Proceedings of the 19th International Symposium on Electronic Art, ISEA2013, Sydney
Edited by Kathy Cleland, Laura Fisher and Ross Harley
Published by ISEA International, the Australian Network for Art & Technology and the University of Sydney
The Conference of the 19th International Symposium on Electronic Art, ISEA2013, was held at the University of Sydney from 11-13 June, 2013. Presented by the Australian Network for Art and Technology (ANAT) and held alongside Vivid Sydney, the Symposium showcased a selection of electronic and media artworks from around the world and staged a suite of events across Sydney that provided a platform for the lively exchange of future-focused ideas. Speakers at the conference were invited to respond to several topics linked to ISEA2013's theme Resistance is Futile. Following the conference, participants were invited to develop their presentation into a scholarly paper for publication in the proceedings.
The papers collected here were peer reviewed to HERDC standards (two reviewers per paper) by colleagues from around the world. The review process for the proceedings was separate from the review process for acceptance of abstracts. Kathy Cleland, Laura Fisher and Ross Harley then edited and compiled the final versions, and would like to thank all the authors and peer reviewers for their contributions.
To see a titles list click here
Please reference as: [Author(s)-of-paper] (2013) [Title-of-paper] in Cleland, K., Fisher, L. & Harley, R. (Eds.) Proceedings of the 19th International Symposium on Electronic Art, ISEA2013, Sydney. http://ses.library.usyd.edu.au/handle/2123/9475
Page numbering begins at 1 at the start of the paper.
The University of Sydney claims shared copyright with the paper authors, ISEA International and ANAT of all information stored on this site, unless expressly stated otherwise.
|2013||Baby x: digital artificial intelligence, computational neuroscience and empathetic interaction.||Lawler-Dormer, Deborah|
|2013||Community mapping: from representation to action.||Collins, Dan|
|2013||The probability of the diagram.||Thomas, Paul|
|2013||The tacet mark as blackness.||Collier, Delinda|
|2013||Between one and zero: noise, ghosts and plasticity.||Grant, Jane|
|2013||Dancing in suits: a performer's perspective on the collaborative exchange between self, body, motion capture, animation and audience.||Hutchison, Stephanie; Vincs, Kim|
|2013||The Inter-Society for the Electronic Arts revived?||van der Plas, Wim|
|2013||Innovative forms of healing: new media art as a catalyst for lasting change in therapeutic settings||Heiss, Leah|
|2013||Manipulating Space, Changing Realities: space as primary carrier of meaning in sonic arts||Ekeberg, Frank|
|2013||Techno / natural interfacing: walking and mapping in the age of climate change.||Tafler, David I.; D'Agostino, Peter|
|2013||Artivis diy forest surveillance kit.||Angelo, Pedro; Mendes, Monica|
|2013||Breathe - wearing your air.||Anderson, Benedict; Diniz, Nancy|
|2013||Openpaths: empowering personal geographic data.||House, Brian|
|2013||The pointless chat-room? Coping with absence in online performances.||Arrigoni, Gabriella|
|2013||Static as a trope in electronic art: David Hall's 1001 tv sets (end piece) and other works.||Byrne, Ben|
|2013||Art, mediation and contemporary art emergent practices.||Jefferies, Janis|
|2013||Collaborative registers of interactive art.||Joseph, Frances|
|2013||The connective tissue of physical computing.||Diekman, Kristine|
|2013||Creating #citizencurators: putting twitter into museum showcases.||Ride, Peter|
|2013||Reading, writing, resisting: literary appropriation in the readers project.||Howe, Daniel C.; Cayley, John|