Computing

The adoption of agent technologies and multi-agent systems constitutes an emerging area in bioinformatics. In this article, we report on the activity of the Working Group on Agents in Bioinformatics (BIOAGENTS) founded during the first AgentLink III Technical Forum meeting on the 2nd of July, 2004, in Rome. The meeting provided an opportunity for seeding collaborations between the agent and bioinformatics communities to develop a different (agent-based) approach of computational frameworks both for data analysis and ...

It is our belief that modelling the behaviour of stem cells in the adult human body as an agent-based system is the most appropriate way of understanding the process of self-organisation. We have undertaken several case studies where formal and/or computational models of stem cell systems, have been re-developed using an agent-based approach. This paper presents details of one of these case studies where we have used an agent-based approach as opposed to a cellular automata approach. A formalisation of the non-agent ...

The Procedural Reasoning System (PRS) is the best established agent architecture currently available. It has been deployed in many major industrial applications, ranging from fault diagnosis on the space shuttle to air traffic management and business process control. The theory of PRS-like systems has also been widely studied: within the intelligent agents research community, the belief-desire-intention (BDI) model of practical reasoning that underpins PRS is arguably the dominant force in the theoretical foundations of rational ...

Textile Modernism: Transcultural Readings of Maryn Varbanov and Abstract Weaving from East to East, from Local to Global
Janis Jefferies
This essay focuses on abstract weaving as an expression of textile modernism. It discusses how the Bulgarian artist, Maryn Varbanov, in particular amongst other East European tapestry artists, pursued technical experimentation and challenged folk weaving tradi- tions by exploring abstract weaving as a form of conceptual textiles. Maryn Varbanov can be consid- ered the most influential Bulgarian artist since the Second World War. Arguably he contested gendered assumptions of weaving as a historically feminine handicraft and abstract weaving to the Academy of Fine Arts in Hangzhou as China explored its own moments of modernist, avant-garde experimentation.

Art, and increasingly the convergence of performance or live works, can act as a provocation; it operates as the conscience of a society, producing discomfort and bringing its audience into crisis (Barratt and Bolt 2010). For art- ists, this discomfort and crisis represents precisely art’s bene t, both to the participants and to the wider community. I am not so convinced, as I hope to explore in this chapter.

ED. Kat Jungnickel.
Researchers rethink tactics for inventing and disseminating research, examining the use of such unconventional forms as poetry, performance, catalogs, interactive machines, costume, and digital platforms.

The exhibition Sudo Reiko: Making NUNO Textiles took center stage this winter at the Centre for Heritage, Arts and Textile in Hong Kong (CHAT). The exhibition was a multi-dimensional collaboration between Reiko Sudo, the internationally acclaimed textile designer and Design Director of NUNO in Japan, Saito Seiichi of Rhizomatiks Architecture, Tokyo, Adrien Gardère, Paris, scenography design and a network of Japanese factory managers, technicians and artisans and the curatorial expertise of CHAT’s Co-Director Mizuki Takahashi.

Sotheby's in London may best be known as an auction house, but its sister organization S|2, serves as a contemporary, research-based, critical exhibition space focusing on the edges of art history and those artists which may be under recognized by the market. S|2 operates separately from the auctions and the programme is laid out independently of the auction seasons. Where Were You at Night is the second part of a trilogy of group exhibitions where a work of literature underpins the conceptual framework for the show. The exhibition is always accompanied by a new edition and reprinting of the selected story. The exhibition is named after a collection of fourteen short stories by Brazilian author Clarice Lispector that were begun in 1951. For S|2's exhibition programmers Darren Leak and Bianca Chu, Lispector's stories and the exhibition are open to many interpretations as there is no prevailing narrative to link each story, nor a singular thread that unites the works on view. The works by explore ideas of materiality and their surfaces whether in clay, wood, metal or textiles. Where Were You at Night, as a collection of short stories, is both a wondering phantasmagoria of a raw writing style and an amalgam of language which is difficult to translate. This rawness stands out as a nexus between Lispector's writing and the major textile-based pieces on display by Olga de Amaral, Jagoda Buic and Françoise Grossen, who came to international prominence in the 1970s through the Lausanne International Tapestry Biennials in Switzerland. By transgressing boundaries with excess and ecstasy, they staked out a claim and positioned fiber more firmly and proximate to the explorations that have propelled abstract forms of art since the 1960s.

Anni Albers began her studies at the Bauhaus in 1922 before being invited along with her husband, the painter Josef Albers, to the United States by the architect Philip Johnson. The invite meant that they could escape the Nazi regime and Albers could make textiles without fear of being arrested.
During her  1st major retrospective in the UK, at TATE modern, the viewer is taken on a journey from the Bauhaus to Black Mountain College to Yale. In a stunningly and lovingly curated exhibition, the viewer is treated to some glorious examples of Albers textile designs, wall hangings, printmaking, drawings, and writings