During the covid pandemic, this online program replaces both the 12
physical L.A.S.E.R.s that were planned
at Stanford University and University of San Francisco for 2020 and the
L.A.S.T. Festival that was planned for Spring 2020.
Since some of them are simply "fireside chats",
we tentatively called them the The Life Art Science Tech (L.A.S.T.) dialogues.
See previous and future speakers and their videos.
(Note: All times are California time)
- July 13 @ 6pm
Bektur Ryskeldiev (live from Japan) on "The (near) future of immersive and interactive media"
Laura Splan (Media Artist) on "Recursive Residues: Navigating Interfaces Between Virtual and Biological Worlds"
Marjorie Perloff (Stanford) on "TS Eliot's 'The Waste Land' at 100"
Register here
or
here
Bektur Ryskeldiev (Tsukuba Univ) on "The (near) future of immersive and interactive media"
If you missed this dialogue, you can view it by clicking on the image:  .
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 and a long time educator, organizer, and content producer at SIGGRAPH. He was previously in the Digital Nature Group at the University of Tsukuba, investigating how advances in handheld and wearable technologies are changing the ways we interact and perceive each other online. 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 (Media Artist) on "Recursive Residues: Navigating Interfaces Between Virtual and Biological Worlds"
If you missed this dialogue, you can view it by clicking on the image:  .
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 work has been exhibited at the Museum of Arts & Design, Pioneer Works, and New York Hall of Science and is represented in the collections of the Thoma Art Foundation, the Chan Zuckerberg Initiative, NYU’s Langone Art Collection, and the Berkeley Art Museum. Her writing and interviews have appeared in Art Practical and SciArt Magazine. 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 for a project supported by the Simons Foundation. Her research as a member of the New Museum’s NEW INC Creative Science incubator included collaborations with scientists to interrogate interspecies entanglements in the contemporary biotechnological landscape. She is now a NEW INC Artist-in-Residence at EY where she is collaborating with the Cognitive Human Enterprise at EY on projects and research exploring the implications of virtual technologies. Splan often creates public engagement with her projects to make concepts and techniques behind her work accessible to audiences with programming including everything from all ages bacterial transformation workshops to remote textiles collaborations. Splan has held academic appointments at Stanford University, teaching interdepartmental Art courses to Engineering, Computer Science, Biology, Math, as well as Art majors. Splan was a Digital Arts Fellow supported by the National Endowment for the Arts at AS220 Industries where she taught creative coding and physical computing workshops. She has been a visiting artist and critic at numerous institutions.
Marjorie Perloff (Stanford) on "TS Eliot's 'The Waste Land' at 100"
If you missed this dialogue, you can view it by clicking on the image:  .
Marjorie Perloff 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), while "The Edge of Irony: Modernism in the Shadow of the Habsburg Empire" (2016) enlarges on the theme of her 2004 memoir "The Vienna Paradox". "Circling the Canon: The Collected Book Reviews of Marjorie Perloff, 1969-2016" has been published in two volumes by the University of New Mexico Press in 2019, and her most recent book, "Infrathin: An Experiment in Micropoetics",has just been published by Chicago. Perloff’s first English translation/edition of Wittgenstein’s "Private Notebooks 1914-16", has just been published by Liveright in 2022. Perloff is a member of the American Academy of Arts and Sciences and of the American Philosophical Society.
Photos and videos of this evening
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