|Artistic Director||Gunalan Nadarajan||Maryland Institute College of Arts|
|Conference Director||Adrian David Cheok
||National University of Singapore and Keio University, Japan|
|Artist In Residence Coordinator||Lonce Wyse||National University of Singapore|
|Member||Louis-Philippe Demers||Nanyang Technological University|
||Ingrid Maria Hoofd||National University of Singapore|
||Isaac Kerlow||Nanyang Technological University|
|Member||Damien Lock||Republic Polytechnic|
|Member||Suresh Sethi||Nanyang Technological University|
||Shirley Soh||Singapore Management University|
||Margaret Tan||National University of Singapore|
||Vladimir Todorović||Nanyang Technological University|
|Wiki Wiki||Irina Aristarkhova|
Pennsylvania State University
||Nanyang Technological University|
||Adrian David Cheok
|National University of Singapore and Keio University, Japan|
Woon Tien Wei
International Programming Committee
|Tania Aedo||Laboratorio Arte Alameda|
|Samirah Alkassim||America University in Cairo|
|Irina Aristarkhova||Penn State University|
|Koan Jeff Baysa||Independent curator, USA|
|Andreas Broeckmann||Independent curator, Germany|
|Paul Brown||University of Sussex|
|Danny Butt||Suma Media Consulting|
|Dimitris Charitos||National and Kapodistrian University of Athens|
|Shulea Cheang||Artist, USA / Taiwan|
|Adrian David Cheok||National University of Singapore and Keio University, Japan|
|Venzha Christiawan||The House of Natural Fiber, Yogyakarta|
|Sarah Cook||CRUMB, University of Sunderland|
|Chris Csikszentmihályi||Massachusetts Institute of Technology|
|Sean Cubitt||University of Melbourne|
|Daphne Dragona||Independent curator, Greece|
|Anna Dumitriu||University of Brighton|
|Charlie Gere||Lancaster University|
|Beryl Graham||University of Sunderland, CRUMB|
|Oliver Grau||Danube University Krems, Austria|
|Genco Gulan||Istanbul Contemporary Art Museum, iS.CaM|
|Kathy High||Rensselaer Polytechnic Institute|
|Suhjung Hur||Art Center Nabi|
|Alejandro Jaimes||IDIAP Research Institute|
|Denisa Kera||Academy of Sciences and Charles University, Prague|
|Issac Kerlow||Nanyang Technological University|
|Ryszard Kluszczynski||University of Lodz|
|Rob van Kranenburg||waag society|
|Machiko Kusahara||Waseda University|
|Jon McCormack||Monash University|
|Christina McPhee||University of California, Santa Cruz|
|Yoshitaka Mouri||Tokyo National University of Fine Arts and Music|
|Michael Naimark||University of Southern California|
|Gunalan Nadarajan||Maryland Institute College of Arts|
|Soh Yeong Roh||Art Center Nabi|
|Chris Salter||Concordia University|
|Jill Scott||Zurich University of the Arts|
|Renata Sukaityte||Independent curator, Lithuania|
|Fumiko Sumitomo||Arts Initiative Tokyo|
|Margaret Tan||National University of Singapore|
|Vladimir Todorović||Nanyang Technological University|
|Naoko Tosa||Kyoto University|
|Tien Wei Woon||p-10|
|Executive Producer||Teo Swee Leng|
|Marketing & Conference||Adeleena Araib|
|Artist In Residence Assistant Coordinator||Ida Lee|
|Hospitality Coordinator||Anisah Aidid|
|Conference Venue Manager||Joshua Nair|
|Volunteer Manager||Sabrina Lim|
|Publicity and Marketing|
|Publicist||Lena St George-Sweet|
|Collaterals & Design||Ong Puay Khim|
|Website & Design||Jing Chiang|
|Designer||Laura Miotto / GSM Design|
|Technical Manager||Lai Wee Meng|
|Registration||Ivan Boo / Integrated Meeting Specialist|
|Publication Editor||Chan Wai Han / Pagesetters Services Pte Ltd|
|Publication Interns||Katharine Ho Kit Ying|
|Tay Khai Xin|
ISEA2008 Singapore Steering Committee
|Adrian David Cheok|
|Woo Tien Wei|
Gunalan Nadarajan, an art theorist and curator from Singapore, was recently appointed Vice Provost for Research at MICA (Maryland Institute College of Arts) - the first senior leadership appointment dedicated to research made in an art college in the US. Prior to joining MICA, Gunalan was Professor of Art and Associate Dean for Research and Graduate Studies at the College of Arts and Architecture, Penn State University.
His publications include Ambulations (2000), Construction Site (edited; 2004) and Contemporary Art in Singapore (co-authored; 2007), Handbook of Visual Culture (co-edited; forthcoming, 2009) and numerous catalogue essays and academic articles. His writings have been translated into Mandarin, Indonesian, Korean, Japanese, French, German, Italian, Serbian, Russian, Polish, Portuguese and Spanish. He has also lectured internationally on a wide range of topics in contemporary art, cyberculture, art and technology, architecture and on creative research.
Gunalan has curated twenty exhibitions in several countries including Ambulations (Singapore), 180KG (Jogjakarta), Negotiating Spaces (Auckland) and media_city 2002 (Seoul). He was contributing curator for Documenta XI (Kassel, Germany), Singapore Biennale (2006) and served on the jury of a number of international exhibitions, like ISEA2004 (Helsinki / Talinn), transmediale 05 (Berlin) and ISEA2006 (San Jose). He was most recently Artistic Co-Director of the Ogaki Biennale 2006, an international biennial exhibition of new media arts in Japan. He served as Co-Chair of RE:Place: The 2nd International Conference on the Histories of Media, Art, Science and Technology, 2007 in Berlin and currently is Artistic Director of ISEA2008 (International Symposium on Electronic Art) in Singapore. He will be curating the exhibition, DoF (Degrees of Freedom): Art and Automation at the LABoral Centro de Arte y Creación Industrial in Gijon, Spain in 2009. Gunalan is active in the development of media arts internationally previously serving on the Board of Directors of the Inter Society for Electronic Art and currently on the Advisory Board of the Database of Virtual Art (http://www.virtualart.at/).
He is a member of several professional associations, namely, Special Interest Group in Graphics and Interactive Techniques (SIGGRAPH), Association for Computing Machinery (ACM), College Arts Association, National Council of University Research Administrators, International Association of Aesthetics and the International Association of Philosophy and Literature. In 2004, he was elected a Fellow of the Royal Society of the Arts (UK).
Gunalan's current research interests include contemporary painting, art and biology, human-machine interfaces, robotic arts, nanotechnology, ambient intelligence, entertainment technologies and toys.
Adrian David Cheok is Director of the Mixed Reality Lab, National University of Singapore. He is Associate Professor in the Department of Electrical and Computer Engineering.
He has previously worked in real-time systems, soft computing, and embedded computing in Mitsubishi Electric Research Labs (Osaka, Japan). He has been working on research covering mixed reality, human-computer interaction, wearable computers and smart spaces, fuzzy systems, embedded systems, power electronics, and multi-modal recognition. He has successfully obtained funding for externally funded projects in the area of wearable computers and mixed reality from Nike, National Oilwell Varco, Defense Science Technology Agency, Ministry of Communications and Arts, National Arts Council, Singapore Science Center, Hougang Primary School. The research output has included numerous high quality academic journal papers, research prototype deliverables numerous demonstrations including to the President and Deputy Prime Minister of Singapore, broadcast television worldwide broadcasts on his research (such as CNN/CNBC/Discovery/National Geographic), and international invited new media exhibits such as in Ars Electronica and Wired Nextfest.
He is currently an Associate Professor at the National University of Singapore where he leads a team of over 20 researchers and students. Hehas been a keynote and invited speaker at numerous international and local conferences and events. He is invited to exhibit for two years in the Ars Electronica Museum of the Future, launching in the Ars Electronica Festival 2003. His works "Human Pacman" and "Magic Land" were selected as one of the worlds top inventions by Wired and invited to be exhibited in Wired NextFest 2005. He was invited to show the works "Human Pacman" and "Magic Land" at Wired NextFest 2005. He was IEEE Singapore Section Chairman 2003, and is presently ACM SIGCHI Chapter President. He was awarded the Hitachi Fellowship 2003, the A-STAR Young Scientist of the Year Award 2003, and the SCS Singapore Young Professional of the Year Award 2004. In 2004 he was invited to be the Singapore representative of the United Nations body IFIP SG 16 on Entertainment Computing and the founding and present Chairman of the Singapore Computer Society Special Interest Group on Entertainment Computing. Also in 2004, he was awarded an Associate of the Arts award by the Minister for Information, Communications and the Arts, Singapore.
In 2005 he was awarded the Microsoft Research Fellowship. He is Editor/Associate Editor of the following academic journals: The Open Electrical and Electronic Engineering Journal, Advances in Human Computer Interaction, International Journal of Entertainment Technology and Management (IJEntTM), Virtual Reality (Springer-Verlag), International Journal of Virtual Reality, and The Journal of Virtual Reality and Broadcasting.
Professor Cheok, who was born and raised in Adelaide Australia, graduated from the University of Adelaide with a Bachelor of Engineering (Electrical and Electronic) with First Class Honors in 1992 and an Engineering PhD in 1998.
Isaac is a computer art and animation pioneer, and the author of the third edition of "The Art of 3D Computer Animation and Effects" published by Wiley. He was Founding Dean of the School of Art, Design and Media at the Nanyang Technological University in Singapore.
Isaac's pioneering computer-generated and computer-mediated artwork has been widely shown including one-man shows at the Joan Miró Foundation in Barcelona. Starting in 1985 Isaac spent a decade at Pratt Institute in New York where he was the founding chairman of the Department of Computer Graphics and Interactive Media, and became a tenured professor. Between 1997 and 2004 Isaac was an executive at The Walt Disney Company, where he lead multiple initiatives related to producing entertainment with new media, including 3D computer animation and 24P High Definition digital cinematography. In this role Isaac participated in creative and production decisions that impacted dozens of live action and animated projects company-wide. Prior to that Isaac led for two years the group of digital artists and animators at Disney Interactive, where he oversaw creative and production aspects of over 20 computer games.
Isaac is currently involved in a few creative projects and has also presented workshops at many creative, production and research institutions throughout the world, and has participated in multiple international festivals including the International Electronic Film Festival in Japan, the New York Art Director's Club, the 3D Festival and FMX in Europe, Res Fest, and the Webby Awards. He is also a longtime active member of SIGGRAPH and the Visual Effects Society, and the technology committee of the American Society of Cinematographers.
Born 1977, in Zrenjanin (Serbia) Studied and taught at Academy of Fine Arts, University of Belgrade, University of California Santa Barbara, Lasalle College of the Arts and RP Singapore. He is the founder of the Emerging Art and Technologies Research Group 'RASTER' based in Singapore and co-founded the Institute for Flexible Cultures and Technologies 'NAPON' in Novi Sad, Serbia.
Recent projects include: Syntfarm - synthetic ecosystem, performance, actions, Cycloglyphs - a GPS based explorations of the cities, Metazoa Ludens - augmented reality games for pets, Game Music - a sound production environment created in the first person shooter game, Capture the Artist - a paintball tournament in an art gallery, One and Five or Six Chairs - a nano-lithograph, Translocations - software art, digital prints, 7 - video art installation, etc. His works were exhibited at venues like: ISEA06, Venice Biennale of Architecture, Siggraph 06, Transmediale 05, File 2004, MuseumsQuartier Vienna, Machinista, Entermutlimediale 2, WRO 05, Museum of Contemporary Arts Belgrade, etc; and reviewed at: Wired, New Scientist, Gamasutra, Futures-labs, Neutral.it, Selectparks.net, Turbulence, Artmagazine, Remont, Danas, etc. His research explores game cultures and technologies, location based media, mobile platforms, 'transcoded systems', sound art, architecture and urban design, and the definitions and reinvention of the realities that lead to the changes of the social strata. Strategically, his recent activities seek for the ways and situations to recreate media we consume into the media we define.
Louis-Philippe Demers is currently Associate Professor at the School of Arts, Design and Media of the Nanyang Technological Universtity (NTU, Singapore) and he is also Principal Investigator at the NTU’s Interaction and Entertainment Research Centre.
Demers combines several profiles: Media Artist, Software Engineer, Freelance Designer and Entrepreneur. His main areas of work are entertainment robotics and interaction design. He also acts as stage, lighting and exhibit designer as well as a consultant for the integration of technology in the arts. Over the past two decades, he participated in more than seventy artistic and stage productions and has built more than 225 machines. His works can be found in theatre, opera, subway stations, art museums, science museums, music events and trade shows.
His works have been awarded three Interactive Kunst prizes at Ars Electronica (distinction 96, two mentions) and a mention in Digital Musics 2005. He received the first prize of artificial life - Vida 2.0 and the prize for Interactive Lighting at Lightforms 98. His latest work, Devolution, received six prizes in 2006 including the Ruby Innovation award in South Australia, Outstanding Performance from Australian Dance Awards and two Helpmann Awards, the Australian equivalent of the Broadway’s Tony.
From 2001 to 2005, Louis-Philippe Demers was Professor of Digital Media and Exhibit Design at the Hochschule fuer Gestaltung, the academic institution affiliated to the world renowned ZKM (Zentrum fuer Kunst und Medientechnologie) in Karlsruhe (Germany).
Margaret Tan is a practicing artist based in Singapore, working with a wide range of media. She was awarded the Chen Chong Swee Arts Scholarship (Overseas), National Arts Council Singapore in 2003 and now holds an MA in Interactive Media (pass with distinction) from Goldsmiths College, University of London. She has been Artist-in-Residence with programmes such as the Cyberarts and Cyberculture Initiative, University Scholars Programme, National University of Singapore and Artist-in-Labs Project (Swiss Centre for Electronics and Microtechnology, Alpnach), University of Applied Sciences and Arts Zurich, Switzerland. Her works have been showcased both locally and internationally in exhibitions such as the Nokia Singapore Art 2001, Singapore Art Museum, From My Fingers: Living in the Technological Age, Kaoshiung Museum of Fine Art, Taipei and ISEA 2002 (Oria), Nagoya, Japan; among many others. Margaret has been an administrator for Women in the Arts (http://www.witas.org/) since 2000 and has been organizing talks, including Exchange 05 (Enquiries: Art and Technology), an art event jointly organized by WITA and p-10.
Margaret was a part-time lecturer at LASALLE-SIA College of the Arts, offering theory and history courses for both the Fine Arts and Media Arts Department. She also tutored on "New Media Arts" and lectured part-time on "Aesthetics of New Media" for the National University of Singapore, School of Computing and Communications and New Media Programme respectively. Currently, Margaret is on a research scholarship pursuing her Doctor of Philosophy with the Communications and New Media Programme, Faculty of Arts and Social Sciences, National University of Singapore.
Prior to joining Republic Polytechnic in 2006, Damien taught Degree and Diploma programmes in Media Arts for 2 years at Lasalle College of the Arts, and taught at the School of Film and Media Studies, Ngee Ann Polytechnic, for 3 years before that.
His research areas include interactive soundscape design, embedded new media systems, acoustic ecology, and film sound design. His works utilize emerging interactive technologies whilst retaining a sensitivity to content driven aesthetics.
He has also had experience as an audio engineer for film and television, where he has worked on several 35mm shorts and spent 5 years freelancing in the cable television industry. He holds a Degree in Music Composition from the Conservatorium of Music, University of Sydney, Australia, and is currently pursuing a Doctorate at the University of Wollongong, Australia. He is certified by Avid Digidesign for both Post and Music.
Suresh Sethi is a Product Designer and his current research is on hi-touch friendly interfaces and displays. He has been working on Lighting design for many years apart from his professional work mainly products in consumer electronics and home appliances. His work has been produced in many countries and his designs have had successful re-runs in various parts of the world.
He has many facets, apart from doing mass produced product design he has design custom built luxury yachts and has worked with Organic Architect and Indian Master Craftsmen for many years. He is also an artist and has been part of many International Art festivals and exhibitions. In I989 Suresh collaborated with Massimo Morozzi and Indian calendar artist to design a perpetual calendar for Alessi. In 1990 he was invited to participate in 100% Make-up project by Alessandro Mendini and Alessi. His works have been published in leading international books and design magazines, such as DOMUS, MODO, Progetto Grafico. Suresh was appointed by Government of India as Member of the Advisory Committee of Urban Heritage Conservation, Mumbai, in 1992 and he was honored to be appointed to the ICSID roster of Design advisors in 1999.
Suresh has been a visiting professor and has led many workshops and seminars at the leading Design Schools in India and abroad. Sethi was a tenured professor at the Indian Institute of Technology Bombay, Industrial Design Centre, Mumbai, India, before he joined Nanyang Technological University as Associate Professor in the School of Art, Design and Media, and is now the Acting Chair and lead faculty of Product Design.
Yukiko Shikata is an independent media art curator & critic based in Tokyo, working as a curator of NTT InterCommunication Center[ICC], specially-assigned professor at Tokyo Zokei University, guest professor at Tama Art University. Besides working as a co-curator of Canon ARTLAB(91-01), guest curator of "Shiseido Cygnet(net art gallery)"(1997-2002), associate curator of Mori Art Museum(02-04), she has curated many challenging projects including Christian Moeller's "Sound Garden"(Spiral/Wacoal Art Center), Mischa Kuball's "Power of Codes"(Tokyo National Museum, 1999), "Kingdom of Piracy"(online, co-curated with Shu Lea Cheang, Armin Medosch, 2001-), Rafael Lozano-Hemmer's "Amodal Suspension"(opening project of YCAM-Yamaguchi Center for Arts and Media, 2003), "EnigmaAnagma [the evening of Yukiko Shikata]" (DEAF04, Rotterdam), "open nature" (NTT ICC, 2005), "MobLab" ("mobile laboratory" project utilizing mobile technology with bus going around in Japan, 2005), "Lib-LIVE!: students consortium"(NTT ICC, 2005), and "Connecting Worlds"(NTT ICC, 2006), and responsible for "ICC 10th Anniversary Session Series" (NTT ICC, 2007-08). She is the International Advisory Board member of transmediale(Berlin), and has worked as jury in many competitions including Prix Ars Electronica (2000, 2003, 2006), UNESCO Digi-Art Prize (2004, 2005), Nam June Paik Award (2004, 2006). She participated ISEA 02 as one of Steering Committee members, ISEA06 as one of curators of "ContainerCulture".
Irina Aristarkhova (firstname.lastname@example.org) was born in Moscow in 1969. She writes on and lectures in cyberfeminism, new media aesthetics, and comparative feminist theory. Currently she is Assistant Professor of Women's Studies and Visual Art at Penn State University. She held faculty positions at LASALLE-SIA College of the Arts and National University of Singapore, where she directed Cyberarts Research Initiative (2001-2005).
She studied mathematics, philosophy and sociology at Moscow State University, and did her Master's Degree at the University of Warwick, UK. She completed her PhD in Contemporary French Psychoanalytic Theory at the Institute of Sociology, Russian Academy of Sciences.
She has edited and contributed to 'Woman Does Not Exist: Contemporary Studies in Sexual Difference' (Syktyvkar University Press, 1999, in Russian), and edited the first Luce Irigaray book in Russian 'The Ethics of Sexual Difference' (Moscow: XZ, 2005).
Her net-art work "Virtual Chora" was selected and developed for Cyberarts Exhibition, part of NOKIA / Singapore Art festival, and exhibited in Singapore Art Museum in 2001 (http://www.personal.psu.edu/ixa10/ixa_projects.html). Ideas that formed this work later became a part of her writings on hospitality, space, matrix and new media, specifically in the text 'Hospitality-Chora-Matrix-Cyberspace' (Fisozofski Vestnik XXIII, 2(2002), special editor: Marina Gr'ini' Mauhler).
In 2002 Irina Aristarkhova, together with Faith Wilding, Coco Fusco and Maria Fernandez, started "Undercurrents" - an online discussion list about how cyberfeminism, new technologies, postcoloniality and globalization are interrelated (more at http://www.msstate.edu/fineart_online/Backissues/Vol_16/faf_v16_n08/reviews/feature.html).
The fundamental relation between technology and difference (cultural, sexual, political, inter-disciplinarity, etc.) has remained one of her main areas of interest, and was the topic of a special issue of Leonardo Electronic Almanac under her editorship - 'Technology and Difference', LEA 11:10-11, available at http://leoalmanac.org/journal/Vol_11/lea_v11_n10.txt and http://leoalmanac.org/journal/Vol_11/lea_v11_n11.txt.
Her other recent publications include 'Ectogenesis and Mother (as) Machine' (Body and Society, 11:3), and a chapter in the volume 'Collectivism After Modernism: The Art of Social Imagination After 1945' (ed. Stimson and Sholette, Minnesota University Press, 2007).
Aristarkhova is currently Assistant Professor of Women's Studies and Visual Arts at the Pennsylvania State University.
Naoko Tosa is an Japanese artist and researcher. She received a Ph.D. in engineering for Art and Technology research from the University of Tokyo. She is professor at Kyoto University from 2005. She was Fellow at the Massachusetts Institute of Technology Center for Advanced Visual Studies (CAVS) 2002- 2004. She was a researcher at the ATR (Advanced Technology Research Labs) Media Integration & Communication Labs. 1995-2001.
In particular, She has been carrying out technological research that explores human emotions and the expansion of human sensibilities and consciousness by making innovative use of artistic creativity . The Neuro-Baby project is one example of this research. Some of her other projects include Unconscious Flow, which can express the emotion hidden within human communication. ZENetic Computer is an interface that evokes self-awakening through essential aspects of Zen Buddhist culture . i.plot is the future of narrative in a project that studies the hidden relationships and contextual emergence of language. Her work has been exhibited the Museum of Modern Art New York, the New York Metropolitan Art Museum, SIGGRAPH, ARS ELECTRONICA, the Long Beach Museum, and other locations worldwide. Her works are also part of the collections at the Japan Foundation, the American Film Association, the Japan Film Culture Center, The National Museum of Art, Osaka and the Toyama Prefecture Museum of Modern Art. In 1996, she received the best paper award from the IEEE International Conference on Multimedia. In 1997, the L'Oreal Grand Prix for research combining art and science awarded her first prize. In 2000, she received prizes from the Interactive Art section in ARS Electronica, as well as a special grant from the agency for cultural affairs in Japan. She received a commission research contract from France Telecom R & D 2003-2005.
Florian Schneider is a filmmaker, based in Munich. Over the past ten years he has been involved in a wide range of projects that deal with the implications of postmodern border regimes on both, theoretical and practical level.
He is one of the initiators of the campaign KEIN MENSCH IST ILLEGAL (no one is illegal) at documenta X in 1997 and subsequent projects such as the "noborder network" and the online-platform KEIN.ORG.
He has freelanced for various german newspapers and magazines, contributed to several books and published widely at the bordercrossings between mainstream and independent media, art and activism, theory and technology.
As a filmmaker he directed award-winning documentaries as well as two theme-evenings for the german-french tv station "arte" on the topics of migration and activism. He initiated projects like the p2p-syndication network V2V or the virtual tv-platform KEIN.TV.
He developed and co-organized events such as MAKEWORLD (Munich 2001), NEURO--networking europe (Munich 2004), BORDERLINE ACADEMY (Tarifa 2005) and various conferences, workshops, gatherings.
Most recently he curated the multimedia performance project "DICTIONARY OF WAR" and "SUMMIT - non-aligned initiatives in education culture" (with Irit Rogoff). Currently he is working on IMAGINARY PROPERTY, a series of texts, films and video installations researching the question: "What does it mean to own an image?"
He has lectured at museums, galleries, art academies, conferences worldwide. Since 2006 he teaches art theory at the art academy KIT in Trondheim (Norway). He is a member of the PDH programme "research architecture" at Goldsmiths College, London.
Woon Tien Wei is an artist and curator who works and lives in Singapore and Perth. He was the President of The Artists Village (2001 and 2007), co-director and founder of The Danger Museum (since 1998), a founding member of a net art collective tsunamii.net (2001) and a co-founder of a curatorial collective p-10. His practice can be seen as collaborations between himself and other individuals/organisations/collectives. His exhibitions and projects include Errata: Page 71, Plate 47. Image caption. Change Year: 1950 to Year: 1959; Reported September 2004 by Koh Nguang How (2004-5), documenta 11, Kassel, Germany (2002), SOFT, InIVA (2002), Post-Ulu, Substation, Singapore (2000), Dream Plan Project, Kwanhoon Gallery Seoul, Korea (1999).