Stanford, 5 October 2011
c/o Stanford University
Chaired by Piero Scaruffi
The LASERs are a national program of evening gatherings that bring artists and scientists together for informal presentations and conversation with an audience. See the program for the whole series.
Leonardo ISAST and Stanford Continuing Studies invite you to a meeting of the Leonardo Art/Science community. See below for location and agenda.
Please RSVP to email@example.com . Admission is limited.
Like previous evenings, the agenda includes some presentations of art/science projects, news from the audience, and time for casual socializing/networking.
In order to facilitate the networking, feel free to send me the URL of a webpage that describes your work or the organization you work for. I will publish a list on this webpage before the day of the event so that everybody can check what everybody else is doing. (Not mandatory, just suggested).
When: 5 October 2011
Where: Stanford University
In its first two decades the web has had a profound impact on how we work and collaborate. With the emerging HTML5 and WebGL standards we are poised to see a broad wave of change in the coming years. The inclusion of richer technologies such as 3D in the population of native web citizens is likely to see us truly move beyond the Gutenberg paradigm. Katalab's team ranges from a cultural historian to computer scientists. They are held together by a shared passion to make what we do online more creative and collaborative. Katalabs grew out of research into architecting and building projects on the open source Sirikata platform at Stanford. Katalab believes the Web can be made better through real-time, synchronized collaboration and communication environments built at the intersection of 2D and 3D. These will be delivered through the browser you already use and loaded by simply clicking a link.
Rachel Beth Egenhoefer's work explores the intersections between textiles, technology and the body, on historical, constructional and conceptual levels. Her work often incorporates tactile elements such as candy, knitting and machines to represent intangible computer codes and conceptual spaces. Her most recent work has focused on her perceived return of the Arts & Crafts Movement in light of Sustainability, and how design can be used to change social systems for the better. Knit cloth is tangibly constructed from series of knit and purl stitches. Code is constructed from intangible sets of zeros and ones strung together. This has been the basis for much of my work as an artist working across textiles and technology. In some of my recent works I began working with the idea of motion, the motion to knitting, typing, wearing cloth, working at a computer and translating what these motions could look like. Two projects to be shown and discussed include Virtual Knitting and KNiiTTiiNG. In Virtual Knitting users are able to knit with custom made electronic knitting needles in both physical and virtual space at the same time, constructing both tangible and intangible cloth. KNiiTTiiNG uses the Nintendo Wii to knit with.
The "Essential Mysteries" series of paintings, created by Trudy Myrrh Reagan ("Myrrh") over a period of 18 years, treat those indeterminate areas that scientists love to explore but can never fully explain. She has been attracted to certain boundary states, between pure energy and a universe with matter, between non-life and life, neurons and imagination. These are emergent properties, organized in a novel way to produce, for example, an effect like photosynthesis. She has also been attracted to "criticality," that feature of complex systems that makes the efficient functions of digestion, of forest ecologies or human economies possible, yet vulnerable to disruption. Myrrh paints on flat rounds of plexiglas, taking advantage of the dynamic range between the "white" of the plastic, the stained-glass like arylic paints, and dense, opaque black. She uses nine abstract images and two representational ones of her own invention as metaphors to explore these themes. For instance, a brain made of squirming figures drawn from classical art is titled, "An Essential Mystery: Brains Imagine."
Composer Wayne Vitale collaborated with a renowned 25-musician gamelan ensemble from Bali, Indonesia and US-based visual, audio, and set designers to create Makrokosma Bali. The work combined new music for gamelan orchestra with projected video and still imagery, ambient sounds, and lighting design in an integrated multimedia set. The premiere series took place at the Asian Art Museum on May 13-15, 2011, in conjunction with the special exhibition "Bali: Art, Ritual, Performance", the most ambitious presentation of Balinese arts in US history. Makrokosma Bali combines and contrasts the sound worlds, musical aesthetics, living culture, and ancient Hindu cosmology of Bali with conceptions of the universe-from macro (the cosmos) to micro (a human cell)-from a Western perspective, realized through contemporary video technologies. Still and moving video imagery are cast onto multiple screens and surfaces-including the musicians and instruments themselves-around, above, and within the musical ensemble. The ensemble was the internationally renowned Sekaa Gong Taruna Mekar, from the village of Tunjuk, Bali. They will play a gamelan orchestra of bronze gongs, metallophones, and drums. The new score by Vitale and I Made Arnawa, director of the Tunjuk group, explored a variety of textures and materials. The live music was combined with ambient digital soundscapes, including sounds from a Balinese temple and night sounds of the rice fields, as well as sounds drawn from sources outside of Bali. This rich sonic canvas, delivered by sound engineer Greg Kuhn, was synchronized with visual projections by video artist Eric Koziol and lighting designer Allen Willner. Live video processing-including the use of musical sound to move, influence, and manipulate video imagery-was created by Ian Winters. The result was a spatially complex "hyper-movie," utilizing three screens and multiple projectors, exploring the interplay of light and image with live music and digital-audio soundscapes. Thematically, Makrokosma Bali contrasted the cultural values and cosmology of Bali, Indonesia with conceptions of the universe from Western perspectives. The island's Hindu culture, more than a millennium old, but living, vibrant, and rapidly evolving, embraces a far-reaching philosophy of the universe and human kind's role within it. Bali's cosmology of balance, interdependence and complementary opposites (in Balinese: rwa bhineda, the principle of duality) was expressed through the dramatic presentation of video imagery of people, landscapes, village life, temples, artistic endeavors, and ceremonies. This panoply of images, ranging from scenes of ceremonial grandeur to the forging of red-hot bronze by gongsmiths, was juxtaposed with images and animations of the cosmos-the solar system, galaxies-and imagery from life in the US, spanning the gamut from a drop of water to aspects of industrialized society.