Nt b.gibson sept2010

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briangibson

briangibson908@hotmail.com

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Brian Gibson “I am an artist who thrives on ideas”

Brian Gibson is a visual artist who thrives on ideas. His work consists of photographic processes and conceptual thought, working in a diverse range of materials. His creations include framed prints, 3D work, interventions, projections, installations and collaborations.

Archetypes The starting point for this work began as a way of making links with the past and redefining that past. Working with the inheritance of old family photographs, and using digital software, I developed a method of reconstructing the identities of these people who are in some way connected to me (be it directly or indirectly). In re-presenting these individuals as archetypal characters they shift from their closed historical context to embody more universal characteristics and timeless identity.

“I think the tree is an element of regeneration which in itself is a concept of time.” Joseph Beuys

Semacodes Semacode is a machine-readable two-dimensional code displaying information vertically and horizontally in a square format and increasingly found on billing items and advertising. Barcode readers are an application available to android and smart phone users , enabling data or information to be gathered and exchanged freely by the public, opening of a wealth of possibilities for creative and social interaction. Potential uses for such code tags are extensive: codes/tags on posters, for concerts and public performances that can be read to provide links directly to web sites. Tags across a city can be scanned and provide a body of text that is a fragment of a poem or story. Tags on trees and stones could provide clues and information on a nature trail . Tags can be presented in a multitude of ways: printed as flyers , tee shirts or badges, placed on trees and stones , incorporating traditional practices such as cross stitch and knitting and also as land art.

Land Art I am interested in the marriage between new and old technologies. How new developments can connect us to the past in a meaningful and fruitful way.

Contact briangibson908@hotmail.com Tel 01225 335747

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松本良多は東京出身のニューヨークを拠点として活動するアーティスト、建築デザイナー、アーバンプランナー、教育者。１０代を香港とマンハッタンで過ごした後、ロンドンのAAスクール、グラスゴー美術大学、マイアミ大学にて建築と哲学を学び、2007年ペンシルベニア大学大学院芸術学部建築学科を首席で卒業する。マニュエル・デランダ、ヴィンセント・ジョゼフ・スカーリー、セシル・バルモンド、ジャンカルロ・デ・カルロに師事する。９０年代よりMITメディアラボ、磯崎新、黒川紀章、インダストリアル・ミュージックの先駆者、ピーター・クリストファーソンと協働し、ベトナムバクマイ病院、九州大学センター地区のマスタープランをはじめ多数の建築、都市計画、アートのプロジェクトを手掛ける。ポーランドのシレジア大学の講師を経て、2016年よりプリマス大学 Transart Instituteの客員教授に就任、クーパー・ユニオン、プラット・インスティテュート、コーネル大学、ニューセンター・オブ・リサーチ・アンド・プラクティスシアトル校にてゲストレクチャラーとして教鞭をとっている。シカゴ市文化庁客員キュレーター、英国美術協会 (British Art Network) 名誉会員。オスロ国立美術大学、カリフォルニア大学アーバイン校、テネリフェ市立美術館にて加速主義、ポストヒューマニズムについて講演している。2017年にはレバーヒューム・トラスト国際学会の招聘によりコーネル大学にて「ポストヒューマニズムと未来都市」について講演する。2019年にはロンドンICAにて「トランスヒューマン社会と生成の唯物論」のレクチャーをキュレート、2020年以降はロージ・ブライドッティとのクリティカル・ヒューマニズムについての講義、エドワード・カックとのカリフォルニア大学アーバイン校でのワークショップと多岐な分野で活動している。ハイブリッド・アートとアルゴリズミック・コンピュテーションの手法を応用したメディア・アートの作品のインターナショナルな評価によりFILE（Electronic Language International Festival）Prix Lux Finalist、英国 Visual Art Open International Artist Awardを受賞する。 2016年には日本人として初めてイタリアとスペインからPremio Ora賞を同時に受けて2015年、2016年、2017年にロサンゼルスのLos Angeles Center for Digital Art、BYTE Gallery トランスベニア大学、ArtSpace ペスカラにて個展を開催する。2018年、韓国国立中央博物館の招聘展、テキサス大学、ロサンゼルス現代美術館の常設展示作品のアーティストに選ばれている。

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The aim of this presentation was to shift the focus of 3D modeling in archaeology and cultural heritage to consider the ways in which a more active motivation and engagement of their users (whether professionals or general public) might lead to the long-term sustainability of the models and visualizations. Currently the life expectancy of 3D models in installations or on-line is generally quite short. My argument is that engagement with the models should be measured not so much how many users/visitors a model receives, but in how long and through how many re-visits the users wish to visit the same model. I am guessing that for most users, the visit is a one-time short event. I identify five major strategy foci that might lead to longer and more specific usage of the models and thus to their longer-term sustainability; these are: 1) active user participation, 2) meaningful exploration, 3) cultural presence, 4) multi sensorial experience, and 5) the education of attention, with greatest emphasis given to the latter. I end with idea that these five foci in fact could all be embraced within the gamification of the models, not necessarily as video games, but as media-rich non-linear narratives that go by various terms, such as Walking Simulator, Interactive Digital Stories, and Alternative Reality Games that take advantage of a mixed environment of Augmented and Mixed Reality as well as the more “traditional” Virtual Reality modeling. I finally point out that such gamification could potentially make powerful contributions to draw attention to socio-political and ethical issues of cultural heritage and archaeology.

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Research never concludes because there is always a new perspective that remains unexplored; Somebody starts recognizes it and starts the process again to make a justified contribution. This research also began because of lack of investigation in this field. Relationship between culture and graphic design is abundantly visible, so much that it is politely ignored by us. In this paper two pillars of this century have been examined to help understand the design trends and strengthen them at the foundation. Though culture has been a subject of study for more than a century now but graphic design has gained momentum very recently and it is significant to understand how has it become a part of the already established world; if not then how can it the incorporated into the realm of other fields. Leena Philip"Exploring the Role of Culture on Graphic Designs" Published in International Journal of Trend in Scientific Research and Development (ijtsrd), ISSN: 2456-6470, Volume-2 | Issue-3 , April 2018, URL: http://www.ijtsrd.com/papers/ijtsrd10857.pdf http://www.ijtsrd.com/humanities-and-the-arts/journalism/10857/exploring-the-role-of-culture-on-graphic-designs/leena-philip

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Ryota Matsumoto (松本良多) is an artist, educator, designer, cultural programmer, urban planner, and architect. As a media theorist, he is highly recognized as the renowned pioneer and godfather of the postdigital culture. Born in Tokyo, Matsumoto was raised in Hong Kong and Japan. He received a Master of Architecture degree from University of Pennsylvania in 2007 after his studies at Architectural Association in London, Mackintosh School of Architecture, Glasgow School of Art and University of Miami in early 90’s. He studied with Manuel DeLanda, Vincent Joseph Scully Jr., Cecil Balmond, and Giancarlo De Carlo, among others.  He has collaborated with a cofounder of the Metabolist Movement, Kisho Kurokawa, and with Arata Isozaki, Peter Christopherson, and MIT Media Lab. Matsumoto has presented his work on multidisciplinary design, visual culture, and urbanism to the 5th symposium of the Imaginaries of the Future at Cornell University, the Espaciocenter workshop at TEA Tenerife Espacio de las Artes, New Media Frontier Lecture Series at Oslo National Academy of the Arts, UCI Claire Trevor School of the Arts, iDMAa Conference 2017, Network Media Culture Symposium at CCA Kitakyushu, and NTT InterCommunication Center as a literary critic and media theorist. He curated the exhibition, Posthumanism, Epidigital, and Glitch Feminism at Machida City Museum of Graphic Arts in 2020. Matsumoto has served as the MFA lecturer at Transart Institute, University of Plymouth. He works as a research associate and senior consultant for the New Centre of Research & Practice and the City of Dallas Office of Art and Culture respectively. Matsumoto is an honorary member of the British Art Network. He has been active as a guest critic on design reviews at Cornell University, Cooper Union, Columbia GSAPP, Rhode Island School of Design, and Pratt Institute.

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1. Brian Gibson “I am an artist who thrives on ideas”

2. Brian Gibson is a visual artist who thrives on ideas. His work consists of photographic processes and conceptual thought, working in a diverse range of materials. His creations include framed prints, 3D work, interventions, projections, installations and collaborations.  

3. Archetypes The starting point for this work began as a way of making links with the past and redefining that past. Working with the inheritance of old family photographs, and using digital software, I developed a method of reconstructing the identities of these people who are in some way connected to me (be it directly or indirectly). In re-presenting these individuals as archetypal characters they shift from their closed historical context to embody more universal characteristics and timeless identity.

8. The Rider

9. The Child

10. “I think the tree is an element of regeneration which in itself is a concept of time.” Joseph Beuys

11. Codex

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20. Semacodes Semacode is a machine-readable two-dimensional code displaying information vertically and horizontally in a square format and increasingly found on billing items and advertising. Barcode readers are an application available to android and smart phone users , enabling data or information to be gathered and exchanged freely by the public, opening of a wealth of possibilities for creative and social interaction. Potential uses for such code tags are extensive: codes/tags on posters, for concerts and public performances that can be read to provide links directly to web sites. Tags across a city can be scanned and provide a body of text that is a fragment of a poem or story. Tags on trees and stones could provide clues and information on a nature trail . Tags can be presented in a multitude of ways: printed as flyers , tee shirts or badges, placed on trees and stones , incorporating traditional practices such as cross stitch and knitting and also as land art.

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23. Land Art I am interested in the marriage between new and old technologies. How new developments can connect us to the past in a meaningful and fruitful way.

24. Avebury

25. Avebury

26. Glastonbury Tor

27. Bath

28. Contact briangibson908@hotmail.com Tel 01225 335747

Nt b.gibson sept2010

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