"Art and Design, History of Art, Architecture and Design, Drama, Dance and Performing Arts, Communication, Cultural and Media Studies, Music"
(University of Hertfordshire, School of Creative Arts)
"GPnotebook is a concise synopsis of the entire field of clinical medicine focussed on the needs of the General Practitioner.
The database is continually being updated by a team of authors. We take a pragmatic approach to authoring: we look out for topical issues, keep track of the journals and update material in response to user feedback.
We use a range of knowledge sources, including clinical experience, knowledge taken from literature reviews, original research articles and guidelines published by national and international bodies. In many cases references are made to sources of information; we are committed to making GPnotebook fully referenced in the near future. As a team we review each other's work but we also rely in the feedback from experts in primary care and the various clinical specialities to keep us on the right track.
Our editorial decisions are based on merit and are not influenced by any funding bodies.
We make every effort to ensure that the contents of the site are correct however we cannot be held responsible for any errors or ommissions."
(Oxbridge Solutions Ltd., UK)
29 January to 24 April 2011, deCordova Sculpture Park and Museum, Lincoln, Massachusetts, USA.
"Drawing with Code brings together a selection of computer–generated art by the form's earliest and most important practitioners from the 1950s to today. The Providence–based collection of Anne and Michael Spalter is one of the largest and most important of its kind in the U.S. and shines a new light onto a darkened corner of the art historical record.
In our current digital environment when just about everyone holds the processing power of a full computer in their pocket, it is difficult to remember a time when computer technology was not involved in every aspect of our lives. In the arts–visual, cinematic, musical, dance, and theater–the computer has become not only an accepted, but in many cases, an intrinsic tool for artistic expression. The artists featured in Drawing with Code emerged in the early computer–era when the technology was rudimentary by current standards and its capabilities rarely extended beyond the world of computation. Merging their interests in art and coding, these practitioners came to be known as 'Algorists,' artists who employed original algorithms to create images. In addition to works on paper, Drawing with Code presents the work of two filmmakers, Lillian Schwartz and Stan VanDerBeek, who were brought into Bell Labs Research by Kenneth Knowlton to make some of the first computer art animations. These six animations were collaborations using Knowlton's BEFLIX (Bell Flicks) programming language for bitmap computer–produced movies.
The artists in Drawing with Code represent some of the earliest innovations in computer–generated art from the U.S., Europe, and Asia, pioneering a new form of collaboration between technology and art that pushed the boundaries of both.
Featured artists: Yoshiyuki Abe, Manuel Barbadillo, Jean–Pierre Hébert, Desmond Paul Henry, Sven Höglund / Bror Wikstörm, Sture Johannessen, G. F. Kammerer–Luka / Jean–Baptist Kempf, Hiroshi Kawano, Kenneth Knowlton, Ben F. Laposky, Manfred Mohr, Vera Molnar, Frieder Nake, George Nees, Lillian F. Schwartz, Stan VanDerBeek, Roman Verotsko, Mark Wilson, and Edward Zajac.
This exhibition is organized by guest curator George Fifield, Director, Boston Cyberarts Inc. and is part of the 2011 Boston Cyberarts Festival."
(deCordova Sculpture Park and Museum, 2011)
Fig.1 Ben Laposky (1954–1956). 'Electronic Abstraction 4', oscilliscope, high speed film, photo paper, 16 1/2 inches x 13 inches, Collection of Anne and Michael Spalter.
"We believe that the human condition is increasingly challenged by poor experiences. IxDA intends to improve the human condition by advancing the discipline of Interaction Design. To do this, we foster a community of people that choose to come together to support this intention. IxDA relies on individual initiative, contribution, sharing and self–organization as the primary means for us to achieve our goals.
IxDA is a novel kind of 'un–organization' in that there is no cost for membership. IxDA relies on its passionate members to help serve the needs of the international Interaction Design community. With more than 15,000 members and over 80 local groups around the world, the IxDA network actively focuses on interaction design issues for the practitioner, no matter their level of experience.
IxDA was founded in 2003 and incorporated as a not–for–profit in late 2005."
(Interaction Design Association)