“Mathematics As Poetic Enchantment”
Wednesday, March 4 2009
Margaret Wertheim is an internationally noted science writer, commentator and curator whose work focuses on the relations between science and the wider cultural landscape. Wertheim is the author of Pythagoras’ Trousers, a history of the relationship between physics and religion; and The Pearly Gates of Cyberspace: A History of Space from Dante to the Internet. A native Australian, she has a B.S. majoring in pure and applied physics and a B.A. in mathematics and computer science. She is a contributor to the New York Times Science Section and an Op-Ed contributor for the Los Angeles Times. From 2000-2005 Wertheim wrote the “Quark Soup” science column for the LA Weekly and is a contributing editor on science issues for Cabinet, the internationally renowned arts and culture quarterly. Her articles have appeared in the Los Angeles Times Magazine, The Sciences, New Scientist, Times Literary Supplement, The Guardian, Salon, and Wired Magazine. Wertheim’s writing has been included in Best American Science Writing (2003), edited by Oliver Sacks. In 2006 she won the excellence in journalism award from the American Institute of Biological Sciences and in 2004 she was the National Science Foundation’s visiting journalist to Antarctica. Her television series Catalyst (about science and technology, aimed at teenage girls), won numerous prizes around the world. In 2006 she was Australia’s official spokeswoman for Science Week and in 2007 was a panelist at the Sundance Film Festival’s science round-table. Wertheim has written and produced a dozen television science programs and interactive video programs, including the PBS documentary special Faith and Reason. In 2003, Wertheim founded the Institute For Figuring, an innovative Los Angeles-based organization devoted to enhancing public engagement with the aesthetic and poetic dimensions of science and mathematics. The IFF hosts lectures, curates exhibitions, publishes books and maintains an extensive website. Lecture topics have included hyperbolic space, the mathematics of knots, logic crystallography, the physics of snowflakes, the science of insect flight, and the history of computer memory devices. In 2007 the IFF’s “Hyperbolic Crochet Coral Reef” was shown at the Andy Warhol Museum (Pittsburg) as a centerpiece of the exhibition Artists Respond to Global Warming.
“From Simulation to Emulation...”
Wednesday, April 15 2009
Shawn Brixey (b. 1961) is Director of the University of Washington’s recently established research center and Ph.D. program in Digital Arts and Experimental Media. Previously, he was founder of the Digital Media Program at the University of California Berkeley, and Director of their Center for Digital Art and New Media Research. A graduate of MIT’s CAVS/Media Lab, Brixey has exhibited art and technology works internationally, including Documenta, the Deutscher Kunstlerbund, Karlsruhe, The Cranbrook Art Museum, The MIT Museum, The Contemporary Art Center of Cincinnati, The Chicago Art Institute, The 1998 Winter Olympics, The first American Design and Architecture Triennial at the Cooper Hewitt National Design Museum, New York, AME at Arizona State University, The Henry Art Gallery, University of Washington, and the Berkeley Art Museum. He has received numerous major grants and awards to support his research including: Apple Computer, AVID Incorporated, The Boxlight Corporation, The Intel Corporation, Silicon Graphics, Newport/Klinger Research Corporation, IBM GmbH, The National Institute of Health, The National Endowment for the Arts, The Corporation for Public Broadcasting, Leica and Hughes Aircraft. In 2003 he was honored with a prestigious Rockefeller Foundation Fellowship for New Media, of which past fellows include Bill Viola and Gary Hill. In 2006 Brixey was inducted as a lifetime fellow of the World Technology Network. He lectures widely in the U.S. and Europe on new and emerging media art forms. Critical writing and reviews of his work have been featured in The New York Times, The Boston Globe, The San Francisco Chronicle, The Seattle Times, The Cincinnati Inquirer, The Stranger, The Guardian, Wired Magazine, Surface Magazine, The Chronicle of Higher Education, Art News, WolkenKratzer Magazine (Germany), Smithsonian World Television, and KQED/MSNBC Radio. Significant review of his work is included in From Technological to Virtual Art, by Frank Popper, MIT Press, 2007.