibility
Graham McAllister, University of Sussex, Brighton, UK.

SESSION 4 – SPACE (cont.)

Digital Sites and Performative Views
Gavin Perin and Linda Matthews, University of Technology, Sydney, Australia.

Configurations of the Unseen: Installation Art and Information Overload
Jennifer Steetskamp, University of Amsterdam, Netherlands.

Architectural Space as Virtual Reality: Regarding Perceptional Parameters in Digital Culture
Pelin Yildiz, Hacettepe University. Ankara, Turkey.

FRIDAY 7 NOVEMBER

SESSION 5 – BEYOND THE PIXEL

Seeing Software: The Biennale.py Net Art Virus and Visuality of Software
Jussi Parikka, Anglia Ruskin University, Cambridge, UK.

Subject to Change Without Notice: How Advances In Modern Holography and Digital Imaging Have Altered Our Understanding of Vision and Perception
Paul Edward Scattergood and Martin John Richardson, Institute of Creative Technologies, UK.

Seeing Through Imaging: An Exploration of Technology and Transparency
Nola Semczyszyn, University of British Columbia, Vancouver, Canada.

The Art and Science of Colour: Bridging the Gap between Art and Perception
Carinna Parraman, University of the West of England, UK; John J. McCann, McCann Imaging, Belmont, MA; USA; Alessandro Rizzi, Università degli Studi di Milano, Italy.

SESSION 6 – BODY AND PERCEPTION

Perception and Representation: the Visual Cortex and Landscape Art
Ada Henskens, Tasmania, Australia.

A Presentation of ‘Saccadic Sightings’, Reflections on the Process of Working with a MobileEye and on the Difficulty of Visualising Sensory Experience
Rune Peitersen, Amsterdam, Netherlands.

Attentional Surplus: Ambient Media Art and the Myth of Looking
Brett Phares, Marist College, USA.

Seeing Things: Ghosts in the Machine
Alan Dunning, Alberta College of Art and Design, Calgary, Alberta, Canada; Paul Woodrow, University of Calgary, Calgary, Alberta, Canada.

SESSION 7 – BODY AND PERCEPTION (cont.)

SCANPATH
Catherine Baker, Norwich University College of the Arts, UK.; Iain Gilchrist, University of Bristol, UK.

Play it Again, SAM
Dirk de Bruyn, Deakin University, Burwood, Victoria, Australia.

Creative Perception: Sensory, Conceptual and Relational Ways of Seeing
Stuart G. English, Northumbria University School of Design, UK.

SESSION 8 – PRACTICE

Machines, Drawing and Vision
James Faure Walker, Camberwell College of Arts, University of the Arts, London.

Conference Behind the Canvas, an Algorithmic Space: Reflections on Digital Art
Frieder Nake and Kolja Köster, Informatik, University of Bremen, Germany.

The (In)Visibility of Digital Images
Søren Pold, University of Aarhus, Denmark.

Medical Imaging in the Digital Age: Fusing the Real and the Imagined
Dolores A. Steinman and David A. Steinman, Biomedical Simulation Laboratory, University of Toronto, Toronto, Canada.


Aug 20, 16:24
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