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SOBRE O 6º ENCONTRO

O 6º Encontro Internacional de Grupos de pesquisa: “Convergências entre Arte, Ciência e Tecnologia & Realidades Mistas”: Lugares da Experiência a ser realizado, em parceria, entre o Instituto de Artes da Universidade Estadual Paulista e pela Escola de Comunicações e Artes da Universidade de São Paulo no primeiro semestre do corrente ano, será realizado em sua sexta edição anual do encontro interinstitucional, reunindo três grupos de pesquisa organizadores, a saber: Grupo GIIP – “Grupo Internacional e Interinstitucional de Pesquisa em Convergências entre Arte, Ciência e Tecnologia” – IA-UNESP/CNPq – coordenado pela Profa. Dra. Rosangella Leote; Grupo CAT – “Ciência/ARTE/Tecnologia” – IA-UNESP/CNPq – coordenado pelo Prof. Dr. Milton Sogabe e Prof. Dr. Fernando Fogliano; e Grupo de Pesquisa “REALIDADES - da realidade tangível (extramentis) à realidade ontológica - (intramentis)”- ECA-USP/CNPq, coordenado pela Profa. Dra. Silvia Laurentiz.

 

Na relação entre estes grupos existem os parceiros de pesquisa do GIIP, líderes de grupo de 4 universidades do exterior e de cinco universidades públicas brasileiras (UNB, UFRJ, UFSM, UFG e UFBA), todos colaboradores contínuos em pesquisa.

A maioria deles vêm participando todos os anos, com apoios que temos obtido da FAPESP, da CAPES, da UNESP e da USP, para sua vinda à São Paulo. O mesmo acontece com os convidados. Em cada edição trazemos 3 convidados com o papel de Keynote, conforme o tema que escolhemos discutir. Neste caso: “Lugares da experiência”.

 

O formato do evento segue uma estrutura de seminário, onde se costuma promover ambiente de troca e discussão sobre questões da relação entre arte, ciência e tecnologia, seus efeitos estéticos e sobre o impacto na Arte como conhecimento, resultado de uma colaboração entre diferentes campos de saber. Visa, também, instaurar novos intercâmbios institucionais de pesquisa e produção artística, bem como, consolidar e fortalecer parcerias já existentes entre diferentes grupos de universidades brasileiras e estrangeiras. Os encontros de estudos, promovidos por estes três grupos ,priorizam a participação de alunos de graduação e de pós-graduação, mas são abertos ao público interessado.

 

Entre os realizadores estão pesquisadores de todos os níveis acadêmicos e de pesquisa (PD, DR, MS, IC, Grad e Técnicos). O encontro foi criado visando, também,   oportunidade para que os pesquisadores iniciantes pudessem ser introduzidos nos processos de divulgação da pesquisa, reconhecerem modelos de postura e comprometimento, ampliar seu portifólio e currículo aumentando suas chances de seleção para o mestrado, bem como exercitar a prática que deverão seguir em suas carreiras. O evento se encontra ainda aberto para ouvintes externos aos grupos, contribuindo assim para a formação científica e compartilhamento de conhecimentos dentro e fora das universidades parceiras.

 

Esta edição tem a realização ao encargo dos pesquisadores do GIIP.

 

EXPOSIÇÃO: LUGARES DA EXPERIÊNCIA

 

Compõe o evento, deste ano, a exposição “Lugares da Experiência”, com obras de Arte/Ciência/Tecnologia. A exposição tem como objetivo a exibição de trabalhos artísticos derivados das pesquisas dos grupos e seus indivíduos, bem como dos convidados do 6º Encontro.

 

Local: Galeria do Instituto de Artes da UNESP             

Rua Dr. Bento Teobaldo Ferraz, 271 - Barra Funda, São Paulo - SP

Data:  27 de junho à 01 de Julho de 2016

 

PESQUISADORES PARTICIPANTES DO EVENTO

 

Grupo CAT – ciência/ARTE/Tecnologia – IA-UNESP/CNPq

Coordenação: Prof. Dr. Milton Sogabe e Prof. Dr. Fernando Fogliano (SENAC-SP)

Grupo Realidades – ECA-USP/CNPq

Coordenação Profª Drª Silvia Laurentiz 

Grupo GIIP – Grupo Internacional e Interinstitucional de Pesquisa em Convergências entre Arte, Ciência e Tecnologia – IA-UNESP/CNPq

Coordenação: Profa. Dra. Rosangella Leote


SOBRE OS CONVIDADOS

CHRISTA SOMMERER (AUSTRIA)

Christa Sommerer is an internationally renowned media artist, researcher and pioneer of interactive art. After working, researching and teaching in the US and Japan for 10 years, she in 2004 together with French media artist Laurent Mignonneau set up the department for Interface Cultures at the University of Art and Design in Linz, Austria, where they are both professors. She is also an Obel Guest Professor at Aalborg University, Denmark, and together with Laurent Mignoneau Chaire International Guest Professors at the Université Paris 8 in Paris, France. Together Sommerer and Mignonneau created around 30 interactive artworks, for which they received numerous awards: the BEEP Award at ARCO Art Fair in Madrid in 2016, the 2012 Wu Guanzhong Art and Science Innovation Prize which was bestowed by the Ministry of Culture of the People’s Republic of China; the 1994 Golden Nica Prix Ars Electronica Award; the 1995 Ovation Award of the Interactive Media Festival in Los Angeles; the Multi Media Award'95 of the Multimedia Association Japan, the 2001 World Technology Award of the World Technology Network in London UK and the PRIZE 2008 - uni:invent Award, which was bestowed by the Ministry of Science and Research in Austria.

 


Tema da Palestra: Interactive Art - Between Participatory Strategies and Interaction Design

 

Artists and designers in the area of interactive art have been conducting artistic research in human-machine interaction for a number of years now. Interaction and interface design have not only had their roots in human computer engineering but have also seen parallel developments in media art. With products of interactive technologies increasingly spreading into our private and professional lives, it is interesting to see where early notions of interactivity and user participation came from and how artists over the past 40 or more years have already looked at the merits of audience involvement in their artistic work. In this lecture artistic and social notions of interactivity will be addressed and specific examples of the artistic works by Sommerer and Mignonneau as well as the Interface Cultures Department at the University of Art in Linz will be presented.

 


ELLEN DISSANAYAKE (ESTADOS UNIDOS)

Ellen Dissanayake is an independent scholar, author, and lecturer whose writings about the arts synthesize many disciplines, including evolutionary biology, ethology, cognitive and developmental psychology, cultural and physical anthropology, neuroscience, and the history, theory, and practice of the various arts. Since 1991, she has presented over a hundred invited lectures to audiences in Europe, Australia, Argentina, Russia, and Bangladesh, as well as the United States and Canada. Combining her interests in the arts and evolutionary biology, and using insights drawn from fifteen years of living and working in nonwestern countries (Sri Lanka, Papua New Guinea, India, and Nigeria), she has developed a unique perspective that considers art (including music) to be a normal, natural, and necessary component of our evolved nature as humans. She is the author of three books published by the University of Washington Press (What Is Art For?, Homo Aestheticus­--translated into Chinese and Korean, and Art and Intimacy), as well as more than eighty scholarly and popular articles and book chapters. Just published is an Italian translation of seven of her scholarly articles in a volume titled L’infanzia dell’esthetica: L’origine evolutiva delle pratiche artistiche.  She currently resides in Seattle where she is an Affiliate Professor in the School of Music at the University of Washington. See also: www.ellendissanayake.com

Tema da Palestra: Viewing Art from the Bottom Up (25’)

 

Historically, the subject of art and aesthetics in the Western European tradition has been approached from what might be called the “top down.” From the time of Plato, ideas about art and aesthetics were the province of philosophy and religion, invoking such abstractions as Mind, Truth, Being, Pure Form, spiritual reality, and states of transcendence or transfiguration. Although artists and art theorists of the past few decades have rejected these pervasive high-minded, idealistic notions of the arts, their convoluted arguments are themselves dependent on top-down, inward-looking, arcane, and complex vocabulary and concepts that have little apparent relationship to the physical works that are their subject or to the arts of non-Western and pre-modern cultures.

In contrast, I try in my work to develop a view of art and aesthetics from the “bottom up” -- that is from acknowledging their material reality and the recognition that the arts are motivated by universal human emotions, made with universal human capabilities, and experienced with human brains and bodies. They originated in our ancestral past to help us survive and reproduce. This approach rests upon scholarship from many diverse fields—evolutionary biology, ethology, cognitive and developmental psychology, cultural and physical anthropology, cognitive archaeology, neuroscience, and the history, theory, and practice of the various arts. In this perspective, the top-down view can be subsumed in the bottom-up approach.

 

ALEXANDER PETERHAENSEL ​(ALEMANHA)

 

Alexander Peterhaensel is an interdisciplinary audiovisual media artist, performer, composer and researcher. He teaches CGI and VFX in the context of digital film making. He is especially interested in visual music, immersive architectures and systems engineering as an artistic field. He has performed and exhibited at various international festivals and has released several records. Currently he is part of the artistic research ensemble KairosTheory and a member of the research group GIIP at the UNESP São Paulo. Since 2014 he is assistant professor for Moving Image at the University of the Arts Berlin ­ Institute for time based media. See also: www.alexanderpeterhaensel.com

Tema da Palestra: Towards immersive Architectures: Virtual spaces of experience through computer based visualization methods

 

An analysis of CGI in film making. This foundation paper will analyze current Hollywood movies on their use of CG visualization methods like previsualization, virtual production and real time compositing. It will give an overview of the state of the art production techniques and will carve out their interdisciplinary nature. By doing so this paper will lay the groundwork for further research on the potential and relevance of CG visualization in interdisciplinary design processes for the creation of immersive architectures and virtual reality (VR) spaces.
 

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