Thought this lecture may interest some of you. Also the following two lectures are applicable to the course material. I suggest you attend Joe Davis' lecture if at all possible. Stephen Wilson wrote the text I mentioned earlier in the year, Intersections of Art, Science and Technology. It might provide a tidy ending to the course to attend his lecture.

Does Software Want a Social Life?
Interactive Arena Kicks Off 2002 Lecture Series Monday

On Monday, February 25, 2002, The Canadian Film Centre's Interactive Arena presents its first lecture of the 2002 season with artist, writer and media
theoretician Joel Slayton. Slayton will discuss the "social framework", or
interrelatedness, of information technology as it is now being explored
through cutting-edge art, business and research.

Slayton's concepts will be illustrated with examples of his work created at
C5 Corporation and featured at prestigious exhibitions including Walker Art
Center, Ars Electronica, Transmediale, SIGGRAPH and Whitney Museum of
American Art. Slayton will also explore the newly blurred boundaries of
art, business and research as they collaborate in cultural production.

Slayton is Professor of Art and Director of the CADRE Laboratory for New
Media at San Jose State University and founder and President of C5
Corporation. He is also Chair of the Leonardo/MIT Press Book Series, a
member of the Board of Directors of the Silicon Valley arts organization
ZeroOne, a recipient of a National Endowment for the Arts award and
artist-in-residence at the Xerox Parc Research Centre in Palo Alto.

Joel Slayton - "Organic Information Structures"
Monday, February 25, 2002, 6:30pm
Design Exchange, Trading Floo
234 Bay Street, Toronto
Tickets: $12 general public / $10 DX members & Film Centre alumni / $6
students & seniors
Info: 416-216-2160 / info@cdnfilmcentre.com

Now in its fifth season, Interactive Arena is a monthly series exploring the
converging worlds of design, new media and technology by bringing to the
podium some of the most innovative and influential thinkers at work in
international new media today.

Upcoming Interactive Arena Lectures:
March 20, 2002
Joe Davis - artist, writer and MIT research fellow discusses The 4th
Dimension: Genesthetics

April 15, 2002
Stephen Wilson - author, artist and Head of Conceptual/Information Arts, San
Francisco State University discusses Intersections of Art, Science and

Interactive Arena is presented by Canadian Film Centre's h@bitat in
partnership with founding sponsor
DXNET and patrons Holmes and Lee and Shift. For more information, visit



In Class 7 we will look at the writing of Vandana Shiva and the movement of artists working with but also critiquing genetic manipulation of living things Please take a look at the following sites: .Artists for Responsible Genetics, Interview with Vandana Shiva and look at the weblog archive from 11/18/2000 posted by Dana on Art and the Human Genome Project.
Professor Stephen Morris will be visiting our class on Monday, March 04. He will speak about his research in non-linear physics. You may want to check out his website : Non-linear Physics Also you can check out the website for a course which Prof. Morris teaches at Uof T, which has some bearing on Art, Science and Nature. Physical Science in Contemporary Society



I spoke last week about the Muslim roots of the scientific method. Here is the link: scientific method


This note is really for Cliff, but it applies to anyone interested in early scientific thought. Arthur Koestler has written a book called THE SLEEPWALKERS which, as per the front cover, is "the classic account of the great astronomers - from the early Greeks through Copernicus and Galileo." Koestler is a very thorough in this book and covers thought during the dark ages as it leads into the Renaissance.


Here are some links/resources that I am forwarding from David.

http://slashdot.org/ - Culture and Technology - Awesome for daily news.
http://www.newscientist.com/ - Cultural Scientific news.
http://www.newscientist.com/hottopics/quantum/inthebeginning.jsp - Quantum Theory
http://www.newscientist.com/news/news.jsp?id=ns99991757 - Amusing.
http://www.howstuffworks.com/ - Good place to find out how things work.
http://www.howstuffworks.com/relativity1.htm - Special Relativity.
http://www.nature.com/nature/ - Pure Science
http://www.nature.com/nsu/020107/020107-2.html - Bose-Einstein Condensate / Stopping Light
http://www.kurzweilai.net/index.html?flash=2 - Ray Kurzeil - Artificial Intelligence
http://www.nanodot.org/ - Nanotech
http://www.sciam.com/ - More Science
http://arstechnica.com/ - Good for tech news
http://arstechnica.com/reviews/2q00/dna/dna-1.html - Primer on DNA Computing

The Age of Spiritual Machines - Ray Kurzweil (Artificial Intelligence)
The Difference Engine - Bruce Sterling and William Gibson (Fiction)
Cryptonomicon - Neal Stephenson (Fiction - Encryption)
Fermat's Enigma - Simon Singh ( Mathematics)
The Code Book - Simon Singh (Encryption)
Godel, Escher and Bach - Douglas R. Hofstadter (Unusual theories connecting Math, Art and Music. Touches on genetics as well.)
Chaos - James Gleick (Chaos Theory)


Hello Everyone in the 2002 Artscinat class.

I will post information pertaining to the class in this space for your perusal. I am going to leave the archive of past discussions fyi. Some of the info may prove helpful to something that you are working on.

Please feel free to post items your self.


I just spoke to Scott Menary, the Physics professor at York who we will be visiting on Monday. Driving onto campus is not a good idea, since the wait is about an hour. We will meet outside OCAD at 12:30 and take the subway up to York together. Please email me at calgord@pipcom.com in order to acknowledge this message. Alan thanks for you help on this but we won;t be needing the van after all.


this msg is for josh i have your Chaotic Dynamical Systems book - jerry
will have it back to you on friday forsure.


This is a web project by Diane Luden called the Genetic Response System.... she says:

The first element of the Genetic Response System will be to design an artificial life form -a Viroid whose manifestation will be circumscribed by the parameters of search strings that will seek out the latest information on genetic developments- be they real or imaginary. The Viroid as life form will define itself via the outcome of knowledge it gains in its seeking out specific information about genetics on-line such as ‘Speed Economies (the flow of biotechnology stocks) DNA Harvesting (like the Human Genome Project) VR Timeline (a mapping of the history and development within Capital from this century).

The Genetic Response System is the first project of a larger attempt to build a staging process that can trace the flow of this new genetic economy in present. These Viroid engines will cover and juxtapose both scientific representations of bio-research and methods.
Oh yeah, and I went to Zsa Zsa Saturday night, but the installation wasn't running. According to InterAccess, it was supposed to be on until Saturday. According to Zsa Zsa, it was finished Thursday. Oh well.


Visit Art in the Genetic Age featuring links to articles and artists discussing the HGP. Make sure you check out Picturing DNA, an upcoming book about relationships between art and genetics.

Also: Creative Time's DNAid--a public project in NYC to raise awareness about the importance and implications of genetic research.

If you're reading this on Saturday, you can still check out an installation at Zsa Zsa Gallery tonight (the last night) between 6-11pm by Nell Tenhaaf, called "dDNA (d is for dancing)". I wish I had known about it sooner, it's in conjunction with the Intimate Perceptions show at InterAccess. Anyway, I'm going to go to videotape it. I'll bring it in to class on Monday.


Here are the links to the websites I was talking about
Institute for Applied Autonomy
The Centre for Metahuman Exploration


some interactivity articles by David Rokeby for next class


Upcoming Events at the Goethe Institute:

Screening | Sat Nov. 11, 7pm
This series focuses on both historical and contemporary international examples of work dealing with postmodern notions of the human body, exploring the interface between the applications and implications of new digital and enhanced imaging technologies in the medical sciences and the reflection upon their meaning in the arts and popular culture. Featuring works by: Peter Campus, Judith Doyle, Su Rynard, Joan Jonas and more...

Opening | Sat Nov 18, 3:30-6pm
A six-channel video installation with large-screen website projection focusing on the theft of art during WWII. This work was first developed for the Offenes Kulturhaus in Linz, Austria in 1994 and has since travelled to major galleries in Tokyo, Bremen, Stockholm and Detroit.

Symposium | Sun Nov 19, 2-5:30 pm
Vera Frenkel's Body Missing is siutated within the context of critical discourse around the ambiguities and meanings of new technologies and an image based culture.
Christoph Tholen (Kassel), "Between the Images: Hybrid Culture and New Media."
Sigrid Schade (Bremen), "On the Symbolic Circulation of Art: Vera Frenkel's Body Missing in the political context of the German debate on stolen art in the 90s."
Jeanne Randolph (Toronto), "Electronic Fantasies under Metaphorical Truths: Psychoanalytic Hypotheses about Vera Frenkel's Body Missing Project."

All events take place at the Goethe Institute, 163 King Street West, Toronto (at University)


On Thursday the 26th of October Doug Back will be meeting an academic who writes on technology in Everquest. This meeting will be projected in his class at about 1:30. You are invited to attend that class if you are interested. I will talk about this more on Mon.

Norman and I have been preparing to establish a student/faculty/user run
Internet server facility so that net artists can explore, develop, modify
and install their own back-end to web, email, or other net projects. We
have received support from the ACC who will be providing connectivity. We
have one Linux box ready to go as a router, which we can then hang other
servers off (production servers, development servers, Linux and/or
Windows). We are having the first meeting of anyone interested in
participating Monday, October 23 at 12:00 in the Electronics Lab. This will
be a hands-on learning experience for all involved.

You are invited. Please feel free to invite others who you think may benefit.


Renaissance Students
by Joyce Slaton

3:00 a.m. Jun. 7, 1999 PDT

You wouldn't know it by playing Riven or watching The Phantom Menace, but
game companies and filmmakers are having a hard time finding
special-effects artists.

So one university is taking the bull by the horns and mounting an academic
program aimed at filling the digital-effects void in Hollywood and Silicon
Valley. This fall, the University of Florida will launch its Digital Arts
and Sciences Program, aimed at churning out grads as comfy with a keyboard
and mouse as with a paintbrush.

"Computer nerds generally know nothing about art and artists don't tend to
be computer savvy," said Paul Fishwick, University of Florida computer
engineering professor and chair of the interdisciplinary committee that
created the program. "But more and more in movies, computer games, and on
the Web, we see a convergence between art and computing. The employers of
the future will need employees with a background that bridges that gap."

The program, a collaboration between the school's College of Fine Arts and
College of Engineering, requires digital arts and sciences students to take
a range of core classes Da Vinci could have taught. Those getting a DAS
degree under the ægis of the computer engineering college are required to
take drawing classes and an intro to electronic music. Art students'
classes include analytical geometry and beginning calculus, as well as
courses that provide hands-on computer experience.

"We're in a period where the average person has amazing access to
technology," said Fishwick. "Effects are everywhere: on television, on the
Web, in films."

"Even computing itself is becoming more visual," he added. "Users demand
programs with elegant, simple, pleasing interfaces, which require a
knowledge of design, a knowledge of aesthetics. As computers touch our
lives more and more, this need grows."

"If computer scientists want to make 3-D objects, they have to understand
the basics of modeling, the way light looks on a form, the basics of
color," said College of Fine Arts Assistant Dean Marcia Isaacson. "The
boundaries between computers and art are blurring."

Corporate backers of the program include SGI, the 500-pound graphics
gorilla that created the dinosaurs for Jurassic Park. The company donated
SGI machines to the DAS visualization lab. Digital Arts and Sciences is
also getting assistance and advice from Cinesite Visual Effects, the Kodak
special-effects studio that did work for The Mummy and Titanic.

Richard Kidd, computer graphics supervisor for Cinesite, said the effects
industry is hurting for employees who don't need on-the-job training.

"Almost no employees come to us with a background in both art and science,"
Kidd said. "Companies have to spend time and money teaching artists to use
computers or teaching programmers about art, and when the typical employee
leaves after the typical two years, they take all that training with them."

"It's a very competitive industry," said Dave Stemation, SGI Higher
Education account manager. "Employees ready to work right out of the gate
are very rare. They usually learn on the job how to combine effects
disciplines, but if they learn that before they even come to work, they're
going to be priceless."