TECHNARTE :: April 24-25, 2008 :: Bilbao, Spain :: Call for Papers :: Papers can be sent by Internet through this web page or by e-mail to technarte [at] technarte.org before January 14, 2008.

TECHNARTE is an international conference on art and technology that seeks to become the most important event of its kind. The aims are to present technological developments that enhance a broader expression of modern art, and to provide a forum for debate and reflection on the convergence between technology and art. Modern art, stimulated and encouraged by new technologies and its own impetus for innovation, is advancing in a surprising manner. Continue reading

The Hidden Sense: Synesthesia in Art and Science by Cretien van Campen :: October 2007, A Leonardo Book, The MIT Press- What does it mean to hear music in colors, to taste voices, to see each letter of the alphabet as a different color? These uncommon sensory experiences are examples of synesthesia, when two or more senses cooperate in perception. Once dismissed as imagination or delusion, metaphor or drug-induced hallucination, the experience of synesthesia has now been documented by scans of synesthetes’ brains that show “crosstalk” between areas of the brain that do not normally communicate. In The Hidden Sense, Cretien van Campen explores synesthesia from both artistic and scientific perspectives, looking at accounts of individual experiences, examples of synesthesia in visual art, music, and literature, and recent neurological research. Continue reading

” … I wish i could use some further examples,…… but it might be hard to deal with all the descriptions. I found James’ more detailed description of the “border” exhibit fascinating, and it was not my intention to make any quick dismissals at all of interactive art even if i find it often a-political or rhetorically misleading (I think i was wrong using the term “useless” — this was a reaction against the claims of transgressiveness so often attached to works being brought to the discussion).

If “spatial practices” claim intervention into urban space or built environment, I’d like to ask what they intervene into exactly, for whom, on whose behalf? I try to be brief: We see the privileging of visuality within a spatial condition which, when inhabited, is evocative of all of one’s senses; Then of course the difficulty of getting passerby to take more than a passing glance; We intend the work to be bodily experiential not just visual or intellectual. Continue reading