THURSDAY, MAY 19
2.00pm – OFF SITE EVENT: Tour of the “Data Cave Project” at Saint Mary’s University
The Data Cave is a three dimensional immersive environment designed for visualizing complex simulations. The ICA requested the Data Cave as a part of the ACEnet proposal in order to visualize our three dimensional hydrodynamic and magneto-hydrodynamic simulations of stars and jets. http://www.smu.ca/academic/science/ap/ica/facilities_data.html#Opening The tours are held at the Institute for Computational Astrophysics at Saint Mary’s University 923 Robie Street Halifax, Nova Scotia Phone: (902) 420-5105
7.00pm Welcoming Address by NSCAD’s President David Smith
Academy Building Studio
7.15pm – Keynote Address
Academy Building Studio
Dr. Laura U. Marks “An Enfolding-Unfolding Aesthetics of Cinema”
“An Enfolding – Unfolding Aesthetics of Cinema” This talk continues my investigation of an enfolding-unfolding aesthetics for cinema. The concept of the fold as a form of mediation arises from the thought of Deleuze, Leibniz, and Islamic Neoplatonism. It helps us to consider how the perceptible unfolds from the world -encountering some kinks along the way. I propose that mediation is not a barrier but an enfolded, connective tissue between the world and the beholder. This tissue folds and unfolds in various ways occurring to the understanding of the relationships between image, information, and world (or infinite, to use another terminology). I draw from classical Islamic thought to elucidate different manners of unfolding, such as atomist unfolding, monadistic unfolding, and resistance to unfolding.
9.00-11.00 – RECEPTION Room: Sound Stage
FRIDAY, MAY 20
9.30 – 11.30am – SESSION ONE “Obsolescence and the Culture of Human Invention”
“Obsolescence and the Culture of Human Invention” This session will look at the underlying philosophical question about technology and tool use by examining the historical perspectives and shifting pathways of human invention. Obsolescence, as feature in technological development, provides interesting opportunities for an archeology of cultural history through its technological artifacts. We will learn about the character of the new digital culture by examining the shadow of obsolescence that it casts over a wide range of analogue technologies.
11.45-1.00pm – LUNCH 🙂 Academy Building
1.00-3.00pm – SESSION TWO “Tracing the City: Interventions of Art in Public Space”
Kim Morgan (Chair) – NSCAD University, Sol Nagler (Chair) – NSCAD University, Martha Radice – Dalhousie University, Nathan Ryan – NSCAD University, Ellen Moffat – University of Saskatchewan, Erin Wunker – Dalhousie University Room: AA Academy Building – Screening Room
“Tracing the City: Interventions of Art in Public Space” What happens when the public space of the city intervenes in the private experience of art? We present the initial stages of an interdisciplinary SSHRC-funded research/creation project that uses emerging technologies to explore the interstitial space between the private and the public in relation to art. “Art” for us includes visual art, performing arts, and other streams of creative culture such as architecture, design and literature. We define public urban space as those space in the city that are accesible to everyone (regardless of ownership), in which strangers interact in many different ways. People’s experience of art is typically private, wether or not the art is in a collective setting. They move through the art gallery in the bubble of their own personal space. They watch films ensconced in the dark of the cinema. Their emotional reactions to art are located in the body, and divulged to just a few companions. However, we posit that the public space of the city can challenge and interfere with the private experience of art. Indeed, we posit that the public space of the city can creatively be made to intervene in the private space of engagement with art.
3.00-5.30pm – SESSION THREE “Losing the Plot: Digital Narratives”
“Losing the Plot: Digital Narratives” Non Linear interfaces and hyper-linked data have allowed for a reconsideration of the role of the plot as the linear backbone of our narrative experience. Episodic television, time-shifting, and the layered and navigable experience of films on DVD and computer media refocuses our attention on the cinematic object in popular culture. This shift is also informed by experiments with narrative in film and novels that explore the formal qualities of storytelling. The end of the plot is not the end of narrative; however, and in this session we will consider some of the characteristics of the digital narrative that explore multiple, fragmentary, and rhizomic structures of story experience across a number of mediums.
8.00pm – EVENING EVENT Keynote: Dr. Louis Kaplan “Cinematic (With) Drawing: Joshua Neustein’s Erasures and the Movement of Deconstruction”
“Cinematic (With) Drawing: Joshua Neustein’s Erasures and the Movement of Deconstruction” From 1971 to 1973, the Conceptual and Jewish diasporic artist Joshua Neustein made a series of cinematic drawings known as Erasures. While one hand marks the sheet of paper with letters and symbols, another sneaks up from behind to blot them out with an eraser. This presentation explores the connections between Neustein’s cinematic project of drawing (and with-drawing) and deconstruction as a practice that puts its subjects and concepts under erasure (sous rature). In this way, the presentation moves back and forth between Jacques Derrida’s famous essay “Freud and the Scene of Writing” and a close reading of Neustein’s Erasures and its scene(s) of drawing. Meanwhile, the recording of these Erasures on Film (comprising five segments equaling twenty minutes in length) raises fascinating issues regarding the transposition of these media as well as the status of the filmic document in Conceptual Art practice.
Saturday, May 21
9.30-11.30am – SESSION FOUR “Physical Thought: New Devices for the Creative Process”
“Physical Thought: New Devices for the Creative Process” New creative technologies challenge and bring into question not only the format of media art, but also the process. Many traditional production models and practices cease to be logical in the light of available technologies. Similarly, many technologies push production practices into a format that suit neither artist nor producer. The evolution of new approaches is often random and seldom logical. Bringing together three researchers and industry professionals working with new production technologies, this panel will discuss where technology could take us and examine the inherent struggles to bring new ideas to existing industries.
LUNCH 🙂 11.45 am- 1.00pm – Academy Building With a Demonstration by Andrew Hicks in the Animation Room
1.00-3.00pm – SESSION FIVE What to do with the Canon: Film, Anxiety and Authorship when Cinema dies one more time
Darrell Varga (Chair) – Canada Research Chair – NSCAD University Jennifer Vanderburgh – St. Mary’s University, Michelle Byers – St. Mary’s University This paper considers ways of theorizing anxiety about digitizing existing (national) moving image archives; creating digital archives that amend the great gaps in our national moving picture archives; and imagining ways of creating and maintaining informal archives of moving images of various kinds (e.g. found footage, home movies, digital uploads to Facebook and Myspace). We discuss the possibilities/perils of the increasing movement towards the creation of diverse forms of digital archives of moving images, drawing on models offered by, for example, Vera Frenkel’s “The Institute” web project and Mary Jane Miller’s (1990) televisual scholar’s archival paradise.
“Pete, Abbas and Joe: Towards genealogy of our present intermediality”
Jerry White – University of Alberta Three filmmakers – Peter Greenaway, Abbas Kiarostami and Apichatapong Weerasethakul (whose nickname on the film festival circuit has been “Joe”) – have made work incorporating the key elements of cinema’s move towards the digital. There are three key phases in this move: an acceptance of CGI as a key aesthetic tool; a use on film of techniques that are specific to video; and a move away from narrative and towards the kind of world-building aspirations of the internet. I will focus on the use of computer graphics in Prospero’s Books (1991), the use of video in Ten (2002), and Internet and installation in Uncle Boonmee who can Recall His Past Lives (2010). Cinema has been going digital for some time now, and these are three filmmakers who show the way in which that transformation is entirely consistent with the medium’s highest aesthetic and political aspirations.
“Peter Greenaway’s Re-Canonization of the Canon: Multimedia Spectacles in the Era of Social Networking”
Bruce Barber – NSCAD University Room: AA – Seminar Room A discussion of Peter Greenaway’s digital cinematic animation of canonical paintings by Vermeer, Rembrandt, Cimabue, and Giotto among other artists, with a focus on his “Vision of Leonardo’s Last Supper” recently staged in Milan and New York.
3:30pm-5:00pm – SESSION SIX “Fort/Da and Other Lugubrious Games Contemporary Artists Play with the Movies”
KEYNOTE: Dr. Susan Felleman This talk uses a trilogy of digital videos by Wago Kreider to consider contemporary cinephilia’s morbid side. The videos are elegiac returns to three Hollywood classics of the 1950s: Johnny Guitar, Vertigo, and Niagara. Meditative, lyrical, obsessive, they merge videographic pictures of places that return to or evoke the locations of the Hollywood originals and are characterized by a haunting sense of repetition and absence with displaced pieces of the movies themselves. As with other artists born “too late”—Douglas Gordon, Christian Marclay, Pierre Huyghe, Martin Arnold, to name just a few—Kreider eschews the avant-garde’s traditionally adversarial attitude toward the dominant cinema. The digital games he and others play with Hollywood movies and other artifacts of the apparatus are reminiscent of Surrealist practices—Victorian parlor games, for instance, and Max Ernst’s collage novels—that evoked and employed, albeit perversely, always uncannily, artifacts of the period of their own childhood. The work perpetually remembers, repeats and works through an attachment that arose too late but will not be relinquished. The shifting strategies through which the digital videos structure image and sound, cinematic artifact and embodied experience, seem to try, try and try again to resolve emotional and phenomenological uncertainties around history, time, memory, the moving image in the digital age.