Shema Sai 190 Resanta

This Three-Volume-Set constitutes the refereed proceedings of the Second International Conference on Software Engineering and Computer Systems, ICSECS 2011, held in Kuantan, Malaysia, in June 2011. The 190 revised full papers presented together with invited papers in the three volumes were carefully reviewed and selected from numerous submissions. The papers are organized in topical sections on software engineering; network; bioinformatics and e-health; biometrics technologies; Web engineering; neural network; parallel and distributed; e-learning; ontology; image processing; information and data management; engineering; software security; graphics and multimedia; databases; algorithms; signal processing; software design/testing; e- technology; ad hoc networks; social networks; software process modeling; miscellaneous topics in software engineering and computer systems.

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Bill Balaskas, Formula, 2016. Neon, dimensions variable. Curator: Lanfranco Aceti. © Bill Balaskas, 2016. Courtesy of the artist. In the curatorial approach for the staging of the works at the Kalfayan Galleries in Athens the intention of both the artist and the curator was to present a narrative which would offer a conceptual engagement, as well as a passionate and emotive connection with the vision for the show as a staging for the ‘end to come.’ The neon Formula, emptied of any value, remains a completion of nothingness—an abstraction which speaks to the mind of loss at the same time being a container to be filled in by the experience of the viewer. The work of art becomes one of the foci of the exhibition, staged as a flowing narrative and a moment of contemplation.

Bill Balaskas, Formula, 2016. Neon, dimensions variable.

Curator: Lanfranco Aceti. © Bill Balaskas, 2016. Baikal makarov serial numbers.

Courtesy of the artist. There was no invitation to a revolution in these works of art. No action to be taken as such, but the artist asked for a deeper re-examination of both our personal experiences and ways of thinking. Primark—the symbol of indiscriminate financial capitalistic consumerism—is an empty bag placed in a plastic vacuum waiting for better times that may never come back. The emptiness of that sealed bag symbolizes the end of an era and of prosperity: no longer will there be flights to London to shop and bring back objects, icons of a mercimōnium of this planet and of the human soul done so lithely and so happily.

The Blanket analyzed another kind of vacuum: that of art, art processes, and artists engaged in constant processes of aestheticization for gain. The capturing of misery becomes another exploitative act, embedded within a larger context, with the stated impossibility of escape but with the opportunity of thinking about the standing of the artist in the light of the sunset with the multiple shadows cast upon the sand. Bill Balaskas, Vacuum Bag, 2016. Paper bag, vacuum bag, 80 x 50 cm.

Curator: Lanfranco Aceti. © Bill Balaskas. Courtesy of the artist. Of the four works of art that dealt with vacuum, the most empty for me, was Flyer. This particular work of art was empty in its aesthetic since it was embedded, as part of its reality as a found object, in a context of exploitation upon which no other comment could be added or layered on.