http://deimos3.apple.com/WebObjects/Core.woa/Browse/utah.edu.1475705819.01956025671 College of Fine Arts Center for Interdisciplinary Arts & Technology - All To meet the changing needs of artistic and scientific inquiry, practice and pedagogy, the University of Utah's College of Fine Arts has created the new Center for Interdisciplinary Arts and Technology (CIDAT). Housed in the New Media Wing of the Art and Architecture Building, CIDAT is a meeting place (both literally and figuratively) for faculty and students, and hosts programs, workshops, projects, and creative research. CIDAT fosters creative investigation in the arts and sciences, and provides opportunities for collaboration and interdisciplinary. CIDAT seeks to develop creative researchers; both faculty and student, in all disciplines who can inform contemporary thought and expand the horizons of artistic and scientific inquiry and practice. Fine Arts University of Utah Greg Clark, Associate Professor, Director of the Neural Interfaces Track, Department of Bioengineering, University of Utah on Restoring Lost Sensory and Motor Function with Neuronal Prostheses: How to Talk to the Nervous System So It Will Listen, and How Greg Clark, Associate Professor, Director of the Neural Interfaces Track, Department of Bioengineering, University of Utah on Restoring Lost Sensory and Motor Function with Neuronal Prostheses: How to Talk to the Nervous System So It Will Listen, and How to Listen to It When It Talks Almost unfathomably complex, the nervous system accounts for much of who we are. Consequently, neuronal dysfunction can exact a profound toll on the human condition. Recent technological and conceptual advances are making it increasingly possible to restore sensory, motor, cognitive and even emotional function after nervous system damage or disease. In my presentation, I shall explore how scientists and engineers can “talk to” (stimulate) the nervous system in order to provide it with appropriate information and instructions, and “listen to” (record from) the nervous system in order to understand what the nervous system is trying to say and do. In particular, I shall discuss the use of the 100-channel Utah Electrode Array as a neuroprosthetic interface that may be used to restore vision to the blind, to reanimate paralyzed limbs after spinal cord injury, and to provide natural, intuitive motor control of, and sensory feedback from, an advanced neuroprosthetic arm. An important theme of this CIDAT interdisciplinary lecture series is that both the arts and sciences “use images and metaphors which…allow us to see and feel things that are otherwise passed by unseen and unfelt, and thus enrich our experience of the natural world” (Guy Ashkenazi). My own presentation will illustrate how modern neuroprostheses are making such seeing and feeling not only a metaphor, but a reality. Greg Clark, Associate Professor, Director of the Neural Interfaces Track, Department of Bioengineering, University of Utah on Restoring Lost Sensory and Motor Function with Neuronal Prostheses: How to Talk to the Nervous System So It Will Listen, and How to Listen to It When It Talks Almost unfathomably complex, the nervous system accounts for much of who we are. Consequently, neuronal dysfunction can exact a profound toll on the human condition. Recent technological and conceptual advances are making it increasingly possible to restore sensory, motor, cognitive and even emotional function after nervous system damage or disease. In my presentation, I shall explore how scientists and engineers can “talk to” (stimulate) the nervous system in order to provide it with appropriate information and instructions, and “listen to” (record from) the nervous system in order to understand what the nervous system is trying to say and do. In particular, I shall discuss the use of the 100-channel Utah Electrode Array as a neuroprosthetic interface that may be used to restore vision to the blind, to reanimate paralyzed limbs after spinal cord injury, and to provide natural, intuitive motor control of, and sensory feedback from, an advanced neuroprosthetic arm. An important theme of this CIDAT interdisciplinary lecture series is that both the arts and sciences “use images and metaphors which…allow us to see and feel things that are otherwise passed by unseen and unfelt, and thus enrich our experience of the natural world” (Guy Ashkenazi). My own presentation will illustrate how modern neuroprostheses are making such seeing and feeling not only a metaphor, but a reality. 1479799835 Tue, 26 Feb 2008 02:00:13 GMT University of Utah 0:48:49 no Fine Arts University of Utah Paul Stout, Assistant Professor, Art and Art History. Links from the end of the presentation: http://www.artbots.org/about.shtml http://rhizome.org/ http://www.dorkbot.org/ http://userwww.sfsu.edu/~swilson/ http://www.ar Paul Stout, Assistant Professor, Art and Art History. Links from the end of the presentation: http://www.artbots.org/about.shtml http://rhizome.org/ http://www.dorkbot.org/ http://userwww.sfsu.edu/~swilson/ http://www.arduino.cc/ http://www.parallax.com/ http://www.makezine.com/ Paul Stout, Assistant Professor, Art and Art History. Links from the end of the presentation: http://www.artbots.org/about.shtml http://rhizome.org/ http://www.dorkbot.org/ http://userwww.sfsu.edu/~swilson/ http://www.arduino.cc/ http://www.parallax.com/ http://www.makezine.com/ 1479799837 Mon, 25 Feb 2008 20:25:03 GMT University of Utah 0:35:37 no Fine Arts University of Utah Miguel Chuaqui, an Associate Professor, School of Music, at the University of Utah argues the traditional role of technology in music production has been to replace interactive body-driven instruments, such as the piano, with non-interactive instruments t Miguel Chuaqui, an Associate Professor, School of Music, at the University of Utah argues the traditional role of technology in music production has been to replace interactive body-driven instruments, such as the piano, with non-interactive instruments that play on their own, such as the radio. In my electro-acoustic works, however, the human performer is always the driving force, and this idea is present, as well, in research projects that don’t have an artistic goal as their aim. For example, I have been working with colleagues in the Pain Center on a pilot project, funded by a University Incentive Seed Grant, to develop a therapeutic device that will allow subjects to monitor and modulate their level of relaxation by influencing music through their biological signals. This device is similar in concept to the software instruments that I have created for interactive dance projects, where physical movements, instead of biological signals, influence sound. Rather than diminishing the role that the human body plays in creating music, these projects expand the physical human presence in the musical results that technology yields. Miguel Chuaqui, an Associate Professor, School of Music, at the University of Utah argues the traditional role of technology in music production has been to replace interactive body-driven instruments, such as the piano, with non-interactive instruments that play on their own, such as the radio. In my electro-acoustic works, however, the human performer is always the driving force, and this idea is present, as well, in research projects that don’t have an artistic goal as their aim. For example, I have been working with colleagues in the Pain Center on a pilot project, funded by a University Incentive Seed Grant, to develop a therapeutic device that will allow subjects to monitor and modulate their level of relaxation by influencing music through their biological signals. This device is similar in concept to the software instruments that I have created for interactive dance projects, where physical movements, instead of biological signals, influence sound. Rather than diminishing the role that the human body plays in creating music, these projects expand the physical human presence in the musical results that technology yields. 1476485030 Tue, 12 Feb 2008 03:00:03 GMT Miguel Chuaqui 0:56:32 no Fine Arts University of Utah Chris Johnson, Director, Scientific Computing and Imaging Institute, Distinguished Professor, School of Computing, University of Utah, describes how computers are now extensively used throughout science, engineering, and medicine. Advances in computationa Chris Johnson, Director, Scientific Computing and Imaging Institute, Distinguished Professor, School of Computing, University of Utah, describes how computers are now extensively used throughout science, engineering, and medicine. Advances in computational geometric modeling, imaging, and simulation allow researchers to build and test models of increasingly complex phenomena and thus to generate unprecedented amounts of data. These advances have created the need to make corresponding progress in our ability to understand large amounts of data and information arising from multiple sources. In fact, to effectively understand and make use of the vast amounts of information being produced is one of the greatest scientific challenges of the 21st Century. Visual computing, which relies on and takes advantage of, the interplay among techniques of visualization, computer graphics, virtual reality, and imaging and vision, is fundamental to understanding models of complex phenomena, which are often multi-disciplinary in nature. In this talk, I will provide examples of interdisciplinary visual computing and imaging research at the Scientific Computing and Imaging (SCI) Institute as applied to problems in science, engineering, and medicine, and discuss their relationships to art, film, and architecture. Chris Johnson, Director, Scientific Computing and Imaging Institute, Distinguished Professor, School of Computing, University of Utah, describes how computers are now extensively used throughout science, engineering, and medicine. Advances in computational geometric modeling, imaging, and simulation allow researchers to build and test models of increasingly complex phenomena and thus to generate unprecedented amounts of data. These advances have created the need to make corresponding progress in our ability to understand large amounts of data and information arising from multiple sources. In fact, to effectively understand and make use of the vast amounts of information being produced is one of the greatest scientific challenges of the 21st Century. Visual computing, which relies on and takes advantage of, the interplay among techniques of visualization, computer graphics, virtual reality, and imaging and vision, is fundamental to understanding models of complex phenomena, which are often multi-disciplinary in nature. In this talk, I will provide examples of interdisciplinary visual computing and imaging research at the Scientific Computing and Imaging (SCI) Institute as applied to problems in science, engineering, and medicine, and discuss their relationships to art, film, and architecture. 1476485032 Tue, 12 Feb 2008 02:15:36 GMT Chris Johnson 0:48:15 no Fine Arts University of Utah Ellen Bromberg, Director of CIDAT, welcomes participants to the second evening of the lecture series. Ellen Bromberg, Director of CIDAT, welcomes participants to the second evening of the lecture series. Ellen Bromberg, Director of CIDAT, welcomes participants to the second evening of the lecture series. 1476485034 Tue, 12 Feb 2008 02:00:07 GMT Ellen Bromberg 0:03:23 no Fine Arts University of Utah Ellen Bromberg, Associate Professor, Dept. of Modern Dance. describes how in recent years, innovation in dance has included the integration of media and technology, both on stage and on screen, in a multitude of ways. The use of interactive programs that Ellen Bromberg, Associate Professor, Dept. of Modern Dance. describes how in recent years, innovation in dance has included the integration of media and technology, both on stage and on screen, in a multitude of ways. The use of interactive programs that allow dancers to trigger light, sound and image; the use of the internet as both vehicle for and site of performance, and the layering of two and three dimensional images within the traditional proscenium setting, all allow new ways of experiencing time, space and metaphor in dance. In this talk I will present a number of performance works in which I have utilized these technologies and I will discuss how they have influenced my creative inquiry as a dance and media artist. Ellen Bromberg, Associate Professor, Dept. of Modern Dance. describes how in recent years, innovation in dance has included the integration of media and technology, both on stage and on screen, in a multitude of ways. The use of interactive programs that allow dancers to trigger light, sound and image; the use of the internet as both vehicle for and site of performance, and the layering of two and three dimensional images within the traditional proscenium setting, all allow new ways of experiencing time, space and metaphor in dance. In this talk I will present a number of performance works in which I have utilized these technologies and I will discuss how they have influenced my creative inquiry as a dance and media artist. 1476485036 Tue, 29 Jan 2008 03:00:14 GMT Ellen Bromberg 0:44:44 no Fine Arts University of Utah Pat McMurtry, Professor, Department of Mechanical Engineering, University of Utah, describes some basic physics of fire and flow, while exploring relationships between art and science in an informative and entertaining format. Pat McMurtry, Professor, Department of Mechanical Engineering, University of Utah, describes some basic physics of fire and flow, while exploring relationships between art and science in an informative and entertaining format. Pat McMurtry, Professor, Department of Mechanical Engineering, University of Utah, describes some basic physics of fire and flow, while exploring relationships between art and science in an informative and entertaining format. 1476485038 Tue, 29 Jan 2008 02:15:16 GMT Pat McMurtry 0:31:30 no Fine Arts University of Utah Ellen Bromberg, Director of CIDAT, welcomes participants to the first evening of lectures and describes the goals and mission of CIDAT. Ellen Bromberg, Director of CIDAT, welcomes participants to the first evening of lectures and describes the goals and mission of CIDAT. Ellen Bromberg, Director of CIDAT, welcomes participants to the first evening of lectures and describes the goals and mission of CIDAT. 1476485040 Tue, 29 Jan 2008 02:00:42 GMT Ellen Bromberg 0:06:00 no Fine Arts University of Utah Center for Interdisciplinary Arts & Technology - PDF - Research Fellowship Program 2008-2009 Guidelines - University of Utah > Colleges, Depts & Groups > College of Fine Arts > College of Fine Arts > Center for Interdisciplinary Arts & Technology > PDF > Research Fellowship Program 2008-2009 Guidelines Center for Interdisciplinary Arts & Technology - PDF - Research Fellowship Program 2008-2009 Guidelines - University of Utah > Colleges, Depts & Groups > College of Fine Arts > College of Fine Arts > Center for Interdisciplinary Arts & Technology > PDF > Research Fellowship Program 2008-2009 Guidelines 1474783529 Mon, 25 Feb 2008 22:20:54 GMT Ellen Bromberg, Director 0:00:00 Fine Arts University of Utah