Evaluating the creative? Symposium to examine evaluation in creative practice
As the lines between creativity and commerce become increasingly hazy, the days of artists, designers and other makers-of-media working solely from personal conviction – regardless of the reception of their work – are gone. Today, intelligent artists and designers are deeply interested in knowing and understanding how their audiences experience and respond to their work.
On 19 January 2009 a symposium organised by the Lansdown Centre for Electronic Arts at Middlesex University, in conjunction with the British Computer Society and the Design Research Society, is set to bring together artists, designers, scientists, developers and academics to explore the role of evaluation in creative practice and how this can be affected and enhanced by technology.
Entitled Completing the Circle: Incorporating Evaluation Methods in Creative Work, this one-day event will feature speakers from Australia, Sweden, the United States and the UK. They will include such prominent figures in the field as Ernest Edmonds, Head of the Creativity and Cognition Lab in Sydney, and Kristina Höök, Professor of Human- Machine Interaction at Stockholm University/Royal Institute of Technology, as well as Piotr Adamczyk of the Metropolitan Museum of Art in New York.
According to Stephen Boyd Davis, Head of the Lansdown Centre for Electronic Arts at Middlesex University: “Interactive digital technologies offer an increasing range of opportunities for artists, designers and other creative workers to find out how their work is experienced. Some creative people are keen to embrace these opportunities, while others consider such methods an intrusion. We aim to share ideas and expertise and tackle some hard questions”.
The eight papers to be presented in the programme have been peer- reviewed by an international panel, and will discuss projects that focus on using interactive technologies and other novel methods to evaluate the user’s or audience’s response to media including artworks, designs and performance. These papers include three that look at innovative uses of eye-tracking technology and two that examine how the relationship between artist, exhibit, gallery and public is altered by digital interaction.
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