speaker's notes

Professor Paul Coldwell The London Institute

Interrogating the Surface

The use of the computer as a creative tool can often result in a detachment from the physical engagement with the making of an artwork. Coldwell’s digital work draws upon both his experience as a ‘traditional’ printmaker and his need for a precise physicality in the final resolution of an idea. In this paper Coldwell traces his introduction and subsequent engagement with digital processes as part of his overall fine art practice.
An interview with Paul Coldwell can be viewed under > interviews > transcripts

 

John Haworth Manchester Metropolitan University

Putting the body back into human-computer interaction

This paper explores the nature of the interplay between body, mind, and electronic technology, in fine art. It outlines the embodiment theories of perception, and art, proposed by the philosopher and psychologist Maurice Merleau-Ponty. These theories emphasise the fusing of thought and action in creativity. They underpin the importance of considering embodied mind in human-computer interaction. A synopsis is presented of a current research project on creativity in digital fine art using an interlocking range of methods, which is funded by an Innovation Award grant from the Arts and Humanities Research Board in the UK. The creative process involved in the production of two digital prints is discussed. This indicates the important influence of geographical place, culture and events on the creative process in digital fine art.

 

George Whale Loughborough University School of Art & Design

Co-creativity in Art and Technology

About a year ago, I became involved with the Creativity and Cognition Research Studios, or C&CRS, which is based at Loughborough University, and I'm going to be talking mainly about their work because much of it relates directly to this issue of the body and creativity in digital art.
In a moment, I'll explain a little bit about what C&CRS is and what it does. Following that, I'm going to take a look at aspects of co-creativity in digital art. Then, I'd like to talk briefly about the programme of research at C&CRS, in particular some recent artist-in-residency case studies. These studies are interesting for a number of reasons, not least because they've identified some principles of 'best practice' in art/technology collaboration that I think are worth enumerating. Finally, we'll look at some of the special challenges facing artists, technologists and researchers currently working in this field.

 

Marty St. James The London Institute

Digital Performance and Moving Image

This paper explores my work in terms of my connection with Performance Art, Video Art and Digital Technology over a three decade period. The paper emphasises the perfection of performance.

 

Michaela Reiser Thames Valley University

Vision and Spaces

"Vision and Spaces" is the title of my current research project that investigates non-linear experiences of time and explores altered states of consciousness we encounter in dreams, visions, hallucinations or out-of-body experiences. It aims to translate such experiences into virtual reality artefacts.

 

Bruce Gernand Central Saint Martins College of A&D

Unplugged

In 2001 Bruce Gernand received an AHRB research leave award for a project titled "Exploring Sculptural Practice and Design Strategies through the Media of Ceramics and 3D Computer Modelling". Much of this work took place at the European Ceramics Work Centre (EKWC) in Holland. A publication, "Serpents and Snails: Virtual Modelling and Material Process" describes the work made. Previously, Gernand gained some experience with digital 3D modelling and rapid prototyping through the CALM project, an Arts and Technology initiative. Sculpture at Goodwood subsequently commissioned a large aluminium cast version of the sculpture. Bruce Gernand is a Senior Lecturer at Central Saint Martins College of Art and Design where he runs the 3D Pathway in Fine Art.

Of his contribution to the conference, Bruce writes "The title 'Unplugged' comes from the fact that I did not show any images or speak directly about my work. Rather, I addressed what I thought were some of the implicit themes of the occasion. The text here is based on some notes and the transcript of a talk; the writing came afterwards. In the spirit of Merleau-Ponty, I attempted a kind of phenomenology of my experience with the digital in relation to the body. I found myself as 'devil's advocate', expressing a scepticism and disquiet about the role of the body in terms of digital practice."

 

Barbara Rauch The London Institute

Dreams and virtual environments: an exploration of paradigms of experience and imagination

The reciprocal relationship between theory and practice highlighted in my Ph.D. research project ‘Fine Art and Virtual Environments’, also the idea of working with contrasting themes like dreams and online fantasy worlds generated a series of art works enhancing the understanding of intuition, experience and imagination during thought and work processes.
Digital technology, I realised, allows to link even conflicting interests. Through considering these different worlds namely the dream and the online fantasy world as augmented forms of reality I hope to contribute to the current understanding of reality itself.