[Book review] Iterations: The New Image

Tony Mann provides a review of the book: Timothy Druckrey (ed.) Iterations: The New Image. MIT Press, (1994), 199pp. ISBN: 0-2620-4143-X. £35.95

[Book review] Colour: Art and Science

Tony Mann provides a review of the book: Trevor Lamb & Janine Bourriau (Eds.) Colour: Art and Science, 1995. (Darwin College Lectures), Cambridge University Press, 237pp. ISBN: 0521-49645-4 (hbk.) 0521-49963-1 (pbk.)

[Exhibition review] Keith Tyson at Tate Britain

This is a review of an exhibition of the work of the twenty-first century artist, Keith Tyson, who specializes in mathematics. He was short-listed for the Turner Prize and his work is included in the exhibition of nominated artists' work at Tate Britain. [Keith Tyson was announced as the winner of the 2002 Turner prize on 8 December 2002.]

An information system to exploit the use of metadata within film and television production

The article focuses on an information system to exploit the use of metadata within film and television production. It is noted that the television and film industries are used to working on big projects. This involves the use of actual film, video tape, and P.E.R.T charts for project planning. Scripts are in most instances revised. It is essential to attach information on these in order to manage, track and retrieve them. The use of metadata eases the operations involved in these industries.

The assassination of time (ζeta-philosophy)

The Digital Art Weeks PROGRAM (DAW06) is concerned with the application of digital technology in the arts. Consisting again this year of symposium, workshops and performances, the program offers insight into current research and innovations in art and technology as well as illustrating resulting synergies in a series of performances, making artists aware of impulses in technology and scientists aware of the possibilities of the application of technology in the arts.

Trembling the plane of immanence: media arts philosophy and the re-vision of art (or what’s acoustics got to do with the visual?)

Invited lecture at the Royal Academy of Art.

To tremble the zero: art in the age of algorithmic reproduction

'To Tremble the Zero: Art in the Age of Algorithmic Reproduction' is a philosophic, political and sensuous journey playing with (and against) Benjamin's 'Art in the Age of Mechanical Reproduction'. In an age inundated by the 'post-': postmodernity, posthuman, post art, postsexual, post-feminist, post-society, post-nation, etc, 'To Tremble the Zero' sets out to re/present the nature of what it means to do or make 'art', as well as what it means to be or have 'human/ity' when the ground is nothing other than the fractal, and algorithmically infinite, combinations of zero and one. The work will address also the unfortunate way in which modern forms of metaphysics continue to creep 'unsuspectingly' into our understanding of contemporary media/electronic arts, despite (or perhaps even because of) the attempts by Latour, Badiou, or Agamben especially when addressing the zero/one as if a contradictory 'binary' rather than as a kind of 'slice' or (to use Deleuze and Guattari) an immanent plane of immanence. This work argues that by retrieving Benjamin, Einstein, Gödel, and Haraway, a rather different story of art can be told.

Practitioners’ perception of the impact of the vision of policy-makers on practice: The example of the recommendations of the Moser Commission

This paper presents the perception of practitioners of the impact of the Moser Committee recommendations and the Skills for Life agenda it generated. The paper further explores areas of convergence and divergence between practitioners’ perceptions and the underpinning values of the Moser Committee recommendations. The study utilised a range of research tools including an online questionnaire, documentary analysis and elements of discourse analysis in the collection and analysis of data. It found that there is substantial divergence between the perception of practitioners and the values underpinning policy. It concludes by suggesting that a varying perception of what constitutes sustainable education and the lack of input from practitioners into policy might be responsible for this significant divergence of opinion and also raised a question on the perceived role of practitioners in the policy‐making process.

Astonishing apples: visualising the novel

This paper explores the developing relationship between fictional and visual representations. The impact of visual art on the novel as mimetic is an issue that writers have engaged with and written about from the mid-nineteenth century to the present day, often raising the question of the art/life dialectic and how it has evolved through the novel’s exploration of ideas. From painting, photography, cinema, television and newer digital visual cultures writers have sought to involve themselves in a critical examination of the impact of changes in these forms on other art form and on wider society. How do these visual forms affect what it means to be an artist, a writer, a human being? The paper takes the work of Paul Cezanne as a starting point in the history of representation. Writers such as Rainer Maria Rilke, theorists such as Maurice Merleau-Ponty, and other artists like Picasso, have been influenced by, or responded to, Cezanne’s work and to Cezanne’s writings on art and his letters to his great childhood friend, the novelist Emile Zola. By discussing the creative practice of writing a novel this paper will examine questions of how the novel can, and should, respond to the impact of visual culture’s seeming dominance over other art forms. It also explores what impact new forms of visual culture have had upon the mimetic and formal aspects of the novel and how the novel works as representational, especially in relation to representations of human consciousness. [From the Author]

Second site

An exhibition by four artists from Roma/Gypsy/Traveller communities. [From the press release]

Hide and seek with rebels: tracing contemporary queer art in cracks and rips

This Article does not have an abstract.