On 1 – 4 April 2014, Goldsmiths hosts the 50th anniversary convention for the Society for the Study of Artificial Intelligence and the Simulation of Behaviour (AISB).

Plenary speakers

• Professor Susan Stepney (asking “When does a slime mould compute?”)
• Professor Lucy Suchman (presenting a lecture entitled “Human(oid) Robot Reconfigurations”)
• Professor Terrence Deacon (examining the foundational requirements for a “living machine”)
• Professor Humberto Maturana (posing the “Ethical dilemma of the AnthropoRobotic”)

There will be three evening public lectures:

• John Barnden: “Creative Metaphor, Mind Out! Or Rather, Mind In”.
• Simon Colton: “The Painting Fool: Weak and Strong Computational Creativity Research in Action”
• Dr. Hannah Smithson: “New perspectives on colour from a 13th century account of light, material and rainbows”

To compliment the standard registration packages, there will be some Day Registrations and Associate Day Passes available each day on the door. Conference website

Cliff Lauson (Hayward Gallery) is the convenor for Parsing the Pixelated: The Histories of Digital Art, a session within the AAH2014 conference at Royal College of Art on 10 – 12 April 2014. The session features papers including:

• Beryl Graham (University of Sunderland) Exhibition Histories of Critical Participatory Systems
• Cary Levine (The University of North Carolina, Chapel Hill) Net Works: Jodi and the Early Days of Internet Art
• Douglas Dodds and Melanie Lenz (Victoria & Albert Museum) Documenting the New Medium: The V&A’s national collection of early digital art
• Cadence Kinsey (University College of London) Discipline, Determinism and ‘The Digital’
• Charlotte Frost (City University of Hong Kong) Hacking Art History

The session will explore the definitions of and approaches toward digital art. It will be primarily concerned with the digital as an artistic medium and its relationship to and within art history.

Although digital art precedes the creation of the world wide web in the early 1990s, it is only more recently, facilitated by affordable and widely distributed connected technology, that digital art has become firmly established as an artistic category. Yet the term remains nebulous, including many disparate forms and types of art: from manipulated photographs to interactive installations to works existing on or made by a computer.

Furthermore, the history of art has yet to substantively account for digital art, frequently deferring to the tools and methods of visual culture studies in recognition of a broader cultural phenomenon. Repositories of digital art have also recently been founded: on the one hand, the Museum of Modern Art, New York has started to acquire video games for its collection, on the other, the Google Art Project gathers together a virtual mega-collection of artworks drawn from the world’s leading museums.

About the conference

cueB Gallery in Brockley hosts three days of experimental and electronic music from Monday 24 March 2014. The festival, curated by composer Luca Nasciuti, will showcase a wide range of practices combining sound art, noise, drone, acousmatic, ambient, electroacoustic, and electronic music.

Where: cueB Gallery at Brockley Mess Cafe, 325 Brockley Rd, London SE4 2QZ
When: Mon 24 March – Wed 26 March 2014
More information and tickets