Roy Ascott (b.1934, Bath, England) ::: Article

Artist, researcher, art theorist. He is one of the pioneers of European cybernetic and telematic trends in contemporary art. Initiated a number of telematic, net and interactive projects, among them: "Terminal Art" (USA-Great Britain, 1980), "La Plissure du Texte" (Musee d'Art Moderne, Paris, 1983), "Planetary Network" (XLII Venice Biennale, Venice, 1986), "Aspects of Gaia" (Ars Electronica, Linz, 1989), "Art-ID/Cyb-ID" (Biennal do Mercosul, Portu-Alegri, 1999), "The Moistmedia Manifesto" (gr2000az, Graz, 2000) and many others. Author of more than 200 articles on art and new technologies published in magazines, catalogues, anthologies, and of such books as "Art & Telematics: Toward the Construction of New Aesthetics" (1998), "Reframing Consciousness" (1999), "Art Technology Consciousness" (2000). Has taught for more than 40 years in different educational institutions around the world. Between 1975-78 was Dean at the College of the San Francisco Art Institute, between 1985-92 was Head of the Communications Theory Department at the Vienna University of Applied Arts, and between 1971-72 was President of the Art College (Toronto). He is founding editor of the magazine "Technoetic Arts" and on the editorial boards of such magazines as "Leonardo", "Convergence", "Digital Creativity". He also advises new media centres in Japan, Korea, Brazil, North America and Europe. Currently he is Director of the Centre for Advanced Inquiry in the Interactive Arts (CAiiA, University of Wales); Director of the Science Technology and Art Research Centre (STAR, University of Plymouth); and Professor at the Arts School of the University of California (Los Angeles, USA).


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I. LABORATORY: science and technology

Svetlana Borinskaya. Genomics and Biotechnology: Science at the Beginning of the Third Millennium.

Mikhail Gelfand. Computational Genomics: from the Wet Lab to Computer and Back.

Irina Grigorjan, Vsevolod Makeev. Biochips and Industrial Biology.

Valery Shumakov, Alexander Tonevitsky. Xenotransplantation as a Scientific and Ethic Problem.

Abraham Iojrish. Legal Aspects of Gene Engineering.

Pavel Tishchenko. Genomics: New Science in the New Cultural Situation.
II. FORUM: society and genomic culture

Eugene Thacker. Darwin's Waiting Room.

Critical Art Ensemble. The Promissory Rhetoric of Biotechnology in the Public Sphere.

SubRosa. Sex and Gender in the Biotech Century.

Ricardo Dominguez. Nano-Fest Destiny 3.0: Fragments from the Post-Biotech Era.

Birgit Richard. Clones and Doppelgangers. Multiplications and Reproductions of the Self in Film.

Sven Druehl. Chimaera Phylogeny: From Antiquity to the Present.
III. TOPOLOGY: from biopolitics to bioaesthetics

Boris Groys. Art in the Age of Biopolitics.

Stephen Wilson. Art and Science as Cultural Acts.

Melentie Pandilovski. On the Phenomenology of Consciousness, Technology, and Genetic Culture.

Roy Ascott. Interactive Art: Doorway to the Post-Biological Culture.
IV. INTERACTION CODE: artificial life

Mark Bedau. Artificial Life Illuminates Human Hyper-creativity.

Louis Bec. Artificial Life under Tension.

Alan Dorin. Virtual Animals in Virtual Environments.

Christa Sommerer, Laurent Mignonneau. The Application of Artificial Life to Interactive Computer Installations.
V. MODERN THEATRE: ars genetica

George Gessert. A History of Art Involving DNA.

Kathleen Rogers. The Imagination of Matter.

Brandon Ballengee. The Origins of Artificial Selection.

Marta de Menezes. The Laboratory as an Art Studio.

Adam Zaretsky. Workhorse Zoo Art and Bioethics Quiz.
VI. IMAGE TECHNOLOGY: ars chimaera

Joe Davis. Monsters, Maps, Signals and Codes.

David Kremers. The Delbruck Paradox. Version 3.0.

Eduardo Kac. GFP Bunny.

Dmitry Bulatov. Ars Chimaera.

Valery Podoroga. Rene Descartes and Ars Chimaera.
VII. METABOLA: tissue culture and art

Ionat Zurr. Complicating Notions of Life - Semi-Living Entities.

Oron Catts. Fragments of Designed Life - the Wet Palette of Tissue Engineering.

Dmitry Prigov. Speaking of Unutterable.

Wet art gallery





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