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Simon Penny
* 1955
http://ace.uci.edu/penny/
About
Simon Penny is an Australian practitioner in the fields of Digital Cultural Practices, Embodied Interaction and Interactive Art. His practice has included artistic practice, technical research, theoretical writing, pedagogy and institution building. Over the last twenty-five years, he has made interactive and robotic installations which address critical issues arising at the intersection of culture and technology, informed by traditions of practice in the arts including sculpture, video-art, installation and performance; and by theoretical research in enactive and embodied cognition, ethology, neurology, phenomenology, human-computer interaction, ubiquitous computing, robotics, critical theory, cultural and media studies. Informed by these sources, he designs and builds artworks utilising custom sensor and effector technologies. He built the autonomous robotic artwork Petit Mal in the early 1990s. His machine vision based interactive digital video work Fugitive was exhibited at the opening of the ZKM in Karlsruhe, Germany in 1997. Traces ( a 3D machine vision driven CAVE immersive interactive) was presented at Ars Electronica in 1998. Fugitive Two was commissioned by the Australian Center for the Moving Image (ACMI), Melbourne Australia, in 2000, and premiered there in 2004. He has received funding and/or residencies from the Daniel Langlois Foundation for Science and Art, ZKM, GMD, WDR, and other sources. (http://simonpenny.net/about/index.html)
CV

2009- Professor, Studio Art, University of California, Irvine
2008- guest professor, "Interdisciplinary Master in Cognitive Systems and Interactive Media", Universitat Pompeu Fabra, Barcelona
2005-2007 Co-director, ACE interdisciplinary graduate program, UCI
2003-2005 Director, ACE interdisciplinary graduate program, UCI
2001- Professor of Arts and Engineering, University of California Irvine
2000-2001 European Professor of Interactive Environments, University of Portsmouth UK and Merz Akademie Stuttgart, Germany. Establishing PhD program and research facilities
2002 Faculty Artist at the Claire Trevor School of the Arts, University of California, Irvine / Digital Arts Faculty
1998 Cyberstar 98: Shared Visions / awarded by GMD and WDR
1997 - 1997 artist in residence at ZKM, Karlsruhe
1997 - 1997 lecturer at University Karlsruhe
1996 lecturer at the Centro Nacional Multimedia, Centro Nacional des las Artes, Mexico City
1994 - 1996 coordinator of the programm for electronic and timebased media, art institute, Carnegie Mellon University, Pittsburgh
1993 - 2001 associate professor, Carnegie Mellon University, Pittsburgh / for art and robotics
1990 - 1993 lecturer, University of Florida / art institute
1989 - 1993 associated member at Carnegie Mellon University,Pittsburgh / art institute
1984 - 1988 lecturer at the City Art Institute Sydney
1982 graduate diploma from the Sydney College of the Arts, Sydney / graduate diploma in sculpture
1979 diploma from the South Australian School of Art, Sydney / diploma in fine art
- 2001 European Professor of Interactive Environments at the University of Portsmouth, England and at the Merz Akademie, Stuttgart


News
Exhibitions & Conferences
Publications & References
Grau, Oliver. Virtual Art: From Illusion to Immersion. Cambridge, MA: MIT Press, 2003.
Penny, Simon and Bill Vorn. »Bedlam and Other Robotic Art Projects.« In Subtle Technologies 03, edited by Jim Ruxton and Tania Thompson. University of Toronto, Toronto: 2003.
Grau, Oliver. Virtual Art: From Illusion to Immersion. Cambridge, MA: MIT Press, 2003.
Sengers, Phoebe. »Schizophrenia and Narrative in Artificial Agents.« Leonardo 36, no. 4 (2002): 427-431.
Kac, Eduardo. »Robotic Art Chronology.« Convergence 7, no. 1 (Spring 2001): 87-111.
Grau, Oliver. »The History of Telepresence: Automata, Illusion, and The Rejection of the Body.« In The Robot in the Garden: Telerobotics and Telepistemology on the Internet, edited by Ken Goldberg, 226-243. Cambridge: MIT Press, 2000.
Grau, Oliver. »The History of Telepresence: Automata, Illusion, and The Rejection of the Body.« In The Robot in the Garden: Telerobotics and Telepistemology on the Internet, edited by Ken Goldberg, 226-243. Cambridge: MIT Press, 2000.
Mandelbaum, Audrey. »Paradoxes of Progress: Art at the Eighth International Symposium on Electronic Art.« New Art Examiner 25, no. 5 (February 1998).
Morse, Margaret and Christoph Blase. »Fugitive.« In Hardware Software Artware, edited by . Ostfildern-Ruit: Hatje Cantz, 1998.
Drucker, Johanna. »Simon Penny.« Art Journal 56, no. 3 (Fall 1997).
Kac, Eduardo. »Origin and Development of Robotic Art.« Art Journal 56, no. 3 (1997): 60-67.
Kac, Eduardo. »Origin and Development of Robotic Art.« Art Journal Special Issue 56, no. 3 (1997): 60-67.
Drucker, Johanna. »Simon Penny.« Art Journal 56, no. 3 (Fall 1997).
Davis, K. D. and Simon Penny. »Dystopic Topics.« World Art 1 (1996): 30-33.
Slaven, Michael. »Report about Simon Penny.« Afterimage (March/April 1995).
Albertini, Rosanna. »Un art fait de mémoire.« Esthétique des Arts Médiatiques 2 (1995).
Kissick, John. »Simon Penny.« New Art Examiner (May 1994).
Massumi, Brian. »Brian Massumi´s Technotes.« Artforum Bookforum supplement (November 1994): 28-29.
Spitz, Rejane. »Qualitative, Dialectical and Experiential Domains of Electronic Art.« In Fourth International Symposium on Electronic Art (FISEA 93), edited by . Minneapolis, Minnesota: 1993.
Fifield, George and Brian Wallace, ed. The Computer is not Sorry. : The Space, 1993.
Penny, Simon. »Prefiguring Cyberculture, an intellectual history.« In Traces, edited by Darren Tofts and Annemarie Jonson and Alessio Cavallaro. Cambridge, MA: MIT Press, 2004.
Penny, Simon and Bernhardt et. al. Schulte. »Traces: Embodied Immersive Interaction with Semi-Autonomous Avatars.« Convergence (Summer 2001).
Penny, Simon. »Agents as Artworks and Agent Design as Artistic Practice.« In Human Cognition and Social Agent Technology, edited by Kerstin Dautenhahn. Amsterdam, NL: John Benjamins Publishing Company, 1999.
Penny, Simon. »Systems Aesthetics and Cyborg Art: The Legacy of Jack Burnham.« Sculpture Magazine (January 1999).
Penny, Simon and Jeffrey Smith and Andre Bernhardt. »Traces: Wireless Full Body Tracking in the CAVE.« In ICAT 9th International Conference on Artificial Reality and Tele-Existence Conference Proceedings, edited by . Tokyo, Japan: 1999.
Penny, Simon. »John Heartfield, Where Are You When We Need You Most?.« Nokia Online Journal (September 1998).
Penny, Simon and M. Fernandez. »Jeffrey Shaw, a Users manual.« Sculpture Magazine (November 1998).
Penny, Simon. »Embodied Cultural Agents: at the Intersection of Art, Robotics and Cognitive Science.« In AAAI Socially Intelligent Agents Symposium, edited by , 103-105. : AAAI Press, 1997.
Penny, Simon. »TechnoUtopian Rhetorics and the Ossification of Interfaces.« ArtLink 16, no. 2+3 (1997).
Penny, Simon. »From A to D and Back Again: The Emerging Aesthetics of Interactive Art.« Leonardo Electronic Almanac 4, no. 4 (April 1996).
Penny, Simon. »The Darwin Machine: Artificial Life and Interactive Art.« New Formations 29 (1996): 65.
Penny, Simon. »Realitäten des Virtuellen.« In Perspektiven der Medienkunst. Museumspraxis und Kunstwissenschaft. Antworten auf die digitale Herausforderung, edited by ZKM Karlsruhe, 16-24. Karlsruhe, DE: ZKM Karlsruhe, 1996.
Penny, Simon. »From A to D and Back Again: The Emerging Aesthetics of Interactive Art.« In Next Wave Festival/ Perception and Perspective, edited by Australia National Gallery of Victoria. Melbourne, Australia: 1996.
Penny, Simon. »Darwinin kone: keinoelämä ja taide (Excerpts from the Darwine Machine: Artificial Life and Art).« In Johdatus uuteen mediaan (Introduction to New Media), edited by Minna Tarkka and Kari A. Hintikka and Asko Mäkelä, 183-194. Helsinki: Edita, 1996.
Penny, Simon. »The Colonisation of Cyberspace.« In Media Art Perspectives, edited by Hans-Peter Schwarz and Jeffrey Shaw. Karlsruhe, Ostfildern-Ruit: ZKM and Hatje Cantz, 1996.
Penny, Simon. »Twenty Centuries of Virtual Reality.« Magazyn Sztuki 9, no. 1 (1996).
Penny, Simon. »Kunst, Körperbewusstsein und das Technische Weltbild.« In Ars Electronica 1996: Memesis. Die Zukunft der Evolution, edited by Gerfried Stocker and Christine Schöpf, Wien and New York. : Springer Verlag, 1996.
Penny, Simon. »Why Do We Want Our Machines to Seem Alive?.« Scientific American, 150th anniversary issue (September 1995).
Penny, Simon, ed. Critical Issues in Electronic Media. Albany, NY: Suny Press, 1995.
Penny, Simon. »Twenty Centuries of Virtual Reality.« InterCommunication 14 (1995).
Penny, Simon. »Consumer Culture and the Technological Imperative: The Artist in Dataspace.« In Critical Issues in Electronic Media, edited by Simon Penny. Albany, NY: Suny Press, 1995.
Penny, Simon. »Consumer Culture and the Technological Imperative: The Artist in Dataspace.« In Critical Issues in Electronic Media, edited by Simon Penny, 47-74. Albany, NY: State University of New York Press, 1995.
Penny, Simon. »Twenty Centuries of Virtual Reality.« In Virtuaalisuuen Arkeologia, edited by Erkki Huhtamo. Rovaniemi: Lapin Yliopisto, University of Lapland, 1995.
Penny, Simon. »Körperwissen, digitale Prothesen und kognitive Diversität.« Kunstforum International 132 (1995): 151-157.
Penny, Simon. »Living Machines.« Scientific American (September 1995).
Penny, Simon. »Virtual Reality as the End of the Enlightment Project.« In Virtual Reality Casebook, edited by Carl Eugene Loeffler and Tim Anderson. Hoboken, New Jersey: Van Nostrand Reinhold Company, 1994.
Penny, Simon. »Electronic Arts Practice: Experiences in Australia and the USA.« Continuum - Electronic Arts in Australia 8, no. 1 (1994).
Penny, Simon. »Mobile Robots: Inspiration to Implementation (Review).« Leonardo 27, no. 4 (1994): 361-362.
Penny, Simon. »Virtual Reality as the End of the Enlightenment Project.« In Culture on the Brink: Ideologies of Technology, edited by Gretchen Bender and Timothy Druckrey and NY Dia Center for the Arts. Seattle: Bay Press, 1994.
Penny, Simon. »2000 Years of Virtual Reality.« In Through the Looking Glass, edited by Janine Cirincione and Brian D´Amato. New York: Jack Tilton Gallery, NY, 1993.
Penny, Simon. »Machine Culture: The Virtual Frontier.« In SIGGRAPH ´93 Proceedings, edited by Simon Penny. Anaheim, CAL: 1993.
Penny, Simon. »Disentangling Utopian Dreams.« In The Computer is not Sorry, edited by . Boston: 1993.
Penny, Simon. »The Intelligent Machine as Anti-Christ.« In SISEA 1990 Proceedings, edited by . Groningen: 1992.
Penny, Simon. »Machine Culture.« In SISEA 1990 Proceedings, edited by . Groningen: 1992.
Penny, Simon. »Smart Bombs, Foolish Strategies.« Afterimage 19, no. 9 (April 1992).
Penny, Simon. »Virtual Bodybuilding.« In Virtual Zone Anthology, edited by Tapio Mäkelä and Minna Vaisanen. Turku: Turun yliopiston ylioppilaskunta, 1992.
Penny, Simon. »Fred Truck: Art Engine II.« Art Papers 16, no. 2 (March/April 1992).
Penny, Simon. »Training Computer Artists for the 21st Century.« Computer Graphics 25, no. 3 (1991).
Penny, Simon. »Computer Art: Critical Issues in Pedagogy.« Artlink (September 1991).
Penny, Simon. »Video Installation by Bill Viola.« Artlink (March 1989).
Penny, Simon. »Art Practice in the Age of the Thinking Machine.« Performance Magazine 56, no. 7 (1989).
Penny, Simon. »Charlie Chaplin, Stelarc and the Future of Humanity.« Artlink 9, no. 1 (1989).
Penny, Simon. »Meta Combat, an Analysis of Randellis War Story.« Praxis M Magazine 22 (1989).
Penny, Simon. »Moores Law, Systems Theory and the Aesthetics of Interactive Art.« Astrolabe Online Journal (1988).
Penny, Simon. »Performance Art, "What the...".« Performance Magazine (1986).
Penny, Simon. »Pittura Culta: Current Italian Neoclassicism.« Art Network (1985).
Penny, Simon. »Critique-New York, The Terminal.« Art Network (1984).
Penny, Simon. »Death of the New (Venice Biennale 1984).« Artlink (1984).
Penny, Simon. »Terminal New York.« Artviews Magazine (1983).
Penny, Simon, ed. Navigator. A Posthumous Biography of Geoffrey Lloyd. Adelaide, AUS: Experimental Art Foundation, 1982.
Penny, Simon. A History of the Bossa Nova. Sydney, AUS: Institute for Oblique Studies, 1981.
Penny, Simon. »La Trobe, an Overview.« Artlink (1980).