TRANS October 19-22, 2006
KEYNOTE SPEAKERS
Widely
recognized for her work in contemporary philosophy, aesthetics
and communication technologies, Professor Johnny
Golding is a working
philosopher holds the Chair in Philosophy of the Visual Arts and
Communication Technologies (University of Greenwich, London) and is founding
Director of their postgraduate MEDIA ARTS PHILOSOPHY & PRACTICE (MAPP:
a
multi-media, critical and practice-based research programme interweaving
the
fine arts, music composition, architecture, computing math sciences,
contemporary philosophy and design). Embedded within this programme: live
broadcast/streaming of the philosophic debates. Called: ³Low Fidelities²,
archived on the web at (www.gre.ac.uk/~gs04). Coordinates online debating/discussion
list crstuds_mediacults_prac_arts@yahoogroups.com <mailto:crstuds_mediacults_prac_arts@yahoogroups.com>
Professor Golding¹s
research covers the intra/ interdisciplinary fields of media arts, ethics
and meta-mathematics - under a general rubric of visual/acoustic poetics.
Bridging the landscapes between and amongst the
arts, sciences, and creative technologies, this has meant, in the main,
a move toward relocating the digital environment as something closer to
a poetic, wherein"poetics" circumscribes the speed, energy,
mass and oddly sensuous logics of the "information age". Explored
in greater detail in my most recent manuscript, Dirty Theory
(Routledge, forthcoming 2007) and through her latest video work "God
is a Lobster (and other forbidden
bodies)" (Cologne/Istanbul/London: 2005), the general implications
have a bearing not only on the way in which one might conceive of "media"
(as method, as market, as communication, as industry, as architecture,
as art),
but it also has a bearing on the contemporary invocations of visual culture,
violence/war/terror(ism) - and, with it, the age old politico-ethical
question: what does it mean to be "human" (and, what can this
"we" become)?
Currently
director of the Visual Culture program at NYU, Nicholas
Mirzoeff was previously professor of Art History at SUNY
Stony Brook. Nicholas Mirzoeff took his PhD at the University of Warwick,
England in Art History in 1990. Since that time he has held postdoctoral
fellowships from UCLA, the J. Paul Getty Center for the History of Art,
the Yale Center for British Art and the Humanities Institute at SUNY Stony
Brook. His work began by the diversifying of art history, as evidenced
in Silent Poetry: Deafness, Sign and Visual Culture in Modern France
(1995) and Bodyscape: Art, Modernity and the Ideal Figure (1995).
It now concentrates on the theory and practice of visual culture, leading
to The Visual Culture Reader (1998/2002), An Introduction
to Visual Culture (1999) and the edited volume Diaspora and Visual
Culture: Representing Africans and Jews (2000). His most recent book
was Watching Babylon: The War in Iraq and Global Visual Culture
(2005) and he has essays in recent issues of African Arts, Radical
History Review and TDR. He has recently held fellowships
at the Australian National University, the Clark Art Institute and the
University of Canterbury, Christchurch, New Zealand. His current project
is entitled Visual Rights.
Olu Oguibe is associate
professor in the department of art and art history and associate director
of the Institute for African American Studies at the University of Connecticut,
as well as a senior fellow of the Vera List Center for Art and Politics
at the New School, New York and the Smithsonian Institution, Washington
D.C. He began his career as a critic writing art, theatre, film, and literary
reviews for the London weekly magazine, West Africa. Since then
his writings have appeared in numerous other publications, including Flash
Art International, Art Journal, Texte zur Kunst,
Third Text, Criterios, Zum Thema and Nka:
Journal of Contemporary African Art, which he co-founded and edited
for many years.
Oguibe has made seminal contributions to contemporary art theory, postcolonial theory, and new information technology studies, some of which may be found in volumes such as Art History and its Methods, The Visual Culture Reader, Art in Theory 1900-2000, The Third Text Reader on Art and Culture, The Black British Culture and Society Reader, Theory in Contemporary Art: From 1985 to the Present, and Reading the Contemporary: African Art from Theory to the Marketplace, which he co-edited for MIT Press.
Olu Oguibe is also a practicing conceptual artist whose work has been exhibited in major galleries and museums around the world including the Whitney Museum of American Art, the Smithsonian Institution, Whitechapel Gallery, the Barbican, the Irish Museum of Modern Art, the Bonnefantenmuseum, the Migros Museum, the art biennials of Havana, Busan and Johannesburg, the Echigo triennial of environmental art, and the ceramics biennials of Ligure, Italy and Icheong, Korea. His permanent public art works may be found in Nigeria, Germany, Japan and South Korea. As a curator he has organized major exhibitions for venues such as the Tate Modern in London, the municipal museum of Mexico City, and the Venice Biennale. His most recent book is The Culture Game (Minnesota, 2004).
Leslie
Hill and Helen Paris are writers, performers, filmmakers
and co-directors of Curious, the award winning London-based production
company (www.placelessness.com).
Over the last ten years they have created and toured over 30 performance,
film and video projects in Europe, North America, Australia, Brazil, China
and India. Hill and Paris’s publications include Performance
and Place (Palgrave Macmillan), 2006 and Guerilla Performance:
How to Make a Living as An Artist, (Continuum), 2004. Leslie Hill
is a NESTA Dream Time Fellow. Helen Paris is Director of the MA in Contemporary
Performance Making at Brunel University, London, UK.
File Last Updated:
December 1, 2006
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