KUNST x TECHNIEK
een STT toekomstverkenning
Archive for the month “November, 2012”
1 en 2 december: RijksakademieOPEN
Tijdens RijksakademieOPEN 2012 tonen 56 kunstenaars nieuw werk in hun atelier en bieden een blik op de toekomst van de kunst.
De kunstenaars die hun werk tonen hebben zich een jaar lang geconcentreerd op onderzoek, experiment en de productie van nieuw werk. Zij tonen uitkomsten van intense werkprocessen, resultaten van veelvuldig experimenteren of versmeltingen van nieuwe invalshoeken.
Naast de presentaties zijn er performances, verschillende soorten rondleidingen, Rijksakademie Talks en is er het kinderatelier.
Making and transforming art: changes in artists’ materials and practice
International symposium of the ICOM-CC working group on Art Technological Source Research (ATSR)
The Royal Institute for Cultural Heritage (KIK-IRPA) is honoured to host the interim meeting of the ICOM-CC working group on Art Technological Source Research (ATSR) in Brussels on 22-23 November 2012. The colloquium is intended for all scholars who are interested in art technology: conservators, art-historians, scientists, technical art historians and artists.
This conference is the fifth in a successful series of interim meetings of the ATSR working group: following upon symposia in Amsterdam (2004), Madrid (2006), Glasgow (2008) and Vienna (2010).
The aim of the interim meeting is primarily to provide a forum for discussion of art technological source research, exploring artists’s practices as recorded in technical treatises, manuals, correspondence and journals, and also in images such as photographs, films or prints. The focus of this year’s meeting is the transformation of artists’s materials and works of art, as documented in visual and written sources
GO TO: http://org.kikirpa.be/ATSR5/
neuroaesthetics, or why you like art
New Scientist: Get the picture? Art in the brain of the beholder
by Kat Austen
“… The idea was to bring scientific objectivity to the study of art, in an attempt to find neurological bases for the techniques that artists have perfected over the years. It has already offered insights into many masterpieces. The blurred imagery of Impressionist paintings seems to tickle the brain’s amygdala, for instance, which is geared towards detecting threats in the fuzzy rings of our peripheral vision. Since the amygdala plays a crucial role in our feelings and emotions, that finding might explain why many people find these pieces so moving.
Could the same approach tell us anything about the controversial pieces that began to emerge from the tail end of Impressionism more than 100 years ago? Whether it is Mondrian’s rigorously geometrical, primary-coloured compositions, or Pollock’s controversial technique of dripping paint onto the canvas in seemingly haphazard patterns, the defining characteristic of modern art has been to remove almost everything that could be literally interpreted…”
READ THE FULL ARTICLE AT: http://www.newscientist.com/article/mg21528732.000-get-the-picture-art-in-the-brain-of-the-beholder.html?full=true
The Clipperton Project
The Clipperton Project invited a group of 20 artists and scientists, from 8 different countries, on a 3 week journey to this isolated French atoll in March 2012. The project uses Clipperton (and the other locations visited as part of our multidisciplinary expedition series) as a springboard from which to approach challenging debates relating to issues of international relevance.
SONIC ARCHEOLOGY LAB AND WORKSHOP BY MARTIN HOWSE
Sonic archeology, essentially, is the exploratory probing of phenomena through sonic amplification, creating audible maps of otherwise un-detectable events in the natural world. Examples range from the early phonographic experiments of Thomas Edison to the more paraphysical realm of EVP (electronic voice phenomena).
This hands-on workshop aims to equip the sonic archaeologist with a range of DIY techniques for forensic examination of the material and immaterial. A series of experimental situations will be established: probing natural micro worlds and the paraphysical, investigation through audible excitation, transformation and detection (ultrasound, infrasound, interference, light, surface playback, electrochemistry). The workshop will equally examine classical techniques of EVP (electronic voice phenomena) as well as new practices suggested by these strategies of detection.
Dates: Dec 8-9, 2012
Time: 11:00 – 18:00 (each day)
Cost: €70 (includes materials)
Location: STEIM, Achtergracht 19, 1017WL Amsterdam
Maximum Participants: 15
For more information and online registration please visit steim.org
KUNST x TECHNIEK 