February 14, 2019: Ruijun Shen

For the 3rd colloquium of the semester, held on February 14, 2019 (Thursday), we are very pleased to welcome Chinese curator and artist Ruijun Shen, who will give a talk on the topic Into Nature: my practice as a curator and artist.

The talk will start at 4:00 pm in M6094 Future Cinema Studio.

Date: February 14, 2019 (Thursday)

Time: 4:00 pm

Venue: M6094 Future Cinema Studio, Run Run Shaw Creative Media Centre, 18 Tat Hong Avenue, Kowloon Tong

Topic: Into Nature: my practice as a curator and artist

Abstract:

Instead of images, Ruijun Shen constructs situations and create experiences in her work. She believes that human beings live in situations where every objects and events are interconnected. Everything can be transformed into something else in order to achieve a dynamic balance. Taking nature as reference, Shen’s work is involved in different media, including painting, drawing, installation and animation. As a curator, Shen has curated many successful exhibitions in China and the U.S.

Chinese garden is a long-term research topic on Shen’s curatorial practice. In this lecture, Shen will introduce her artistic practice as well as her method of taking Chinese garden as an entry point for contemporary curating. Some questions such as the function of art, the way towards professional artist and curator paths, the way of finding the self will be discussed.

Biography:

Ruijun Shen conceptualizes her painting-based practice as a form of extended meditation and a means of processing tensions between time and space in the world around us. Inspired by Confucianism and Tao Chinese philosophy, her work is deeply invested in exploring the various connections that define our everyday. Shen received her MFA from the School of the Art Institute of Chicago and has exhibited extensively throughout China as well as internationally.

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January 22: Dr. Giorgio Biancorosso

For the second colloquium of the semester, held on January 22, 2019 (Tuesday), we are very pleased to welcome Dr. Giorgio Biancorosso, who will give a talk on the topic Wong Kar Wai’s Soundtracks or The Filmmaker as Music Bricoleur.

The talk will start at 4:00 pm in M6094 Future Cinema Studio.

Date: January 22, 2019 (Tuesday)

Time: 4:00 pm

Venue: M6094 Future Cinema Studio, Run Run Shaw Creative Media Centre, 18 Tat Hong Avenue, Kowloon Tong

Topic: Wong Kar Wai’s Soundtracks or The Filmmaker as Music Bricoleur

Abstract:

Composition, we are taught, is the creation from scratch of new sound structures. Yet since time immemorial musicians have repurposed already-existing music into their own work. This practice, referred to as borrowing, blurs the line between composition and performance and forces us to rethink the nature of musical creativity: Is it singular or diffused, individual or communal? Recording, tape and now digital technologies have added new dimensions to musical borrowing. By making it easier to encounter, store and play back vast amounts of repertoire, they have enabled countless people—including non-musicians—to mix and match musics from the most disparate sources. After anthropologist Lévi-Strauss, I call this mode of composition ‘musical bricolage’ and argue that filmmakers are among its most consummate masters. To bear this out, I examine the musical nexus at the heart of Wong Kar Wai’s cinema. Directing films is for Wong a way of channelling creatively the habit of chancing upon, collecting and listening to music in the commercial and artistic entrepôt of Hong Kong. Wong’s use of already-existing music is shaped by the circumstances of his films’ production and reception, his celebrated ‘musical ear’ as well as penchant for ‘poaching’ music from other films (ranging from old Chinese melodramas to European art films). There emerges is a unique modus operandi through which music loses its previous associations and acquires a new and sometimes surprising identity. Far from being instances of citation, homage or allusion, Wong’s musical borrowings are expedient and transformative. The soundtracks to his films chart his transformation from music lover and end-user into bona fide composer or better re-composer of the very repertoires he explores—the filmmaker as music bricoleur.

Biography:

Giorgio Biancorosso (PhD, Princeton, 2001) is the author, most recently, of Situated Listening: The Sound of Absorption in Classical Cinema(Oxford University Press, 2016) and “The Phantom of the Operaand the Performance of Cinema (Opera Quarterly, 34:2-3, 2018). His work on the history and theory of listening practices reflects a long-standing interest in musical aesthetics, film music, and the history of global cinema. Before moving to The University of Hong Kong, where he is now Associate Professor in Music and Director of the Society of Fellows in the Humanities, in 2001-2003 he was a Post-Doctoral Fellow at Columbia University’s Society of Fellows in the Humanitiesand a Visiting Assistant Professor in Music also at Columbia in 2003-04. Aside from film music, film criticism, and musical aesthetics, his interests include musical dramaturgy and the psychology of music. Biancorosso is also active in Hong Kong as a programmer and curator. He is the Chairman of the Hong Kong New Music Ensembleand a member of the Programme Committee of the Hong Kong Arts Festival. In recognition of his work, HKU awarded him the Outstanding Young Researcher Award in 2009 and the Research Output Prize (Arts) in 2016/17.

January 17, 2019: Jacco Borggreve

For the first colloquium of the semester, held on January 17, 2019 (Thursday), we are very pleased to welcome Netherlands-based new media and performance artist Jacco Borggreve, who will give a talk on the topicA Grey Dilemma: Artificial Life and Artificial Death.

The talk will start at 4:00 pm in M6094 Future Cinema Studio.

Date: January 17, 2019 (Thursday)

Time: 4:00 pm

Venue: M6094 Future Cinema Studio, Run Run Shaw Creative Media Centre, 18 Tat Hong Avenue, Kowloon Tong

Topic: A Grey Dilemma: Artificial Life and Artificial Death

Abstract:

As new and emerging technologies seem to act in an increasingly more lifelike manner and humans begin to tinker at the very fundamental of biological life and previously conceived binary states of being are increasingly more blurred or proven false, it is time to rethink our notions of the ontology of life and by extension rethink the concept of death. Using examples from philosophy, mythology, art, popular culture and media theories Borggreve will examine why the current definitions of life will soon prove to be problematic and how we could better prepare for new, artificial and perhaps alien forms of life.

Biography:

Jacco Borggreve is a Netherlands-based new media and performance artist who has used implants, biomedical sensors, data-exhibitionism and automated processing to research the quantified self, data-ontology, death, self, unity and the body. He became national news after using his implant to broadcast his location in a performance that lasted eight months. This performance lead to participation in an ethics committee regarding citizen surveillance and smart-city development for the Dutch government. He was a guest curator for a series of exhibitions in Lil’ Amsterdam Gallery, his work was awarded the Trias Innovationis prize for Art & Science by QAQS. The artist collaborated with the University of Twente on a series of projects regarding citizen participation and multiculturalism. Borggreve is currently involved in research within the faculties of Smart City Research, Smart Textiles and Ambient Intelligence at Saxion University of Applied Sciences where he is leading a course on capacitive relational thinking, supervising a graduation project on the use of EEG systems in Smart City development and furthering his research on performing arts, artificial life and complex system theory.

November 2: Soojin Lee

For the next colloquium, held on November 2nd, 2018 (Friday), we are very pleased to welcome Korean Professor Soojin Lee, who will give a talk on the topic “Art and Creativity in the Era of Artificial Intelligence”.
The talk will start at 4:00 pm in M6094 Future Cinema Studio.

Date: November 2 (Friday)
Time: 4:00 pm
Venue: M6094 Future Cinema Studio, Run Run Shaw Creative Media Centre, 18 Tat Hong Avenue, Kowloon Tong

Topic: Art and Creativity in the Era of Artificial Intelligence – Models, Transformations and Contextualization 

Abstract:

My research over the past 6 years has focused on the visual and cinematographic representation of robots, A.I. and post-humans. I’ve been looked carefully cultural codes and filmic codes, also principles and structures of various artistic productions.
Nowadays I examine A.I. projects such as Sunspring written by Benjamin of New York Technology University and The Next Rembrandt project of Delf Technology University, etc. Various experiments on A.I. Art (or Computational Creativity) are taking place in many fields, the results are evolving surprisingly and rapidly. This presentation concerns this current needs to redefine the concept of creativity in the digital paradigm shift.
First, I will briefly introduce the principles of A.I. Art through the art project based on A.I. technology and we examine the concept of the algorithm. In fact, media art researchers explain that algorithms do not only appear in digital media and A.I. technology.
I want to look through shortly the history of Literature, Installation and Algorithmic Art to understand how algorithms can be understood from a Humanities studies’ point of view. Furthermore, we will think about how the creativity in the era of A.I. should be defined. I will introduce one example <Life Writer> of artists Laurent Mignonneau and Christa Sommerer as a new type of production in which algorithms are introduced.

Biography:

Soojin Lee (born 1974) is a professor in the Department of Cultural Contents and Management at Inha University in Korea, and PhD of French literature at Paris 8 Vincennes Saint-Denis University. Specialty is the Semiotics of Cinema.

She is also a member of the research team of the project Technohumanities of Inha.
Her publications include A Reading of IM Kwon-Taek’s film (2005, in France), Beyond Pictures (2013, in Korea), Transhumanities (2013, in Korea), SF, Possibility of humans and machines (2017, in Korea). And the Korean translations of Christian Metz’s books: The Essay on Signification in Cinema I, II (2011) and The Imaginary Signifier (2009).

November 23: Alexey Marfin

For the next colloquium, held on November 23, 2018 (Friday), we are very pleased to welcome filmmaker and creative director Alexey Marfin, who will give a talk on the topic The Neon-Lit Streets of Cinema”.

The talk will start at 4:00 pm in M6094 Future Cinema Studio.

Date: 23 November 2018 (Friday)

Time: 4:00 pm

Venue: M6094 Future Cinema Studio, Run Run Shaw Creative Media Centre, 18 Tat Hong Avenue, Kowloon Tong

Topic: The Neon-Lit Streets of Cinema

Abstract:

What does ‘the future’ look like?

You could be forgiven for thinking of a dense neon-lit cityscape, a cross-breed of Shibuya and Kowloon Walled City, during a perpetual rainy night. But why do we have these associations? This particular vision of ‘the future’ appeared in 1980s movies because that was the rise of Japan as a superpower, during the personal electronics boom, when we walked around with Sony Walkmans, and neon signs illuminated streets across the world. Today we find ourselves in a very different society, with different hopes and fears – Japan as a rising superpower has given way to India or China, and even neon lights have been mostly replaced with LED ones – but these 1980s science-fiction cities still persist in our collective consciousness; once again confirmed in recent Hollywood blockbusters. The cities of cinema are mirrors of society at the time when they were written, but they also leave a tremendous cultural legacy for decades, shaping how we see our own world.

About the speaker

Alexey is a filmmaker and creative director, interested in life in contemporary cities. Many of his projects explore internet culture, and identity in the digital age. With a professional background in visual effects and an academic background in architecture, he brings a unique and visually rich approach to filmmaking, combining storytelling with world-design. Alexey’s work is linked to his academic research at SCI-Arc in Los Angeles, where he co-founded the MA Fiction & Entertainment program in 2015. The work of the program explores speculative fiction and critical design, through filmmaking and new media. The studio works with collaborators from Framestore, the Sundance Institute, Disney Imagineering, Netflix, Digital Domain, and more. Alexey has taught and lectured worldwide, including the Royal College of Art, Princeton University, and UCLA.

November 20: Tanya Toft

For the next colloquium, held on November 20, 2018 (Tuesday), we are very pleased to welcome researcher and curator Dr. Tanya Toft Ag, who will give a talk on the topic “Urban Media Art & Change (Expanded Reality)”.
The talk will start at 4:00 pm in M6094 Future Cinema Studio.

Date: 2O November 2018 (Tuesday)

Time: 4:00 pm

Venue: M6094 Future Cinema Studio, Run Run Shaw Creative Media Centre, 18 Tat Hong Avenue, Kowloon Tong

Topic: Urban Media Art & Change (Expanded Reality)

Abstract:

We face a task with art today – especially art that evolves in contingency with our urban media and communicative existence (urban media art) – which is to figure out what we want from it. In our current ‘aesthetic regime’, art is freed from specific rules, hierarchies, subject matter and genres (Jacques Rancière), and increasingly floating free of historical determination, conceptual definition and critical judgement (Hal Foster). In this horizontal artistic domain, since art is not what it used to be, rather than ‘what art is’ we can question ‘what art does’ (Susa Pop et al.). This leads to questions of how art is implicated with creating a sense of difference or change in the world, a perspective that has been raised by many art movements historically and that feeds recent initiatives of bringing art into labs and conversations of science, biology, architecture, and urban development.

While art has traditionally operated in a symbolic, representational layer, dealing with representational issues and a ‘crisis of perception’, the real perceptual challenges today are however mechanisms of an expanded reality: a reality shaping with digital media, data aggregation and algorithmic operations cuing our human behaviors, structures of thinking and neurological evolution. With these, today’s data culture industries change the world by targeting our neurosensory systems – contributing to what neuroscientists have named a ‘cognitive crisis’. These mechanisms are radically changing what art – art that want’s to ‘do’ and create change in the world – is up against.

In other words: global urban environments are changing, and that changes the urban context for art and art’s forms and inquiries. This situation urges us to re-evaluate art’s role in the urban context as well as how we research, produce, curate, critique and further discourse around art. How can we seize the expanding routes of art that evolve very fast with media aesthetics, that take forms and idioms we cannot ground in one disciplinary discourse, or in perspective of conditions of previous times? What do we want from art – when implicated with how things change?

Biography:

Dr. Tanya Toft Ag is a curator, researcher, writer and lecturer examining trajectories of media art(s) and urban change. She holds a Master of Arts in Media Studies from The New School, and a Master of Arts in Modern Culture with specialization in Urbanity and Aesthetics from Copenhagen University. In 2017 she gained her doctoral degree from Copenhagen University with a critical perspective on urban media art as temporal, contemporary matter in perspective of conditions of intensity, intelligence and immersion in urban media aesthetics. She has taken up visiting scholarships at Columbia University, The New School and Konstfack – University of Arts, Crafts and Design (CuratorLab). In 2018-2020 she is a research fellow at the School of Creative Media at City University of Hong Kong. She has presented her work at international conferences worldwide and held keynotes at Elektronika Festival 2018 in Belo Horizonte, Live the City 2016 in Bangkok, and City Link Conference 2015 in Copenhagen.
Her curatorial practice evolves with media art and media architecture in urban environments, as curator of the Screen City Biennial 2017 (Stavanger) and head of the biennial’s artistic research program, and associated with the Streaming Museum (NYC) since 2011 and Verve Cultural/SP Urban Digital Festival (São Paulo) since 2012. Independent exhibitions include Voyage to the Virtual (Scandinavia House, NYC, 2015) and Here All Alone (Copenhagen, 2015). She is chair and member of various conference and gallery boards (Media Art Histories – RE:SOUND 2019, Media Architecture Biennale 2018, Human-Computer Interaction Conference (HCI) 2017 and 2018, Open Sky Gallery 2015-2016). She is editor of Digital Dynamics in Nordic Contemporary Art (Intellect, 2018/2019) and co-editor of What Urban Media Art Can Do – Why, When, Where, and How? (av edition, 2016). In 2017 she co-initiated the globally networked Urban Media Art Academy.
More info on http://www.tanyatoft.com

November 13 at 4pm Stephanie Teng

For this colloquium, held on November 13, 2018 (Tuesday), we are very pleased to welcome photographer Stephanie Teng, who will give a talk on the topic “Honesty and ethics in art”.
The talk will start at 4:00 pm in M6094 Future Cinema Studio.

Date: 13 November 2018 (Tuesday)
Time: 4:00 pm
Venue: M6094 Future Cinema Studio, Run Run Shaw Creative Media Centre, 18 Tat Hong Avenue, Kowloon Tong

Topic: Honesty and ethics in photography

Abstract:

In the digital and political climate we’re in, honesty and ethics have never been more paramount. The industry has never been more crowded with photographers and content creators. So how can we remain honest and stay true to who we are in terms of aesthetic and building relationships? Is it possible to balance making a living while also pursuing making art?

Biography:

Stephanie Teng is a commercial photographer by trade and a documentary photographer at heart. From fashion, lifestyle to still life photography – she believes in the power of versatility and having transferable skills across different genres of the visual arts. Her creative vision is shaped by her passion for creating compelling visual narratives that challenge convention and inspire action.

Since embarking on her freelance journey in 2015, she has worked with: GQ Japan, Conde Nast Traveler, Pacific Place Magazine, IC Magazine, The Mandarin Oriental Hotel, Swire Hotels & Restaurants, Design Anthology, #Legend, The Press Room Group, Grana, Clockenflap and more.

October 23, 2018 colloquium at 4pm: Jonathan Jay Lee

For the fourth colloquium of the semester, held on October 23, 2018 (Tuesday), we are very pleased to welcome Taiwanese-American artist Jonathan Jay Lee, who will give a talk on the topic Journey of becoming an artist”.

The talk will start at 4:00 pm in M6094 Future Cinema Studio.

Date: 23 October 2018 (Tuesday)

Time: 4:00 pm

Venue: M6094 Future Cinema Studio, Run Run Shaw Creative Media Centre, 18 Tat Hong Avenue, Kowloon Tong

Topic: Journey of becoming an artist

Abstract:

Jonathan Jay Lee will share his experience as an artist and engage the students in a discussion about what does it mean to become an artist today.

About the speaker

Based in Hong Kong, Taiwanese-American born Jonathan Jay Lee graduated with Departmental Honors in Illustration from Parsons School of Design with a style described as a mix between Eastern and Western styles of art.

He is an award-winning illustrator and has been published by Marvel Comics and Heavy Metal Magazine. His clients have included HSBC, San Miguel, Red Bull, WeSC, Omega Watches, Infiniti, Lamborghini, Black Sheep Restaurants and Superga. He has been awarded with an Excellence in Advertising from the GCIA, ’40 under 40 Top Young Design Talent’ from Perspective Magazine, and has exhibited internationally from Tokyo to NYC.

He also teaches courses as a Professor of Illustration and Sequential Art at Savannah College of Art and Design at the Hong Kong campus.

September 12 at 4pm: Pr. Mark D’Inverno

For the third colloquium of the semester, held on September 12, 2018 (Wednesday), we will welcome Pr. Mark D’Inverno from Goldsmiths, University of London, UK, who will give a talk on the topic The Future of Creativity

The talk will start at 4:00 pm in M6094 Future Cinema Studio.

 Date: 12 Sep 2018 (Wednesday)

Time: 4:00 pm

Venue: M6094 Future Cinema Studio, Run Run Shaw Creative Media Centre, 18 Tat Hong Avenue, Kowloon Tong

Topic: The Future of Creativity

Abstract:

There is a constant buzz around the word creativity. Reference to it has spread prolifically since the 1950s within and beyond academia, associated with novelty, value, imagination and innovation. What could be wrong with that?

We argue its use has become so ubiquitous across academia, marketing, politics and every -day as to mean no more than which we approve of.

So in this talk I’ll challenge the extensive and expansive use of this term and propose an alternative terminology that regains a meaning and currency for human activity that we wish to teach in universities.

So we consider “creative activity” as an alternative to “creativity”, and through the lenses of recent research and teaching innovation at Goldsmiths, look to answer the following key questions:

  1. What is human creative activity?
  2. What pedagogy should we use for teaching creative activity?
  3. How should we reframe AI research to inspire human creative activity?

I will aim to answer these questions from the perspective of being a musician, a lecturer, and an AI researcher.

About the speaker

Professor Mark d’Inverno holds an MA in Mathematics and an MSc in Computation from the University of Oxford and a PhD from University College London entitled “Agents, Agency and Autonomy”. He has been a Professor of Computer Science at Goldsmiths for over 10 years, leading large research projects across artificial intelligence, art, music and education and published over 200 peer-reviewed articles including several books such as Computers and Creativity.

He currently holds the position of Pro-Warden International (one of the 3 Vice Presidents) at Goldsmiths, University of London and was the Pro-Warden for Research and Enterprise between 2012 and 2016. He was the Head of the Computing Department between 2007 and 2011, which pioneered interdisciplinary research and new programmes – such as Digital Arts Computing, Music Computing and Creative Computing – at the interface of technology and creative practice.

He is a critically acclaimed jazz pianist in the UK and over 30 years has led a variety of successful bands in a range of different musical genres such as the Mark d’Inverno Quintet.

About Goldsmiths

Goldsmiths is one of the world’s leading institutions for the Creative Arts, Humanities and Social Sciences and is currently in the top 50 institutions in the world for a range of subjects including performing arts, art and design, media, anthropology and sociology. It has a rich heritage of producing alumni that have had a significant and lasting impact on the UK’s Creative Industries with alumni including Mary Quant, Steve McQueen, Vivienne Westwood, Anthony Gormley, Adrian Sutton, James Blake and Damien Hirst.

 

September 11th at 4pm: change of date

For the second colloquium of the semester, held on September 11, 2018 (Tuesday), we will welcome researcher Dr. Franziska Bruckner who will give a talk on the topic Stops in Motion – Animation as Meta-cinematographic Concept” 

The talk will start at 4:00 pm in M6094 Future Cinema Studio.

Date: 11 Sep 2018 (Tuesday)

Time: 4:00 pm

Venue: M6094 Future Cinema Studio, Run Run Shaw Creative Media Centre, 18 Tat Hong Avenue, Kowloon Tong

Topic: Stops in Motion – Animation as Meta-cinematographic Concept

Abstract:

Stop-motion is an animation technique, in which objects are shifted in small increments between individually photographed frames, creating the illusion of movement when the series of photos are projected as a continuous sequence. In filmic contexts stop-motion reaches a specific potential of expression, but already includes historically grown aspects of intermediality by combining artistic spheres like photography, music, fine arts, theatre or puppetry. More comprehensive ideas of animation are featured from several theorists, such as Lev Manovich (1995), Alan Cholodenko (1991) or Suzanne Buchan (2013), which also emphasize the variety of manual, mechanical and conceptual possibilities of stop-motion beyond the medium film.

The lecture “Stops in Motion” focuses on an expanded notion of stop-motion, its potential before, in, and beyond its filmic boundaries and aims to explore a brief history of this aesthetically diverse animation technique. Beginning with precinematic devices, the lecture outlines important steps of stop-motion in film history and explores innovative prospects since its digitalization. This not only includes possibilities of established stop-motion software, but also focuses on opportunities in virtual and augmented reality applications. As stop-motion vitalizes objects in a visible fragmented way, it is an ideal concept for investigating new understandings of cinematic perception. Viewed from this perspective, stop-motion functions not anymore as a technique but as a “meta-cinematographic” concept and becomes a tool to fragment and recompose the world.

Biography:

Dr. Franziska Bruckner (Salzburg, 1981) is senior researcher and head of the research group Media Creation at the St. Poelten University of Applied Sciences. She is co-coordinator of the AG Animation within the German-speaking Society for Media Studies and board member of ASIFA Austria. From 2009 to 2013 she was a university assistant at the department of theater-, film- and media studies in Vienna. From 2013 to 2017 she worked as lecturer for animation theory and practice at the University of Vienna, University of Tuebingen and University of Applied Sciences Upper Austria.

More on:

http://franziska-bruckner.com