Fri 27 August 2010
15:00–16:30h
Volkshochschule Dortmund, G 133a

Moderated by Christo Doherty (za)

1. 15:00h | Inês Albuquerque, Ricardo Torres (pt): From Art as Knowledge to the Aesthetics of the Subject. New Ways of Thinking the Art of the 21st Century
2. 15:20h | Birgit Mersmann (de): Type Faces on the Move. IconoScripts in Digital Art
3. 15:40h | Michael Brodsky (us): Big Pixels. Pictoglyph to Favicon. A History of the Pixel
4. 16:00h | Yonggeun Kim, Seungae Bang, Joonsung Yoon (kr): Site-Specific Art as Necrophilia. Platform in KIMUSA Exhibition in Seoul 2009

ISEA2010 Conference Proceedings | P52 New Art Theory III (PDF, 202.05 KB)

Inês Albuquerque, Ricardo Torres (pt)

From Art as Knowledge to the Aesthetics of the Subject. New Ways of Thinking the Art of the 21st Century

This work in progress proposes the development of a new aesthetic approach to the contemporary art that is produced in or for technologic platforms. Human evolution, in parallel with the artistic evolution, has demonstrated the need for a new kind of thinking, adapted to the context of the contemporary time.

ISEA2010 Conference Proceedings | From Art as Knowledge to the Aesthetics of the Subject. New Ways of Thinking the Art of the 21st Century (PDF)

Inês Albuquerque is a Ph.D. student and Art researcher in Art Studies, at Communication and Art Department, University of Aveiro, Portugal. The main interests of her research are the relation between art, science and technology, and the questions around the public, artist and work in contemporary art.

Ricardo Torres is sociologist at Lisbon University Institute, researcher at Centre for Research in Anthropology. His research focuses on art, Internet, and social movements, trying to understand a new world with new strategies and social organization. Ph.D. student in Technology and Social Movements, supervised by Tom R. Burns.

^^^

Birgit Mersmann (de)

Type Faces on the Move. IconoScripts in Digital Art

The paper will explore how the visualization of writing within the medium of visual art has changed by the emergence of visual digitalization practices and spawned new forms of multimodality in which writing, reading, gazing, listening, touching and moving merge.

ISEA2010 Conference Proceedings | Type Faces on the Move. IconoScripts in Digital Art (PDF)

Birgit Mersmann holds a professorship in Non-European and Western art at the international Jacobs University in Bremen, Germany. She was a senior researcher at the University of Basel, Switzerland and she taught as DAAD visiting professorat Seoul National University.

^^^

Michael Brodsky (us)

Big Pixels. Pictoglyph to Favicon. A history of the Pixel

The Pixel has become the fundamental building block of digital New Media. It looms as large as Kazimir Malevich’s Black Square, 1913, Oil on Canvas Painting and it as expansive as Ray and Charles Eames’ Powers of Ten, 1968 film. The Pixel has become so ubiquitous that the very nature of visual language seems to exist on a near cellular level where it syntactically requires ever-increasing density to transmit detail and nuance. Yet what happens when humans gather together publicly acting as living Pixels and are reduced to picture elements in mass political demonstrations and mass games?

ISEA2010 Conference Proceedings | Big Pixels. Pictoglyph to Favicon. A history of the Pixel (PDF)

Michael Brodsky is currently Professor of Art and Art History and Senior Faculty in Multimedia at Loyola Marymount University in Los Angeles, California. His work has addressed the transmission of text, image, data, and self in this current age of globalization and instant digital communication.

^^^

Yonggeun Kim, Seungae Bang, Joonsung Yoon (kr)

Site-Specific Art as Necrophilia. Platform in KIMUSA Exhibition in Seoul 2009

Truly, the site-specific art implies the eros for location. But it also premises the Thanatos since it aims the rebirth of the same place. Thus, the site-specific art is the tapestry of Eros and Thanatos, the necrophilia. On this tapestry, the present site, past memory and desired future are superimposed. Platform in KIMUSA 2009 exhibits how Kimusa, the old site of the Defense Security Command in the capital of South Korea, is penetrated by the necrophilia that desires the ideal state power which is yet to come due to the military dictatorship from early 60s to late 80s in South Korea.

ISEA2010 Conference Proceedings | Site-Specific Art as Necrophilia. Platform in KIMUSA Exhibition in Seoul 2009 (PDF)

Yonggeun Kim is an Ph.D. candidate in the Global School of Media, the graduate school of Soongsil University. His research area is the man-machine dis/continuity throughout theoretical studies on the new media art practices.

Seungae Bang is in master course in the graduate school of Soongsil University, the Global School of Media.

Dr. Joonsung Yoon is professor of Soongsil University, College of IT, the Global School of Media.

^^^