The Visual Arts as a Canvas for Teaching Computer Programming

We explore the relationships between the construction of a work of art and the crafting of a computer program in Java and suggest that the structure of paintings and drawings may be used to teach the fundamental concepts of computer programming. This movement "from Art to Science", using art to drive computing, complements the common use of computing to inform art. We report on initial experiences using this approach with undergraduate and postgraduate students. An embryonic theory of the correspondence between art and computing is presented and a methodology proposed to develop this project further.

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.

Re-viewing history: antiquaries, the graphic arts and Scotland's lost geographies, c.1660-1820

This thesis examines topographical art depicting Scotland’s natural scenery and built environments, architecture, antiquities and signs of modern improvement, made during the period 1660 to 1820. It sets out to demonstrate that topography and topographical art was not exclusively antiquarian in nature, but ranged across various fields of learning and practice. It included the work of artists, geographers, cartographers, travel writers, poets, landscape gardeners, military surveyors, naturalists and historians who were concerned with representing the country’s varied, and often contentious, histories within an increasingly modernising present. The visual images that are considered here were forms of knowledge that found expression in drawings, paintings and engravings, elevations, views and plans. They were made on military surveys and picturesque tours, and were often intended to be included alongside written texts, both published and unpublished, frequently connecting with travels, tours, memoirs, essays and correspondence. It will also be argued that topography was a social practice, involving networks of artists, collectors, publishers and writers, who exchanged information in drawings and letters in a nationwide, and often increasingly commercial enterprise. This thesis will explore some of the strands of such a vast network of picture-making that existed in Scotland, and Britain, between 1660 and 1820, as visual images were circulated, copied, recycled and adapted, and topographical and antiquarian visual culture emerges as a complex, synoptic form of inquiry.

Photography and sociology: an exercise in serendipity

This thesis examines the relationship between photography and sociology as offering complementary ways of understanding ourselves and the world we live in. Drawing from the work of Pierre Bourdieu and Raymond Williams, I examine the idea of a ‘field’ of photography within the field of cultural production more generally. The practises of documentary photography, photojournalism and fine art photography are explored with specific reference to images of war. In this arena, the politics, aesthetics and ethics of representing the body in pain are addressed.

Leaving Planet Earth (Follow-on Voucher Project).

SFC FOLLOW-ON VOUCHER The project was undertaken as a SFC Follow-on Voucher (£40K) alongside a student project with BDes (Hons) Design & Digital Arts (D&DA).James Blake (Centre for Media & Culture) brought together students and staff to develop digital content, including films, for a transmedia project and the induction video on the coaches to Ratho. Malcolm Innes, Ian Lambert, Andrew O’Dowd, and Euan Winton (Centre for Design Practice & Research) developed the Old Earth Museum (both physical and virtual), and transmedia designer and research student Beata Zemanek oversaw the transmedia strategy and making of the Gatekeeper film, supported by D&DA students and graduates.

[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.

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.

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]