Birthday:

December 2

Website/Blog/YouTube/ or Viemeo site

https://perso.ensad.fr/~longa

When and how have you participated at SIGGRAPH Conferences? (exhibits, talks, panels, performance, screenings). OK if you have not participated.

It was in 1995 at LOS ANGELES http://www.siggraph.org/s95/S95_V1/ARTSHOW/CONTACT.HTL http://crossings.tcd.ie/issues/1.2/Longavesne/

Are you a member of ACM SIGGRAPH?

No

Are you on a SIGGRAPH Committee?

NO

Have you shown art in any SIGGRAPH Art Shows?

Yes

If you answered yes to the above question, please list year(s)

1995

Have you shown in any SIGGRAPH Animation Screenings?

No

What countries do you work in?

FRANCE

Short Bio

Jean-Paul Longavesne (France), artist grip@cnam.fr http://perso.ensad.fr/~longa/ Biography:Jean-Paul Longavesne was born in France and lives in France and Quebec. He is currently working as Professor at the University Paris XI and at the National School of Decoratives Art (ENSAD) where he is responsible for the Fashion and Clothing Department, Director of the Painting datas Research Group (GRIP) and Board Member of the International Colour Association (AIC). As an installation and performance artist, he has pioneered the development and creative use of an artist's personal painting machine on the net and has exhibited artworks at a number of shows in Canada, Europe and USA. His latest electronic publication "The Aesthetics and Rhetoric of the Technological Arts Interface Machines" (see http://crossings.tcd.ie/issues/1.2/Longavesne/ ). Contribution: Aesthetics and Rethorics of Technological Arts : The Art of the Machines Abstract: Interfaces' Space and Time From automatic production to mechanical reproductibility, art history shows us that during Antiquity, art and technics are not dissociated, that, gradually, the hand, then the tool become a machine. If, in the Ars', the main means to a transformative activity is the tool that enhance the gesture, making it more efficient, in the technics and the technology, the machine is defined as the source of the transformative process, enfeoffing the gesture to a project often outside of the body ; the machinic short-circuit revealing the importance of communication. In other words, the technics, followed by the technology amplifie the communication processes needed in the artistic production, mainly in the field of technological arts where the virtual takes a more and more important place. This artistic creation, therefore, developps new methods in relationships with its new tools. It is no longer the mimesis that is in the forefront, but what allows the apparition, the process, the tool-based activity that organizes it through the machine. If art recalls the necessity of senses and gestures that inhabit it, the technology takes them away by the detachment of its procedure. The interface plays then this role of mediation, defining a new body of artistic practices. http://www.fondation-langlois.org/html/e/research.php?MotsCles=longavesne&Submit.x=0&Submit.y=0&Format=1&zoom=3 http://www.fondation-langlois.org/html/e/doc.php?NumEnregDoc=d00021905