…as our intimate connections with other bodies become increasingly mediated by technology perhaps immersive and interactive encounters with science can function as a rehearsal for interaction with and comprehension of the sublime magnitude of existence in the biotechnological age that we both create and inhabit…
—Laura Splan, Recursive Residues: Navigating Interfaces Between Virtual & Biological Worlds
international program of gatherings that bring together artists, scientists, inventors and scholars in a variety of disciplines for informal presentations and conversation.
July 13, 2022 at 6pm PT / 9pm ET
Stanford University
Palo Alto, CA
Co-sponsored by Stanford University deans of Humanities and Sciences, Engineering and Medicine
Chaired by cultural historian Piero Scaruffi
Bektur Ryskeldiev (from Japan) on "The (near) future of immersive and interactive media"
Laura Splan (Media Artist) on "Recursive Residues: Navigating Interfaces Between Virtual & Biological Worlds"
Marjorie Perloff (Stanford) on "TS Eliot's 'The Waste Land' at 100"
Bektur Ryskeldiev is a Kyrgyzstani-born multidisciplinary researcher and creative technologist, focused on spatial and social computing, human-computer interaction, immersive media, computational creativity, and digital art. He is currently a senior research scientist at Mercari R4D in Japan. He was previously in the Digital Nature Group at the University of Tsukuba, investigating handheld and wearable technologies. His works have been showcased at such conferences as SIGGRAPH Asia, CHI, CSCW, IEEE VR, and Augmented Human. He is also a founder, facilitator, and contributor at different tech, art, and science communities around the world, such as one of the first AI+XR tech hackathons in Tokyo, and MUTEK JP AI Music Lab.
Laura Splan is a transdisciplinary artist working at the intersections of science, technology, and culture. Her research-driven projects connect hidden artifacts of biotechnology to everyday lives through embodied interactions and sensory engagement. Her artworks exploring biomedical imaginaries have been commissioned by the Centers for Disease Control Foundation and the Triennale Brugge. Her recent exhibitions featuring molecular animations and material artifacts of laboratory animals include her large-scale immersive installation in the Brooklyn Army Terminal at BioBAT Art Space. She is currently developing a new series of collaborative artworks with theoretical biophysicist Adam Lamson. Her research as a member of the New Museum’s NEW INC Creative Science incubator included collaborations with scientists to interrogate interspecies entanglements.
Marjorie Perloff, a member of the American Academy of Arts and Sciences and of the American Philosophical Society, is Sadie D. Patek Professor of Humanities Emerita at Stanford University. She is also Florence Scott professor Emerita of English at the University of Southern California. Perloff is the author of many books and articles on 20th and 21st century Poetry and Poetics, including, "Frank O’Hara: Poet among Painters" (1977), "The Poetics of Indeterminacy: Rimbaud to Cage" (1981), "The Futurist Moment: Avant-Garde, Avant-Guerre, and the Language of Rupture" (1986, new edition, 1994), "Radical Artifice: Writing Poetry in the Age of Media" (1992), "Wittgenstein’s Ladder: Poetic Language and the Strangeness of the Ordinary" (1996), "21st Century Modernism" (2002), and "Unoriginal Genius: Writing by Other Means in the New Century" (2011), "The Edge of Irony: Modernism in the Shadow of the Habsburg Empire" (2016), "Circling the Canon: The Collected Book Reviews of Marjorie Perloff, 1969-2016", "Infrathin: An Experiment in Micropoetics" (2021) and the first English edition of Wittgenstein’s "Private Notebooks 1914-16" (2022).
