Colloquium

Fiftieth Anniversary of E.A.T. Colloquium

Oct 13 4:00pm Guerilla Girls The Artworld and Beyond  (Wang Center Theater)

Oct 14 Colloquium: The Legacy of E.A.T.  (Humanities Institute)

11 am   Panel with select Musicians from Fifty years of Music and Technology, with: Phil Edelstein, Michelle Jaffe, Lauren Hayes, Izzi Ramkissoon, Troy Rogers, and Carla Scaletti. Dan Weymouth moderator

1 pm   Georgina Born:  Art/Music-Technology Interdisciplinarity: Perspectives from History and the Present. Respondents: Ben Tausig and Jacob Gaboury

2:30 pm  Panel with select artists from Resound, with: Seth Cluett, Jess Rowland, Sougwen Chung.  Lorraine Walsh moderator

4 pm  Jimena Canales Memories of a Great Affair: Art, Science & Conflict on April 6, 1922, Respondents: Brooke Belisle and Robert Crease

5 pm   Reception: Club Red, Simons Center for Geometry and Physics

Oct 27 1 pm Andrew Sorenson: An Introduction to Live Coding: Applications Across Art & Science (Simons Center for Geometry and Physics Auditorium)

 

Arist & Speaker Bios

Lauren Hayes

Significant ideas are conveyed through conscientious abstraction; it is only through artifice that a sense of artistic realism can be accessed. My work is concerned with the human condition and of creating empathetic connections through two dimensional conversations. I use my body as a visual language; obsessively working through self portraiture in hopes of finding honesty and enough vulnerability to tap into the universal limitations of being a human. As a woman under the social pressures of maintaining composure and attractiveness, there is strength in constantly looking at and rendering one’s own figure. Doing so has developed a sense of ownership and understanding of my only vessel and greatest strength. I hope for my work to convey my own frustrations, joys, heartbreaks, and superpowers that come from owning a female body.
My paintings depict intimate spaces and private moments as an invitation for what at first may be voyeurism but has the potential to be a genuine emotional understanding. They create the illusion of time passing while acknowledging their own stillness by describing a dialogue between the figure and the environment that it inhabits. The ephemeral quality of the figures coupled with cinematic stylistics allow for this static while maintaining moments of firmness. The grounded points of a painting, the solidness of an object or an engaged stare, anchor the less tethered emotional content. Recognizable illusions are necessary partners for the most elusive expressions of the human condition.

Izzi Ramakason

Izzi Ramkissoon is an award-winning electronic multimedia composer, performer, and sound artist. His laptop and bass are the control center of his sound.  He has written works for a variety of media including theater, film, installations, alternative controllers, and interactive multimedia.  His compositions deal extensively with the use of technology in composition and have been featured at numerous venues and festivals both nationally and internationally.  As a composer his multimedia composition Sub-ter-ain Frequencies 5.1 won the prestigious 2007 Look & Listen Festival 1st place Composition Prize (NYC), was featured throughout the United States apart of the 29th Annual Black Maria Film + Video Festival 2010 visiting 60 + museums, galleries, theaters and universities including Princeton, Harvard and more, his recent composition Domesticated Animalia was part of the The Society for Electro-Acoustic Music in the United States (SEAMUS) National Conference 2010, New York City Electroacoustic Music Festival (NYCEMF) 2010 and Spark Festival of Electronic Music and Arts 2010, plus large ensemble interactive aleatoric works at NYC community based festivals FIGMENT 2010 and InterActive Music NYC 2010 part of Make Music NY.  A New York City native, Izzi plays the electric, acoustic double bass, synthesizer and laptop in multiple ensembles in the Tri-State area.  He leads his own multimedia ensembles Cracked Codez (2007) and The Electric Eel Multimedia Ensemble (2009) in NYC and collaborates as a composer/performer with the new music experimental group Kingdom of Jones and DJ Udachi in live sets.

Carla Scaletti

Mu-Psi is to music what science fiction is to narrative art. It is sound-art that seeks to transcend the personal and to express universal concepts, patterns, and processes. Just as a science fiction begins with the premise of some possible future universe and proceeds to fill in the details and consequences of that premise, a Mu-Psi sound work begins with a hypothesis, a “what-if” premise, and proceeds to explore the ramifications of that premise.

Art has a purpose and plays a powerful role in society. The artist’s mission is to:

  • Stimulate imaginative thinking, discussion, and creation of alternative worlds, solutions, possibilities
  • Entertain by stimulating the intellect
  • Guide audiences along paths through abstract conceptual spaces
  • Invite the audience on an intellectually challenging journey from which they will return refreshed, rejuvenated, and inspired
  • Create sonic metaphors for powerful universal concepts (not personal psychological trauma)
  • Create an ecstatic experience for the audience (in the original sense of ek stasis — to be outside or beyond one’s self).
  • Play within a set of constraints; experimentally violate one or more constraints to explore the ramifications

We all want to be entertained but beyond that, we want meaning in art.

Mark Johnson from The Meaning of the Body: Aesthetics of Human Understanding

Jimena Canales

University of Illinois-UC 
canales@post.harvard.edu 
Jimena Canales is an award-winning author and scholar focusing on science in the modern world. 
She received an M.A. and Ph.D. from Harvard University in the History of Science and a BSc in Engineering 
Physics from ITESM. Her first book, A Tenth of a Second: A History (hardcover, paperback, kindle), explored 
the relation between science and history as one of the central intellectual problems of modern times. Her 
Understanding of Time is now available. Her scholarly work on the history of science had been published in 
Isis, Science in Context, History of Science, the British Journal for the History of Science, and the MLN, 
among others. Her work on visual, film and media studies has appeared in Architectural History, Journal of 
Visual Culture, Thresholds. She writes for general readers publishing in Aperture, Artforum, WIRED, The 
New Yorker, and Nautilus. 
Canales received the “Prize for Young Scholars” of the International Union of History and Philosophy of 
Science, Division of History of Science and Technology and was recently awarded the Charles A. Ryskamp 
research fellowship award from the American Council of Learned Societies (ACLS). She has been a visitor 
at various universities and research centers including the Max Planck Institute for the History of Science in 
Berlin and MIT and has lectured widely nationally and internationally, presenting her work in the BBC, Juan 
March Institute and the Musée Georges Pompidou. She was previously an Associate Professor at Harvard 
University, a senior fellow at the IKKM (Internationales Kolleg für Kulturtechnikforschung und 
Medienphilosophie) in Germany and taught at the Princeton-Weimar Summer School of Media Studies at 
Princeton University. 

For over 13 years, composer Troy Rogers‘ creative work has focused on the development and exploration of robotic musical instruments as generators of new musical possibilities. As a musical robot maker, he co-founded Expressive Machines Musical Instruments (EMMI), a group of composers dedicated to exploring and expanding the potential of robotic musical instruments. As a Fulbright scholar, he spent time at the Logos Foundation in Ghent, Belgium working with Godfried-Willem Raes and what is perhaps the world’s largest robot orchestra, where he developed a singing vocal robot, Stemmetje. Living the life of an early 21st century semi-nomadic robot herder, he resides in Duluth, MN when not touring the country in the RoboRig, a mobile platform for the development and dissemination of music for robots. He performs on streets and stages alike as Robot Rickshaw. Rogers is also a committed independent educator, regularly presenting lectures and offering Making Music with Robots and STEAM education workshops at universities, galleries, community art centers, makerspaces, and schools throughout the US.

Michelle Jaffé creates sculpture, sound and video installations, immersing people in an experience that transforms their sensory awareness. These participatory encounters create a moment where a synaptic shift in attitude is possible and new neural connections can be made. Her work has been exhibited at NYCEMF-Abrons Arts Center, the Beall Center for Art + Technology at UC Irvine, the Morlan Gallery at Transylvania University, KY, Bosi Contemporary, NY and UICA, Urban Institute for Contemporary Arts in Grand Rapids, Michigan. Additional solo exhibitions have been held at Wald & Po Kim Gallery, Susan Berko-Conde Gallery, Brooklyn College, Harvestworks Digital Media, and Broadway Gallery in NY, among others. Since 2008, Jaffé has been a fiscally sponsored artist of the New York Foundation for the Arts, and has been awarded grants from New York State Council on the Arts, Queens Council on the Arts, and has been the recipient of residencies at Brooklyn College Department of Computer Music, The Exchange Museum in England, the MacDowell Colony and Djerassi. Artworks are in private collections and 30 design works are in the permanent collections of the Philadelphia Museum of Art, Fashion Institute of Technology and Museé de la Mode et du Costume in Paris.

Sougwen Chung is a Chinese-born, Canadian-raised artist based in New York. Her work explores the 
mark-made-by-hand and the mark-made-by-machine as an approach to understanding the interaction between 
humans and computers. Her speculative critical practice spans installation, sculpture, still image, drawing, and 
performance.  
She is a former researcher fellow at MIT’s Media Lab and Inaugural member of NEW INC, the first 
museum-led art and technology in collaboration with The New Museum. She received a BFA from Indiana 
University and a Masters Diploma in Interactive Art from Hyper Island in Sweden.  
Chung received Japan Media Art’s Excellence Award in 2016 for her project, ‘Drawing Operations’. In 2014, 
she was selected as one of the Top 20 New Visual Artists by Print Magazine.  
 Her work has been exhibited internationally, including at the Museum of Contemporary Art, Geneva; National 
Art Center, Tokyo; MIT Media Lab, Cambridge; The New Museum (Sky Room), New York; Tribeca Film 
Festival, New York; The Hospital Club, London; Mutek Festival, Montreal & Mexico City; Sonar Festival, 
Barcelona. Her work has also been featured in The New Yorker, Art F City, Dazed and Confused, The Creators 
Project, MASHABLE, Engadget, Business Insider, Fast Company and USA Today. She has spoken 
internationally at conferences including Tribeca Film Festival Interactive, New York; OFFF, Barcelona; FITC, 
Tokyo; Internet Dargana, Stockholm; SXSW, Austin; The Art Directors Club, New York.