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Which clippings match 'Roy Ascott' keyword pg.1 of 1

Technoetic Arts: a Journal of Speculative Research

"The journal aims to provide a forum for the presentation of new ideas, projects and practices arising from the confluence of art, science, technology and consciousness research. It has a special interest in matters of mind and the extension of the senses through technologies of cognition and perception. It will document accounts of transdisciplinary research, collabora– tion and innovation in the design, theory and production of new systems and structures for life in the twenty–first century, while inviting a re–evaluation of older world–views, esoteric knowledge and arcane cultural practices. Artificial life, the promise of nanotechnology, the ecology of mixed reality environments, the reach of telematic media, and the effect generally of a post–biological culture on human values and identity, are issues central to the journal's focus. It welcomes speculative and anticipatory approaches to research, and the unorthodox expression of ideas whenever the topic justifies such innovation. It aims to communicate to an international non–specialist readership. "

(Roy Ascott)

Roy Ascott ed. (2008) Technoetic Arts: a Journal of Speculative Research, Volume 6, Issue 1. Intellect Ltd. [–Arts–a–Journal–of–Speculative–Research–Volume–6–Issue–1]

Fig.1 "Urban Digital Narratives"



21st centuryacademic journal • anticipatory approaches to research • arcane cultural practices • artartificial lifecollaborationconfluenceconsciousnessdesignecology • esoteric knowledge • expression of ideas • human values • identityinnovationjournallife • mixed reality environments • nanotechnologynew ideasnew practices • new projects • new structures • new systems • perception • post-biological culture • productionresearchRoy Ascottsciencesensesspeculative research • Technoetic Arts • technologies of cognition • technologies of perception • technology • telematic media • theorytransdisciplinary research • twenty first century • unorthodox • world-views


Simon Perkins
06 NOVEMBER 2008

Multimedia: From Wagner to Virtual Reality

"Multimedia: From Wagner to Virtual Reality is an overview of the pioneering artists and scientists who have brought about the dissolution of boundaries that have traditionally existed between the artistic and technological disciplines. The course surveys the work and ideas of artists who have explored new interactive and interdisciplinary forms, as well as engineers and mathematicians who have developed information technologies and influential scientific and philosophical ideologies that have influenced the arts. Seminal artistic movements and genres will be explored, such as: the Futurists, Bauhaus, kinetic sculpture, Happenings, video art, electronic theater, etc. It is a study of the invention of information technologies and new human–machine paradigms that have come to define the medium of the personal computer, including: cybernetics, augmented intelligence, hypertext, human–computer symbiosis, graphical user interface, etc.

This broad historical analysis helps illuminate an understanding of the emerging digital arts and its aesthetics, strategies, trends, and socio–cultural aspirations. Central to this analysis is an understanding of key concepts for the interpretation of evolving multimedia forms: including integration, interactivity, hypermedia, immersion, and narrativity. The course reveal hows these primary elements of contemporary media have roots in electronic and performance art prior to the digital era."


aesthetic • artistic movements • augmented intelligence • authorshipBauhaus Schoolcommunicationcyberneticsdesigndigital artsdigital mediadiscovery • electronic theatre • engineeringexperimentation • From Wagner to Virtual Reality • Futurism (art movement)gamegraphical user interfaceGUIhappeningsHCI • human-computer symbiosis • hypermediahypertextimmersioninformation architectureintegrationinteractive mediainterdisciplinaryinterpretationkinetic sculptureMarcos Novakmathematicsmetaphormultimedianarrative • narrativity • networknew mediaownershippedagogyperformance artpersonal computer • Pierre Levy • pioneerpraxisRoy Ascottsciencesocio-culturaltechnologytheatretimelinevideo artvisual design


Simon Perkins
12 JULY 2006

Art in the Information Age: technology and conceptual art

"The continuities between art–and technology and conceptual art are more readily apparent from a historical distance of three decades, removed from the aesthetico–political debates of that time. Advances in electronics, computing and telecommunications?and especially the advent of the Internet?have provided tools that enable artists to interrogate the conventional materiality and semiotic complexity of art objects in ways that were not available 30 years ago. Such developments also bring into relief the failure of critical discourses to reconcile how the work of an artist could be allied simultaneously with both art–and technology and conceptual art."
(Edward A. Shanken, 2002, p.438)

1). Roy Ascott (con Joseph Giribet), Mind shift, 1999, Bienale do Mercosul, Brasile.

2). Shanken, Edward A (2002). 'Art in the Information Age: Technology and Conceptual Art', Leonardo, Vol.35, No.4, pp.433–438



ACM SIGGRAPHartconceptual artcreative practicecritical discoursecritical theorydigital culturediscourse • Edward Shanken • Hans Haackeinformation ageInternetJack BurnhamJoseph Kosuth • Les Levine • Marshall McLuhan • Pontus Hulten • Roy Ascottsemioticstechnology
09 NOVEMBER 2004

The Art of Code

"What effects is digitisation having on art? What special characteristics are displayed by code–based art? And how does this inherent, uniquely self–determined expressive vocabulary of digital art manifest itself? What consequences will art as code–according to Kriesche, alone the generative answer to the complete permeation of all partial realities–have for the ongoing development of the arts? In which direction is artists' work with new instruments like algorithms and dynamic systems transforming the process of artistic creativity? Or is the concentration on CODE, this focus on the immediate basis of the technological transformation of art, proceeding along the wrong path, and should the confrontation with media art concentrate on social approaches–collaborative, social modes of action, the potential of connective interfaces–without which there can be no productive and uniquely self–determined human activity?"
(Roy Ascott, Richard Kriesche, Casey Reas, Giaco Schiesser, Roman Verostko, 2003, Ars Electronica)



2003abstractionart of codeCasey Reascodedigital artdigital culturedigitisation • Giaco Schiesser • Richard Kriesche • Roman VerostkoRoy Ascottvisualisation
03 JANUARY 2004

Interactive media: pioneering artists

An incomplete list: Agnes Hegedüs, Brenda Laurel, Carl Eugene Loeffler, Charlotte Davies, Christian Möller, Christian Sommerer, Dick Lüsebrink, Edmond Couchot, Grahame Weinbren, Gyorgy Kepes, Jean–Louis Boissier, Jeffrey Shaw, Joachim Sauter, Knowbotic Research, Laurent Mignonneau, Lynn Hershman, Michael MacKenzie, Monika Fleischmann, Myron Krueger, Nadia Magnenat–Thalmann, Paul Garrin, Paul Yuxweluptun, Peter Weibel, Rachel Strickland, Roy Ascott, Ryohei Nakatsu, Toni Dove, Toshio Iwai, Ulrike Gabriel, Wolfgang Strauss

Oliver Grau. 'Virtual Art' p.173–176



Agnes HegedusartistBrenda Laurel • Carl Eugene Loeffler • Char Davies • Christian Moller • Christian Sommerer • Dick Lusebrink • digital pioneers • Edmond Couchot • Grahame Weinbren • Gyorgy Kepesinteractioninteractiveinteractive media • Jean-Louis Boissier • Jeffrey ShawJoachim Sauter • Knowbotic Research • Laurent Mignonneau • Lynn Hershman • Michael MacKenzie • Monika Fleischmann • Myron Krueger • Nadia Magnenat-Thalmann • Oliver Grau • Paul Garrin • Paul Yuxweluptun • Peter Weibel • Picht • Rachel Strickland • Roy Ascott • Ryohei Nakatsu • telematic art • Toni Dove • Toshio Iwai • Ulrike Gabriel • Wolfgang Strauss • ZKM

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