His latest projects investigate compositional and performative aspects of hybrid acoustic-electronics instruments extended through complex feedback networks and real-time sound analysis. My latest pieces include Autophagy, written for ensemble A. Time-Body Study is a performative experiment exploring the impact re-embodiment in virtual reality has on the boundaries of body, identity and self.
In the experiment participants, wearing a virtual reality head-mounted display HMD , are re-embodied in the body of a 7, 40 and 80 year old person. Mel Slater Barcelona University , The Time-Body Study creates the re-embodiment illusion by having a participant see his virtual hands being touched in the virtual space while, simultaneously and in perfect sync, his real hands are being touched, by a live performer. In Time-Body Study Daniel Landau adds narrative layers to the re-embodiment experience in an attempt to explore this cognitive mechanism on an emotional level. This gives the audience a unique view of the experiment demonstrating how the human body is effectively an evolving medium subjected to its technological environment.
Daniel Landau is a media artist, researcher and a lecturer. He completed his second degree in music-technology at the Royal Conservatory in The Netherlands where he lived and worked for close to a decade. Core to his work is the attempt to trace techno-political processes and their impact on social and private spaces. Daniel is the Co-founder and Director of Oh-Man, Oh-Machine — an art, science, and technology platform that includes an international conference, workshops, and a research lab. The Google Earth algorithm is a constantly evolving system. Momentary interferences in the connection between satellites and terrestrial receivers, errors in the process of mapping a flat image over a virtual topography or the censoring action of many states on certain points of their geographical representation give rise to new territorial typologies.
Google, Panoramio, Wikipedia and other virtual devices provide new ways of inhabiting, colonizing and occupying indefinite locations through techniques of collective appropriation. Present geopolitical tensions such us the South China Sea conflict, mainly based on the struggle for control over raw materials, enlighten open gaps for interpretation by means of these new representation techniques. Virtual borders offer new arguments for the real-world conquest. According to the United Nations Convention on the Law of the Sea, an island is a natural extension of land surrounded by water.
Vacation pictures, military videos, comments and threads geo-tagged on its surroundings provide these uncertain spaces with the necessary legal conditions to become real. Each image reflects the individual experience of a user in a given moment. The set of these experiences constructs a space out of fragments. Virtual devices enable the possibility of transforming random failures into new territory.
This project intends to develop a new theoretical approach aimed at investigating how casual viewers and passers-by meet and experience digital artworks in public space. The main assumption is that digital artworks have important artistic potentials when placed in transit spaces. These potentials connect to particular issues of temporality, which permit specific sight perceptions and senses of time. By focusing on the human experience of the artworks this project insists on the embodied human subject as the focal point for investigations of visual phenomena and visuality in general, but also for any studies regarding ontemporary urban space.
This is not only an expansion of space but of time as space. This talk will discuss recent projects I am working on that focus on allowing large-scale collaborative input from people in shared spaces using data from the mobile devices such as cellphones and tablets.
The project has been performed at a wide range of public spaces such as large conferences, public movie theaters and performance spaces, and co-working spaces. Jonah Brucker-Cohen, Ph. His Scrapyard Challenge workshops have been held in 15 countries since My practices focuses on invisible information flows we take as granted and makes these processes tangible, particularly investigating the labor behind the objects are produced from techno-globalization. How are present day circuits organized and how did they come to be in the present?
How do historic entanglements and restrictions of mobility arise in the present? In the experimental lecture that follows, I will speak on my arts practice where I investigate these objects, the satellite and shipping crate, in the projects called Satellites and Con-tain-er, and the systems in which the operate and their impact on how we perceive the world. I connect this to rise of a surveillance society and the process in which this technology can be used to empower people. Con-tain-er traces the circuits of globalization through the movement of this object.
This installation refers to the uneven spread of globalization, specifically how corporatization effects labor and how import and export effect local and global exchanges. The global shipping industry is indicative of our contemporary moment of globalization and shifting political alliances.
We are connecting to a larger network and by understanding how a circuit is constructed, we can challenge and change how the system functions. She has worked with diverse populations and community organizing and employs digital technology in ways that empower people. She conducts workshop around open source technologies and personal and colonial histories. Her sculptural installations focus on the history of objects that are produced from global circuits and their embedded codes, encompassing both the technological and sociological.
The internet has produced a tangibly interconnected world. In hindsight, its grammar of nodes, edges, and protocols is as organic as natural language. This presentation examines the discovery of packet-switched networks from a mid-century context and reveals the metaphors for human interaction and consciousness baked within; concepts that provide a foundation for discussing post-digital contemporary art. Technology has revealed many startling truths, from the quantum world to the psychology of human motivation, and the internet is no different. Contemporary insights into the themes of human interconnections and the metaphysical self are incorporated by artists attempting to reflect the world around them.
The installation blurs the edges of the physical self by visually and aurally depicting our extra-corporal extensions into the world. Like networked systems, ephemeral interactions, not the individual nodes, create definition. The challenge of the artist is to manifest the intangible reality.
Technology thus becomes the means for both scientific discovery and creative expression in the twenty-first century. The immersive-art experience breaks the limits between virtual and the real, leading them to a closer relationship with reality. In the year Char Davies realized the artwork Osmose. In this work in particular, the artist submerged the spectator in a world of digital imagery, and proposed him to establish a limit between technology and his internal self. Twenty years later, with his work Clouds over Sidra, Chris Milk submerges us by means of virtual imagery, subverting and taking us into the unbearable experience of the real.
Miguel Almiron, Ph. He leads a theoretical and technical practice exploring and reflecting on the possibilities of expressing the senses of body, and the human being through the use of new digital technologies. Guillermo Crosetto is an architect and industrial designer, graduated at the Domus Academy, Milan. He works today in Paris as a Lacanian psychoanalyst. Ethereal Empathy: Creating Spaces for Intersectionality is a translatable set of investigative research principles that can be applied to any site-specific locale, whether online, offline, virtual, or augmented. The results of the research are ongoing interactive installations that seeks to alter the way we are aware of a space rather than drastically altering the space itself, thus allowing for the possibility that a space may become both a tangible and ethereal memory palace.
Through active or passive participation with the Ethereal Empathy installation, our viewers become viscerally aware of the presence of their own bodies in connection with other bodies; this serves as both a conduit to understanding intersectionality but also an invitation to meta-cognition. Accompanying the projection will be relevant archival materials, music, text motion and sound. Richard is a trans disciplinary artist whose work sits at the cross roads of aesthetic object, social practice arts and scholarship.
Merritt has lectured and exhibited nationally and internationally most recently at Oxford University U. His scholarly work has appeared in numerous publications among them Leonardo Journal of Arts and Sciences of the MIT press as well as the proceedings of the Institute of Electrical and Electronic Engineers.
Richard is a Professor of Art at Luther College in Decorah Iowa where he teaches Art and Technology; a software and hardware development course, critical theory and drawing. Their work is mostly sharpened by much the same motives. Website links: www. Times are good if you are a start-up, corporate or research lab associated with nurturing technologically induced realities. It explores research strategies and approaches as well as artworks and literature to develop a discourse that can bear positive implications for the technologically induced realities.
We find a moralist-to-ethical distinction when this approach to the body shifts: what can a body do to rather what is a body? A phenomenological discourse considers the body as the site for the emergence of experience outside our perceptive vocabulary. Considering, that we have evolved with the constantly ubiquitous reference of gravity. In that respect, our sense of reality as plural and perception neither truth nor illusion but differing modes of reality is deeply tied to the body. A body that is more than a pre-conceived assembly of organs with a neurologically controlled cognition system.
But a body without organs, that is affective from within. The work consists of translating scientific measurements of tree activity into compositions that recall the tree as organism. The resulting enactment of the score is conceived as re-creation of the tree as measured by science in the form of a collaborative live event.
Inconvenient Energy Realities
The contemporary climatic situation displays a complexity and emergence of entanglements that no single disciplinary approach and no solitary operation of knowledge production can tackle adequately What I feel is needed today is a collaborative, post-disciplinary, post-digital combination of critical forms of engagement. It is for the sake of all human and non-human beings with whom we would like to live together and be intimate with. The challenge the research project sets out is to understand the tree, the score and the performance as organisms on different scales.
It aims to meet the task by experimenting with scientific and aesthetic settings that allow for a condition of perceiving oneself as separated from, in the vivinity of, related to or together with the tree. Christina Della Giustina is an artist based in Amsterdam. Her practice deals with the relationship between water and selves and includes site-sensitive work with data, sound, light, performance, composition, drawing and writing. The front page features a photo, and this photo is covered with headlines and captions. Does language still contain meaning? This video seeks to find out not what, but how the meaning is.
The visuals of a political debate have been removed and replaced with a series of dreamlike images. Which comes first— seeing a pattern, or imagining it in the mind? Technologies change our reality of embodied cognition; and social proximity and ecology. While extending our bodies in space and time they prevent us from reciprocal touching. Brenninkmeijer; H. Zwart, This paper discusses an experimental design for critical reflection on our co-existence as interdependent bodies in symbiosis with technologies M.
Hansen, Visitors act as co-researchers in a reflective, electric ritual for kissing and datafication. They kiss with E. Their bio-metric data are translated to immersive data visualization, algorithm and music score. Kwastek, From both an artistic and scientific perspective, this research calls for articulating trans-human desire, sharing imagination on embodied cognition: How does your kiss feel in E. Frances Brazier, Dr. Hoogenboom, Prof. Eisenstein was one of the first filmmakers to consider the psychological aspects of film montage and the possibility now exists by means of inexpensive EEG electroencephalography devices to obtain a measurable analysis of the psychological impact of film watching, and therefore to create non-linear film structures navigable by the received brainwave data.
A question that arises is: does it matter to the filmwatcher that the science involved is probably inaccurate and unreliable? Immersion is of particular interest because a recent trend in EEG headset manufacture is to combine them with Virtual Reality headsets. In the Myndplay company released its VR plug-and-play Myndband and made an open call for ideas for mind-controlled VR content, suggesting more research and experimentation is needed to find out the most engaging filmic strategies when degree films are controllable by brainwaves. Specialist of the interactive moving image, as artist-practitioner, educator and researcher.
Visiting lecturer in a variety of educational institutions with over workshops or courses delivered to date. Pulses of light and sound, synchronized to the brain rhythms of two performers, create an immersive environment that transports the audience to altered states of consciousness. Together the performers and audience go on a journey through different induced brain states and altered perceptions, ultimately considering broad implications for the future of human cognition and communication.
Using research methodologies combined with emerging technologies, Sean takes a trans-disciplinary look at the human condition to examine the changing relationship between the physical and metaphysical world. Since finishing his Ph. By reconnecting electric circuits he creates possibilities for unexplainable sonic phenomena, to which he reacts by improvising with sound. He is curious to study methods for creating sonic narration in relation to magic and hauntology, and turning trash- aesthetics into instruments of live electronics. He is interested in how the design of the interfaces of his sound devices affect the artistic process of performing with live electronics.
What is the relationship between art, craft, electronics and lo-fi aesthetics in his sound art practice? In his live electronics performances he experiments with interfacing, by integrating bodily performance with media technology. His music style could be described as abstract noise with a rhythmic twist. More information: jukkahautamaki. What is the distinct materiality of screen shots as a mode of capture? What material substrates are being captured? Winnie Soon is an artist-researcher who resides in Hong Kong and Denmark. Sarah Schorr is an American artist and researcher.
It makes sense to look back at the experience of net art in the s. This was an era of innocence, eagerness and heroes of a kind, when net art works as art were brand new. In the s, art had to be brought to the internet, settled there and only then was it possible to see how the environment influenced the content, whereas in the current post-digital and post-internet era, the internet environment is like nature: it surrounds us. How to characterize artistic trends in context of following terms: post-internet art, post-digital, post-media?
I am drawing sketchy development curve from net art to post-internet art. The critical voices on net art were heard since its birth. The last ones as they were proposed by Edward Shanken in an article in and dicussed during Art Basel in between the curators Nicolas Bourriaud and Peter Weibel. Finally I am diving into list of post-internet art definitions to ask a question about new media trends in context of the history of last 25 years. Raivo Kelomees, PhD art history , artist, critic and new media researcher. Has published in main cultural and art magazines and newspapers of Estonia since Anthropology of memory and imagination: time and place in photography.
The creative and research parts of the proposal submitted for the Open Fields conference constitute the extention of the topic examined during previous years — Image and text: the problem of interpretation of photographs and poetry. This survey served as a significant initial impulse for the further more extensive exploration that aims at understanding the relations and interconnections of memory and interpretations of visual language. Creative and research components of the artistic project seeks to verify the hypothetical assumption that personal memory of concrete individual and topographical historical memory of a particular locus determines the peculiarity of photography as visual language, its perception and understanding.
It is presupposed that a narrative in photography is indistinguishable from place and time, however, the question immediately arises — how is time represented in photograph? The dimension of time in photography is distinct from present in cinematography, in spite of the superficial similarities of two visual technologies. One may say that in photography, where the moment is halted, the temporal dimension is absent completely or represented only indirectly.
The latest research has been conceived as a reflection of creative experience in pursuit of the ways to capture memory and imagination through the medium of photography.
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Her research interests include memory, imagination, time and place in photography. It is about life and death, a merging point of transcendence and immanence where life and death affirms the organic synthesis of dialectal opposites that are transcendent through staying immanent within actual or present awareness. This work gives you the opportunity to create your own rhythms and sounds , through analog generated oscillator.
Determinism of the video entangles with with the indeterminism of the sound scape of the oscillator. Creating your own rhythms and sounds, through digitally generated oscillator. This work gives you the opportunity to change the video by movements. I am an Ukrainian-Armenian artist based in Berlin, Germany. Through my eclectic life experiences of radically different cultures, concepts like borders, nationality and other symptoms of closed mentalities became increasingly foreign to me.
And of course it has been reflected in my interdisciplinary artistic practices starting from my early stages of artistic research, through theatre, music jazz vocal , painting and performance art. In the past few years my artistic expression, approaches and methods grew into practice of abstract visual and sound art, as well as greatly, in contemporary postmodern technical culture, philosophy, interdisciplinary science fields and science-related new media art.
With the increase in the number of visitors on Wikipedia came new challenges of maintaining the reliability of information. An example of the latter is Cluebot NG, one of the most prolific bots on the platform and currently the sole based on a neural network, which scans the newest edits to detect and revert vandalism attempts.
Bringing in focus one of the bots reflects larger patterns in the relationship between what are essentially human and non-human contributors collaboratively working together on a knowledge platform. This paper seeks to reveal how power is redistributed within this environment and what can be said about the human community by peering deeper into the algorithmic actors ecology. With an interest in automation practices, disruption of the interface and peer to machine knowledge production, her practice consists of research investigations into knowledge sharing and bureaucratic systems.
Having recently graduated from the Piet Zwart Institute in Rotterdam, she is currently examining ecologies of algorithmic workers on digital platforms. She completed the B. Her work focuses on the ways humans interact with technology and how technology mediates human experiences, using wearable technology and physical computing to explore these themes. She has been involved in the Calgary-based tech couture fashion show Make Fashion since , and has shown her wearable technology work in British Columbia, the United States and Ireland.
Beyond interactivity. The unsolved question of interactive art. The paper introduces an artistic research project that focuses on the extended forms of interactive art and aims to define new terminology for the passive and unaware participation ways. Through the artistic practice, interviews with pioneer artists, related texts and artwork it is questioned whether art pieces that do not involve audience actively, but contain interactivity within the system internally can be still classified as interactive artworks. Since , when Golden Nica at Prix Ars Electronica was awarded to a not explicitly interactive artwork there is a clear need for additional terminology.
Definitely everything can be named as hybrid, but is this a long-term solution or just a transition zone? The article discusses several proposals for the new notions like extended forms of interactive art, unaware participation in the context of interactive art, and also post-interactive art. The question is how we define these kind of works that are not interactive to its audience, but still incorporate internal system interaction with a data source.
When one does not take the last fact into account, then from the audience point of view the art piece offers solely a mental engagement, similarly to a painting or a static sculpture. Extending the term of interactive art in such an extreme extent that one could potentially classify an abstract painting also as an interactive work, is a subversive strategy unless there are introduced new vocabulary that helps to define the internal processes of interactive system.
Varvara Guljajeva is an artists and researcher. The duo has been exhibiting in international shows since In their practice they confront social changes and impact of technological era. Investigating Locative Art through a methodological bricolage. This paper presents the conditions of knowledge legitimation of a doctoral study in the Communication field that uses multiple tools of inquiry in a combination of art-based research and traditional scientific methods.
The thesis, qualified with an excellent cum laude, gained remarking comments in reference to its interdisciplinary methodology, which crosses the boundaries of usually separated domains: Art, Social Science, and Technology. In a methodological bricolage, the study links theory and practice in an attempt to demystify principles in Humanities that tend to separate both.
Though practical approaches at the Ph. The author describes how these relations established between seeing, doing and analyzing generated a hybrid and simultaneous epistemological process of knowing-by-making, in which the artistic production became a form of investigating two interrelated areas. One is the design and implementation of communication technologies involved in Locative Art, what included a group of artists and researchers that collaborated in the development of a geolocation-based experience to augment the public space.
The other is the manner that participants respond to distinct modes of engagement in an interactive experience, an examination of the phenomena that could be done outside the laboratory. The author focuses on this doctoral study to discuss how knowledge can be gained from the artistic practice when the making becomes an elemental mechanism to examine the experience of both, practitioners researcher and audience people involved in the study.
Vanessa Santos is a digital media artist and researcher. She holds a Ph. She investigates the creative use of mobile and pervasive media and its encouragement in the creation of new narrative genres. Her last work is Chronica Mobilis, an interactive and geolocated performance with gameplay, which happens in a public augmented space.
Currently, she investigates the audience experience in response to different modes of engagement. In our post-digital condition, realities intertwine with the virtual. Fake viral news merges with actual events and create happenings in reality. Exploring this merger of the digital world with trauma, the video series Disassociate Reality explores the entangled web of trauma, from terrorism, to historical cold warfare, using the post-digital aesthetic of renderings and 3-D animation to examine how traumatic memories are dislodged and liquefied.
However, the project is more broadly about the construction of memory and the fuzziness of forming both an official or personal memory. Through video, the artist has formed a narrative that shows this variance in trajectories. Starting with the background of Kalashnikov himself as an arms dealer and linking it to the proliferation of arms as a form of proxy politics in the Cold War under the Reagan administration. At its core, the video project weaves in singular accounts and then questions how the digital mechanical structures of reality breaks down time and asks us to disassociate the real: eliminate trauma itself.
Vanessa Gravenor is a writer and artist living in Berlin. As an artist, she conducts research on cybernetics, trauma, and psychoanalysis using video and installation methodologies. The map in its original sense is a primary form of virtuality. Being a conventional representation of a real landscape it simulates the reality and requires an imaginative input, yet at the same affects the real movement of bodies of those using the map. Nowadays geographic maps offer more and more immersive environments — take e. Google Street View — that allow to travel in allegedly real landscapes without actually moving.
However one can claim that with increased technologisation, accuracy, and immersiveness, the imaginary element is being lost: as the virtual becomes too close to the real, our perception of reality becomes more and more uniform. Works by artists, such as Christoph Fink or Nicolaus Gansterer, offer subjective ways of tracing reality. Unlike the standardised maps and diagrams geographic or other , such artistic maps can proliferate with new diagrammatic responses see e.
His doctoral dissertation was recognized as one of the three best social sciences and humanities dissertations in Lithuania in During he was holding a post-doc fellowship at Vilnius Academy of Arts Lithuania. Research interests: participatory and collaborative practices, communities, art and education, representations of thinking, intermediate forms of art, communication and research. The starting point of the text is the occasion of receiving three silver spoons by my grandmother. They carry her personal history of migration, of having had to leave her hometown Riga at the age of The text then unfolds into a contemporary reflection of the migration of people, data, capital and images.
I understand the silver spoon not just as a tool or a symbol but through its greater historic relationships of believe systems, value, trading and exploitation. Throughout the text the image of the soup and spoon returns in order to circle around the development of currencies, its colonial history as well as image production. Her artistic practice takes the approach to think through objects, situations or places to unravel their histories and implicated cultural, political or theoretical connections, and explores writing as performative or voiced articulations.
With her practice she aims to inhabit an artistic space in-between disciplines and is interested in offering different perspectives and critical understandings that manifest in the form of essays, lecture performances and essay films. In volcanic eruption caused the appearance of a new island in the Pacific Ocean — maritime set of an ongoing dispute between neighbouring nations.
The rise of Nishinoshima caused the expansion of Japans Exclusive Economic Zone EEZ — an area which stretches nautical miles of a national coastline, allowing individual countries to exercise sovereign and jurisdictional rights such as the exploitation of resources. The Volcano Island catalyses the ongoing economic and geopolitical conflict of the East China Sea and its undefined borders.
Outcomes are not contained objects, but rather a point of departure replicating the ridiculousness of a maritime dispute and the past and future of the island. Her work crosses reality and the imaginary by observing and reenacting environmental, cultural and political systems. Through an extensive research into a place, condition and history projects result in the design of speculative narratives often presented in form of simulations, objects and films.
Next to her practice she is teaching at Goldsmiths University. The idea of the film What there is to See is based on the relationship between an urban utopia and nature landscape. The film is a kind of chain of associations: The starting point for the work is the pioneer of romantic landscape painting, Caspar David Friedrich, a white European man. In the true spirit of colonialism, Babar the Elephant presents us with a utopian city in a civilized country. Jaana Kokko is an artist living currently in Helsinki, Finland.
In my work I am interested not only in the exploration of the expressive and historical aspects of art, but I find it equally important to understand and be aware of the fact that a finished piece of art and the act of displaying it publicly are political comments. She is Ph. Some elements of program connected to use of low tech technologies as opposite to high tech digital technologies e.
Steampunk refers to hauntology as pro-active philosophy of Spiritism — one within various traditions of retro-futurism while hauntology itself remains nostalgic retroscpection of un-dead futures represented by the figure of ghost. Ghosts are located in haunted places and things and you can access them through certain spiritist practices ouija board, etc. Ilva Skulte is, Dr. Having taught and written about the history of media and reflecting on the changes in culture caused by new media shediscovered the importance of understanding how new environments cause complex changes in the system of cultural codes and practices including reading, texts, images, multimodality and media literacies especially, digital literacies in the context of childhood and school — the areas of research where some of her latest contributions have been made.
Normunds Kozlovs has a background in philosophy and sociology. His academic interests include counter-culture ideology and youth subcultures. He has been working mainly in Finland, co-designing and facilitating many local and international activities in a Tampere based DIY cultural center Hirvitalo together with its politically and culturally active public.
The rise in computing power is growing in tandem with enormous databanks of information, algorithmic processing, new methods of surveillance, and advances in biotechnology. These converging factors contain both obvious and hidden implications as both technologies of immersive entertainment, as well as technologies of control. Yet, immersion is not just articulated or instantiated by predominantly visual apparatuses originally birthed in Cold War laboratories and now Silicon Valley corporations — in fact, it seems to increasingly occupy all sorts of forms of sensory life: from art works, to health care to sleep.
Immersion thus seems to be the latest in an arsenal of tools and techniques developed by our new knowledge societies to extract value from the last refuges of human experience — our bodies and our senses. This talk asks a simple question — namely, what does immersion do and for what purposes? Augmented Reality between a philosophical meaning and a technological one.
Some questions about the semantic shift of the concept of AR. The notion of Augmented Reality is not new. One already speaks about its theoretical and philosophical fundamentals around the middle of the 20th century. Nevertheless, the diffusion of an organised research begins in the s, alongside the diffusion of digital technologies.
The first researches about Augmented Reality are mostly of a philosophical nature and are often opposed to Virtual Reality, since, unlike the latter, AR overlaps virtual information to reality, increasing and not replacing it. In addition to the theoretical-philosophical slant, the initial devices were often laboratory experiments, too expensive to be marketed, though they had the purpose of letting Augmented Reality enjoy.
Recent revolutions, linked to mobile technologies, have altered this order. The technological gadgets market has been invaded by a myriad of end-user devices, leading to a sort of semantic shift of the meaning of Augmented Reality. In fact, nowadays, when one thinks about Augmented Reality, it is thought in terms of families of devices, almost erasing its original philosophical meaning and creating a definition problem.
The purpose of this discussion is to rebalance the semantic shift, analyzing the steps that caused it since the beginning until now and redefining with Augmented Reality not the devices but the original philosophical ideas and all the implications they determined. To refer to the devices, it is rather appropriate that the general word is preceded by the technical specificity e.
Hand-held augmented reality , because in their technical differences, they share the same intent: augmenting the daily reality with virtual information. The focus of his research concerns these areas: theatre, dance, new media, animation, AR technologies, software culture, urban design. He is also an actor and a digital set designer. He published some essays in several books and journals. The exhibition becomes a statement, a presentation of ideas Gedankenausstellung ; it represents the cultural, philosophical or political standpoint of the curator and the institution where it takes place.
It invites the visitors to take part in a thought process or an intellectual travel, while visiting the exhibition. It implies the preservation of the scenography, and of the spatial part of curatorial work. Artists are still experimenting with VR; some examples show that preservation of interiors has also been thematized. A few museums started to experiment with the production and publication of virtual tours, but this type of documentation is far from ubiquitous.
The paper attempts to bring up questions related to this field. The further research aims to develop a toolkit for the preservation of the exhibition display including the artworks, their spatial arrangement and the related information, which can be achieved with an analytical approach towards VR technology and the organisation of information within the exhibition space. She studied art history and aesthetics in Budapest, she has been curating and co-curating exhibitions throughout Europe since , focusing on the rapidly changing and expanding media of contemporary art and its intersections with various disciplines, with exhibitions related to topics such as economy, architecture, computer science or the question of perception.
Oslofjord Ecologies is an ongoing artistic research project consisting of workshops, exhibitions, performances and publications. The Oslofjord represents both nature, economy, infrastructure, biology, materiality, culture and history as well as future plans and challenges.
The Oslofjord Ecologies project functions as a context for artistic research, documentation, research and interdisciplinary collaborations. She works as an artist, researcher and educator. She was formerly professor and head of Intermedia at Trondheim Academy of Fine Arts and artistic director of Atelier Nord media lab for artists to Kristin is one of the pioneers of video and early media art in Norway.
Her activity covers both international and national presentations and projects. Currently she develops contributions to the international network within art, technology and ecology Renewable Futures, focusing on sustainable and transcultural processes in urban and artistic research contexts. Bacterial Candy Crush? Heuristics of Bio-Digital Gamification. Synechocystis spp. During the presentation, Raphael will outline his current progress on developing a smartphone-based game application that controls Synechocystis, and use it as an example to explore heuristics behind developing a biotic game: What are the practical and social considerations that need to be taken into account, and what are the potential implications of biotic games with the advances in technology?
Raphael Kim is a designer and researcher, using bio-digital technology as a narrative tool to explore implications of games development. As a result the subject becomes an environmental sponge, unconsciously memorizing, recording, and reiterating functions of others while utterly unable to affirm any acts of their own individual desire. Panic overwhelms the subject to the point of losing touch with the objects which in the past had been the focus of narcissistic attention or self-love.
Allin wanted more than anything to be the plane which caused the collapse of the ideological stasis of semio-capital. The music, which was produced in a state of panic, was engineered to ride this erratic energy, this substance of sublime nature which posits a state of depletion among its patrons.
The transmutation of this substance into music temporarily lends to the musician this agency of depletion. Taken out of the context of good and evil, transgression can be a therapeutic mechanism working to counteract the obsessional neurosis of repressive social mores.
Transgression is the only mode in which Allin knew himself, a habitual heroin addict who gained some counter-culture prestige after repeatedly and violently shitting on himself and smashing his head on the wall in front of a crowd. Psychosis has the potential to create fields of action, which extend the realm of experience for both the individual and the collective — contributing to the conquest of human enterprise. Individuals transgress with the morality of the social in order to learn about themselves, and to reciprocally boast of this self-knowledge gained through the hybrid of frail conscious activity, if any at all, and the infantile unconscious opportunism of the subject of fate.
When the drugs wear off the exuberant self is dissolved and any motive of the will immediately bears the title of delegate to a matrix of lack. This detox is the only experience such a subject will have of its corporeal body, associated with the field of ineffable lack — all potential action becomes virtual and the subject will try, with all his libidinal energy, conscious or unconscious, to convince itself and others that this barren existence is all there is to know, repressing the entire domain of human enterprise in reduction to a shallow inability of a single individual to accept his own state of being.
The creative development of this persona was a cartographic experiment in transgressive human enterprise but as it does not present itself as a bridge to the collective psyche, the persona and all the individuals who found solace in its withdrawn territory are no friend to humanity. They constitute a suicidal hoard of unconscious, faithless semiotic-nodes.
It is human-beings as such which perpetuate mimetic individualism in compensation for an ability to know themselves. When subjects are alienated by a state of panic and overwhelming competition one might try and delude oneself into thinking that they have no relation to the collective whatsoever, even though by distinguishing oneself from the collective they become inseparably dependent on it as the only entity which can grant the subject a reflection.
That being said, GG Allin almost caught the wave of cognitariat existence, as an individual who labors towards the extension of human enterprise but because he could not re-incorporate his carnal existence he only contributes to the outdated phenomenon of the American No Wave which is a reactionary movement to industrial-era alienation where the worker is out of touch with himself and the other workers, their interaction muted by machinery. In the contemporary, the workers have left the factory but the noise has only grown more insufferable- the contemporary subject must create intentional refrains to remove themselves from this infinite war on our attention.
Behind the black mirror, there is not the emptiness of the cyberspace, but the transductions between the differentials of potential of a whole machine. In Mort Heilig produced the Sensorama, this first proposal of an immersive system encountered soon the evolution of computer graphics, led by the endeavour of simulate reality in the controllable surface of computers.
The translation of images to data packages coded by complex algorithms produced the interactive interfaces and the dystopian worlds inhabited by human surrogates, but also the training systems where the bodies and movements of pilots become data, which are sensed and translated to simulated landscapes of warfare. Rendering these data as images, computers learned how to read any image of our world as data. Computer vision and the pervasiveness of networked computing has augmented the perception of the everyday world with communication capabilities and digital information which is contextualised and delivered in real-time.
Virtual and Augmented Reality had contributed to developing the systems that allow abstract our world into data readable by computers towards the constitution of a ubiquitous medium in which our daily interactions are under the commanding of the standards and protocols of unperceived platforms Bratton, Postdigital Art Bishop et al, goes beyond the interfaces to encounter the materiality of this whole machine and build critical assemblages, which can disrupt it embodying the computer mediated processes shaping our daily lives and repurposing them for the proposal of potential futures.
This text will introduce new artistic strategies which take advantage of the virtual capabilities of these systems to disrupt the immediacy and real-time tracking and unveil a deep time. The complex processes from where emerge our current techno-social milieu and its capability for the design of speculative futures.
She also contributes to open knowledge and the spread of digital culture as a writer at the blog of the CCCBLab. Organized at the CCCB. Her research work revolves around the definition of the contemporary post-digital situation, with a particular focus on artistic production and theory, and participatory urban design. To this end, she studies the material conditions and social processes linked to technological innovations such as the Internet of Things, data visualisation, and digital fabrication.
This paper presents an interactive installation project, which is a part of doctoral research thesis. During the 60s, ,Marshall McLuhan, described the arrival of electronic medi the movement as the returning of humans from visual into audile-tactile space, to the tribal state. From the reality of the represented, humans are moving to a reality that is very similar to the given, except it is not natural.
It is artificial, developed out of the represented. It is the induced; the next stage of the evolution of the interplay of reality, media, and the sensorium. In the current and increasing mass adoption, VR allows integrating these behavioral and psychophysiological measurement with the self-reported descriptions of the experience in an ecological but controlled setting Wiederhold and Rizzo, ; Parsons, Fusaro et al. Noted by Keltner and Haidt , a properties of percepted sense of awe in are shaped by two key dimensions: vastness and the need for accommodation.
The need for accommodation describes how awe-inducing stimuli force us to adjust our cognitive schemas to accommodate them. He is currently pursuing in doctoral research programme at Liepaja University, Latvia. The work often engages with concepts from contemporary theoretical physics, communication and evolution theories.
How do we step into representations? Cosmetic Space is an artistic research project about our extended presence in simulations. If photography is a new way of seeing, simulation is that and more: a new way of living, both a change of lens and a change of location. Digital doubles then become part of virtual community, where their activities and gestures are controlled by realtime animation system.
Social pressure is transmitted from the work to the audience, when people follow from the animation how their digital doubles treat one another and how this affects the relationships between the people watching the simulation. It is impossible to know how much of us as individuals belongs to others and is being controlled by our communities.
The structure of the work opens up this issue in relation to social changes taking place in western societies and the technologies, which operate as our messengers in the networks. Media artist working and living in Helsinki, Finland. My materials are light, shadow and human interaction. The wavering equilibrium between individual freedom and communal rules takes shape as interactive installations, projections or lenticular images. I explore gestalt psychology, computer vision, generative graphics and 3D-sensing in the development process of interactive spaces, creating ephemeral relationships between people, projection and space.
The experience of interpretation of biological object in the context of contemporary art. These aspects are based on the morphology of syrinx, the vocal organ of mockingbirds. The geometry and thrusters of the biological syrinx studied during the project are subject to transposition on a different scale, with appropriate transformation of environments and materials. Methods of adjusting mechanics based on evolutionary mechanisms genetic algorithm and artificial neural network, developing on the basis of our bioacoustic studies can lead to the improvement of the already complex architecture and kinetics of the syrinx.
One of the most well-known forms of syrinx translations is aulos, a musical instrument of Phrygian origin, poetically reflected in the myth of the satire of Marsyas. We consider it as a sketch for the existence of an organ separately from the body and as the intention to expand the boundaries of modelling biological objects. The project is implemented by a team consisting of an artist, ornithologists, an IT specialist, an expert in electronic devices, hydraulics, a specialist in 3D graphics. Natalia Egorova, born in in Petrozavodsk, Russia.
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Artist, a member of Artists Association of Russia. Sergey Simonov, born in in Izhevsk, Russia. Co- author of 81 scientific publications. Patents: RU Organiser of 2 month courses of ecological and biological educational computer programs for gifted children. Daniil Bakalin, born in in Nadvoitsy, Russia. See All. Thought so! To get ready, we pushed out an update today adding Index Controller aka Knuckles support to Realities.
This should also fix the buzzing audio that some of you reported - if the problem persists please let us know! Happy exploring, Daniel from the realities.
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Too many amazing sites are too far away, too expensive to get to, closed off to the general public or too dangerous to visit. Explore those places and discover their stories. Walk through the desolate vastness of Death Valley. Marvel at the amazing architecture of one of the largest cathedrals of the world, the Cologne Cathedral.
Feel the confinement of a cell in Alcatraz. Set foot inside the ruins of an year old Staufer castle. Realities is regularly updated with new locations! See all. View all. Click here to see them. Customer reviews. Overall Reviews:. Recent Reviews:. Review Type. Date Range. To view reviews within a date range, please click and drag a selection on a graph above or click on a specific bar. Show graph. Off-topic Review Activity. When enabled, off-topic review activity will be filtered out. This defaults to your Review Score Setting. Read more about it in the blog post.
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