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]

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.

[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.)

Three parallel programming paradigms: Comparisons on an archetypal PDE computation

Three paradigms for distributed-memory parallel computation that free the application programmer from the details of message passing are compared for an archetypal structured scientific computation -- a nonlinear, structured-grid partial differential equation boundary value problem -- using the same algorithm on the same hardware. All of the paradigms -- parallel languages represented by the Portland Group's HPF, (semi-)automated serial-to-parallel source-to-source translation represented by CAP-Tools from the University of Greenwich, and parallel libraries represented by Argonne's PETSc -- are found to be easy to use for this problem class, and all are reasonably effective in exploiting concurrency after a short learning curve. The level of involvement required by the application programmer under any paradigm includes specification of the data partitioning, corresponding to a geometrically simple decomposition of the domain of the PDE. Programming in SPMD style for the PETSc library requires writing only the routines that discretize the PDE and its Jacobian, managing subdomain-to-processor mappings (affine global-to-local index mappings), and interfacing to library solver routines. Programming for HPF requires a complete sequential implementation of the same algorithm as a starting point, introduction of concurrency through subdomain blocking (a task similar to the index mapping), and modest experimentation with rewriting loops to elucidate to the compiler the latent concurrency. Programming with CAPTools involves feeding the same sequential implementation to the CAPTools interactive parallelization system, and guiding the source-to-source code transformation by responding to various queries about quantities knowable only at runtime. Results representative of "the state of the practice" for a scaled sequence of structured grid problems are given on three of the most important contemporary high-performance platforms: the IBM SP, the SGI Origin 2000, and the CRAYY T3E.

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.

Psyche and the arts: Jungian approaches to music, architecture, literature, painting and film

Does art connect the individual psyche to history and culture? Psyche and the Arts challenges existing ideas about the relationship between Jung and art, and offers exciting new dimensions to key issues such as the role of image in popular culture, and the division of psyche and matter in art form. Divided into three sections - Getting into Art, Challenging the Critical Space and Interpreting Art in the World - the text shows how Jungian ideas can work with the arts to illuminate both psychological theory and aesthetic response. Psyche and the Arts offers new critical visions of literature, film, music, architecture and painting, as something alive in the experience of creators and audiences challenging previous Jungian criticism. This approach demonstrates Jung’s own belief that art is a healing response to collective cultural norms. This diverse yet focused collection from international contributors invites the reader to seek personal and cultural value in the arts, and will be essential reading for Jungian analysts, trainees and those more generally interested in the arts. [From the Publisher]

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

This Article does not have an abstract.