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<DIV>BANFF NEW MEDIA INSTITUTE,<BR>DATABASE OF VIRTUAL ART<BR>and LEONARDO/ISAST 
produce :<BR><BR><BR><STRONG>REFRESH!<BR>1st INTERNATIONAL CONFERENCE ON 
</STRONG></DIV>
<DIV><STRONG>THE HISTORIES OF MEDIA ART, SCIENCE AND 
TECHNOLOGY<BR></STRONG><BR>September 29 - October 1, Banff New Media Institute, 
Canada<BR><BR><BR>CONFERENCE WEB SITE :&nbsp; <A 
href="http://www.MediaArtHistory.org";>www.MediaArtHistory.org</A>&nbsp;(full 
program with abstracts available)<BR>REGISTRATION:&nbsp;&nbsp; <A 
href="http://www.banffcentre.ca/bnmi/events/refresh/";>www.banffcentre.ca/bnmi/events/refresh/</A>&nbsp;(attendence&nbsp;place 
still&nbsp;available)<BR><BR><BR>Thu, 29 Sept. 05</DIV>
<DIV><BR>&nbsp;</DIV>
<DIV>KEYNOTE</DIV>
<DIV><EM>EDMOND COUCHOT: Towards the Autonomous Image</EM></DIV>
<DIV><FONT face=Arial size=2></FONT><BR>I.&nbsp; MEDIAARTHISTORIES : TIMES AND 
LANDSCAPES I<BR><EM>GUNALAN NADARAJAN: Islamic Automation: A Reading of 
al-Jazari's The Book of Knowledge of Ingenious Mechanical Devices 
(1206)<BR>LOUISE POISSANT: From Material to Medium<BR>OLIVER GRAU: REMEMBER THE 
PHANTASMAGORIA! Virtual Art of the 19th century and Its future<BR>MARIO CARPO: 
The Demise of the Identicals Architectural Standardization in the Age of Digital 
Reproducibility<BR></EM><BR>II.&nbsp; METHODOLOGIES<BR><EM>MARK HANSEN: 
tba<BR>ERKKI HUHTAMO: Media Arts and Media Archaeology - Collision or 
Convergence<BR>IRINA ARISTARKHOVA: Excavating Mother, Excavating 
Cyborg<BR>ANDREAS BROECKMANN: Image, Process, Performance, Machine, Paradigms of 
Media Art Theory<BR></EM><BR>III.&nbsp; IMAGE SCIENCE AND 'REPRESENTATION': FROM 
A COGNITIVE POINT OF VIEW<BR><EM>BARBARA STAFFORD: Picturing Uncertainty: From 
Representation to Mental&nbsp; Representation<BR>KRISTIN VEEL: Once Upon a Time 
There Was a DatabaseSDatabase and Narrative from a Cognitive (...)<BR>CHRISTINE 
ROSS: Slow Time in Contemporary Media Arts, (Canada)<BR>PHILLIP THURTLE &amp; 
CLAUDIA X. VALDES: Biofeedback and the Arts: Listening as Experimental 
Practice<BR>CHRISTOPHER SALTER: The Performative Turn in New Media - A Critical 
History<BR>TIM CLARK: Computation, Aesthetics, and Representation: A Critical 
Examination of the "The Thesis of Computational Sufficiency &amp; Explanation" 
and the Incorporation of "The Argument from Human 
Creativity<BR></EM><BR>IV.&nbsp; ART AS RESEARCH / ARTISTS AS 
INVENTORS<BR><EM>DIETER DANIELS: Art as Research / Artists as Inventors<BR>CHRIS 
MEIGH-ANDREWS: Richard Monkhouse &amp; Peter Donebauer, and Development of the 
EMS Spectron and the Videokalos Image Processor<BR>FRED TURNER: Where 
Cybernetics Met The Counterculture: The Us Company<BR>SIMON PENNY: Bridging Two 
Cultures: Towards an Interdisciplinary History of the Artist-Inventor and the 
Machine Artwork<BR>CORNELIUS BORCK: Going Beyond the Body's Limits: Raoul 
Hausmann's Art of Prosthetic Perception<BR></EM><BR>V.&nbsp; MEDIAARTHISTORIES: 
TIMES AND LANDSCAPES II<BR><EM>EDWARD SHANKEN: Towards a Comprehensive 
Technological History of Art? </EM></DIV>
<DIV><EM>CHARLIE GERE: Early British Computer Art: the Findings of the CACHe 
Project<BR>GRANT TAYLOR: How Anti-Computer Sentiment Shaped Early Computer 
Art<BR>DARKO FRITZ &amp; MARGIT ROSEN: Between Form and Concept - The 
Positioning of Computer-Based Arts in the Late 1960s<BR>SYLVIE LACERTE: 
Experiments in Art and Technology: a Gap to Fill in Art History's Recent 
Chronicles<BR>ANNE COLLINS GOODYEAR: Technophilia, Vietnam, and the Rise and 
Fall of 'Art and Technology' in the United States, 1965-1971<BR>CAROLINE 
LANGILL: Hey, Look at Me! Thoughts on the Canonical Exclusion of Early 
Electronic Art<BR>MARIA FERNANDEZ: Gordon Pask - Cybernetic 
Polymath<BR></EM></DIV>
<DIV><EM></EM>&nbsp;</DIV>
<DIV><EM></EM>&nbsp;</DIV>
<DIV>Fri,&nbsp;30 Sept. 05</DIV><FONT face=Arial size=2></FONT>
<DIV><BR>VI.&nbsp;&nbsp; COLLECTING; PRESERVING AND ARCHIVING THE MEDIA ARTS 
<BR><EM>JEAN GAGNON: The Daniel Langlois Foundation's Research and Documentation 
Centre (CR+D) : Building and Preserving Tools and Resources on Media 
Arts<BR>CHRISTIANE PAUL: The Myth of Immateriality - Presenting &amp; Preserving 
New Media </EM></DIV>
<DIV><EM>PETER WEIBEL: The Migration and Preservation of Media<BR>JON IPPOLITO: 
Creative Networks: Frictionless or Regulated?<BR></EM><BR>VII.&nbsp; DATABASE / 
NEW SCIENTIFIC TOOLS<BR><EM>RUDOLF FRIELING: 'Media Art Net': Database and 
Context<BR>CHRISTIAN BERNDT: Database of Virtual Art - For an Expanded Concept 
of Documentation<BR>SANDRA FAUCONNIER: V2_'s Archive - A Dynamic Model for the 
Description of Media Art<BR>ALAIN DEPOCAS: tba.<BR>ANNE-MARIE DUGUET: 
tba.<BR>RICHARD RINEHART: A System of Formal Notation for Scoring Works of 
Digital and Variable Media Art<BR></EM><BR>VIII.&nbsp; POP/ MASS/ 
SOCIETY<BR><EM>MACHIKO KUSAHARA: Technology as Art: 'Device Art' as a New 
Japanese Paradigm<BR>ANDREAS LANGE: Archiving of Computer Games<BR>KAREN 
KEIFER-BOYD: Computer Games: Art in the 21st Century<BR>TOBEY CROCKETT: An 
Aesthetics of Play - or, How to Appreciate Interactive Fun<BR>MARK TRIBE: Open 
Source Culture<BR></EM><BR>RUDOLF ARNHEIM LECTURE<BR><EM>SARAT MAHARAJ: 
Xeno-Epistemics: Global Migrations and 'Other' Ways of 
Knowing<BR><BR></EM><BR>Sat, 1 Oct. 05 <BR><BR>IX.&nbsp; CROSS-CULTURE - GLOBAL 
ART<BR><EM>SARA DIAMOND: Cross Culture - Global Art<BR>MANRAY HSU: From 
TEchno-Utopia to Network Cosmopolitanism: On the Convergence between New Media 
Art and Contemporary Art<BR>MARKO STAMENKOVIC: New Media Art in Postsocialist 
Conditions<BR>SHEILA PETTY: CyberRace Constructs: Transnational Identities in R. 
Kempadoo's Ghosting<BR>MARY LEIGH MORBEY: From Cybercolonialism to 
Cyberglocalization: A Virtual Shifting of Cultural Identity on National Musea 
Websites<BR>THOMAS RICCIO: World Narrative: The Creation of a New 
?Place?<BR>APARNA SHARMA: Oscillations... Occasions of Excess and 
Interrogation<BR>LAURA MARKS: Latent Rhythm: Algorithmic Performativity in Media 
Art and Islamic Calligraphy<BR></EM><BR>X.&nbsp; CROSS-DISCIPLINARY RESEARCH 
METHODS<BR><EM>FRIEDER NAKE: Events of Significance<BR>RON BURNETT: Is New Media 
New?<BR>DOT TUER: Transculturation and New Media History<BR>GUY SUI DURAND: 
tba.<BR>WILL STRAW: Grounded Materialities: Who Isn't 
Interdisciplinary?<BR>DAVID TOMAS: Toward a Relational History of Media and its 
Practices<BR>MICHAEL CENTURY: New Media in an Adhocracy<BR></EM><BR>XI.&nbsp; 
REJUVINATE : FILM; SOUND AND MUSIC IN THE MEDIA ARTS HISTORY<BR><EM>DOUGLAS 
KAHN: Music: The First Digital Art<BR>SEAN CUBITT: tba.<BR>KEITH SANBORN: Hollis 
Frampton's Algorithmic Aesthetic<BR>SCOTT BUKATMAN: Comics and the Critique of 
Chronophotography, or "He Never Knew When It Was Coming!"<BR></EM><BR>KEYNOTE 
</DIV>
<DIV><EM>LUCIA SANTAELLA: The Semiosis of Media Art, Science, and 
Technology<BR></EM><BR>XII.&nbsp; COLABORATIVE PRACTICE / NETWORKING 
(HISTORY)<BR><EM>RYSZARD KLUSZCZYNSKI: RE-Writing the History of Modern Art: How 
Hypermedia Change Our Vision of the Past (the case of artistic 
collaboration)<BR>DIANA DOMINGUES, ELISEO REATEGUI: Collaborative 
Transdisciplinary Practices for Complex Systems in Interactive and Immersive 
Art<BR>NINA CZEGLEDY: Cross Cultural Interdisciplinary Initiatives<BR>TODD 
DAVIS, DOUGLAS JARVIS, JEREMY TURNER: SAT-TEL-COMP - 
(Satellite-Telephone-Computer): Beginnings of Multi-Dimensional Artist Networks 
Through the Connectivity of (technological) Telecommunications Devices and Human 
Dialogue<BR>MARGARET DOLINSKY: CAVEs Projecting Imagination into Reality Across 
High Speed Networks<BR></EM><BR>XIII.&nbsp; WHAT CAN THE HISTORY OF NEW MEDIA 
LEARN <BR>FROM THE HISTORY OF SCIENCE/SCIENCE STUDIES ?<BR><EM>TIMOTHY LENOIR: 
Making Studies in New Media Critical<BR>MICHAEL PUNT: History of Science, 
Technology and Entertainment at the Turn of the 19th Century<BR>LINDA HENDERSON: 
'The Fourth Dimension,' the History of Science, and New Media<BR>TIMOTHY 
DRUCKREY: Idiosyncratic Archaeologies: Realigning Media History<BR>SIMON 
WERRETT: Logics of Innovation: Science Studies and New Media Approaches 
Compared<BR>YANN CHATEIGNÉ: The Fourth Memory: Beyond Information Art in 
Hypertechnological Times<BR></EM><BR>XIV.&nbsp;&nbsp; HIGH ART / LOW CULTURE - 
THE FUTURE OF MEDIA ART SCIENCES? <BR><EM>KARIN BRUNS: High Art / Low Culture - 
the Future of Media Art Sciences?<BR>YARA GUASQUE: Immersive and Participative 
Environments<BR>ANDY POLAINE: Lowbrow, High Art. Why Big Fine Art Doesn't 
Understand Interactivity<BR>CLAUS PIAS: Zombies of the Revolution<BR>BARBARA 
PAUL: tba</EM><BR><BR>XV.&nbsp; HISTORY OF INSTITUTIONS<BR><EM>ITSUO SAKANE: On 
the History of Interaction between Art and Technology - Toward the Cultural 
Evolution of Human-Being<BR>JASIA REICHARDT: The Computer in Art<BR>MICHAEL 
NAIMARK: Dynamics of Sustainability<BR>PETER RICHARDS: tba.<BR>JOHANNES GOEBEL: 
tba.<BR>ANDREAS BROECKMANN: discussant<BR><BR></EM><BR>POSTER SESSION 
with:<BR><EM>KIRSTY ROBERTSON, CHARLOTTE FROST, GENCO GULAN, ATTEQA MALIK, 
MICHAEL SALMOND, MARIA VICTORIA GUGLIETTI, AYESHA HAMEED, CHRISTOPH KLUETSCH, 
JOHN MAXWELL, TIM JACKSON, SYLVIA GRACE BORDA &amp; ALICE MING WAI&nbsp; JIM, 
ARTUR MATUCK, MAUREEN NAPPI, MARTIN RIESER, JAN ALTMANN, FRANCES DYSON, 
FRANCK&nbsp; ANCEL, CAROLINE BERNARD, JEAN-LOUIS BOISSIER,&nbsp;JEAN-LUC 
MARCHINA, DANIEL PINKAS, COUNTY TAM,&nbsp; MARA TRAUMANE and SUSANNE 
SCHUMACHER<BR></EM></DIV>
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