Isea 2022 - Possibles

Institutional presentation / DïaloG. MindSpaces – STARTS . The Art of DïaloG: Are we immigrants in a machine World?

IED – Hemeroteca Digital

HEMEROTECA DIGITAL – POSSIBLES collects the news that happened in supposed futures with the aim of exploring situations and speculating on events, observing through them the capacity of design and the repercussion that it has on the construction of our continuous future / present.

This initiative stems from the collaboration between ISEA 2022 Barcelona (1) and the D4TM (Designing For The Many) subject of the IED Barcelona School (2) during the 2021-2022 academic year.

The news collected in the HEMEROTECA DIGITAL – POSSIBLES, as future situations that occurred, served as the basis for the design of postcards that, coming from the future to the present, announced in the first person and in an affective way the experience of what happened.

The HEMEROTECA DIGITAL – POSSIBLES opens to the public at the Ignasi Iglésias-Can Fabra Library as an open provocation for citizens to speculate on possible futures and the role of design in relation to it.


HEMEROTECA DIGITAL – POSSIBLES recull les notícies succeïdes en suposats futurs amb l’objectiu d’explorar situacions i especular successos, observant a través d’ells la capacitat del disseny i la repercussió que aquest té en la construcció del nostre futur / present continu.

Aquesta iniciativa neix de la col·laboració entre l’ISEA 2022 Barcelona (1) i l’assignatura D4TM (Designing For The Many) de l’Escola IED Barcelona (2) durant l’any acadèmic 2021-2022.

Les notícies recollides a l’HEMEROTECA DIGITAL – POSSIBLES, com a situacions futures succeïdes, van servir com a base per al disseny de postals que venint del futur al present anunciaven en primera persona i de forma afectiva la vivència del que ha passat.

L’HEMEROTECA DIGITAL – POSSIBLES s’obre al públic a la Biblioteca Ignasi Iglésias-Can Fabra com una provocació oberta als ciutadans per especular sobre els possibles futurs i el paper del disseny en relació amb això.

Conference Program (PDF)

Download

CERC – Pensar i dissenyar els possibles amb estudiants

Inscriptions: https://forms.gle/mLKX1fr28H4vBzu26

“Pensar i dissenyar els possibles amb estudiants” is a meeting that responds to two goals. On the one hand, to make visible the research and creative work linked to imagining other possible worlds that are being developed in the different centers of higher education in the city of Barcelona and the province. On the other hand, to promote the sharing of different methodological approaches, strategies, tactics, tools and pedagogical resources to facilitate the process of imagining and designing other possible and future emerging worlds with students.

Speakers:

Oscar Tomico (Elisava)
Elena Bartomeu (EINA)
Maja Cecuk and Mikki Schindler (ESDI)
Irma Arribas (IED)


Inscripcions: https://forms.gle/mLKX1fr28H4vBzu26

“Pensar i dissenyar els possibles amb estudiants” és una trobada que respon a dos objectius. D’una banda, visibilitzar la recerca i el treball creatiu vinculat a imaginar altres mons possibles que s’està desenvolupant en els diferents centres d’educació superior de la ciutat de Barcelona i província. Per l’altre, promoure la posada en comú de diferents enfocaments metodològics, estratègies, tàctiques, eines i recursos pedagògics per a facilitar el procés d’imaginar i dissenyar altres mons possibles i futurs emergents amb estudiants.

Ponents:

Oscar Tomico (Elisava)
Elena Bartomeu (EINA)
Maja Cecuk y Mikki Schindler (ESDI)
Irma Arribas (IED)

CREAF – Taula Rodona: El valor de les residències d’artistes en centres de recerca: on està el win-win?

CERC – Plató Room

Round table on the benefits of artistic residencies in research centers for the two groups involved, science and art. This table was born from a previous initiative of the ECOTONS collective within the CREAF research center. It has people who have worked in artistic residencies within research centers such as the IRB or CREAF, as well as people who combine their artistic side and their scientific side.

Speaking:
• Carola Moujan | Artist and designer, PhD in design from the Sorbonne (France). Artist in residence ECOTONS – CREAF in 2021.
• Clara Borràs | IRB Barcelona researcher and scientific illustrator.
• Jo Milne | Professor at EINA, School of Art and Design, attached to the UAB. Artist residing at Pompeu Fabra University and Fundació Vila Casas 2022, and at IRB Barcelona in the 2020-21 academic year.
• Paula Bruna | PhD in fine arts from the UB and master’s degree in ecology from CREAF / UAB.
• Jordi Martínez-Vilalta | UAB Professor of Ecology, CREAF researcher and member of the ECOTONS CREAF collective.

Carola Moujan will present a methodological reflection on the process at ISEA2022. The publication is entitled “Artistic Residencies as Critical Research: Entangled Methodologies for Future Science”.


CERC- Sala Plató

Taula rodona sobre els avantatges de les residències artístiques als centres de recerca per als dos col·lectius implicats, la ciència i l’art. Aquesta taula neix a partir d’una iniciativa anterior del col·lectiu ECOTONS dins del centre de recerca del CREAF. Compta amb persones que han intervingut en residències artístiques dins de centres de recerca com ara l’IRB o el CREAF, així com amb persones que combinen el seu vessant artístic i el seu vessant científic.

Parlaran:

• Carola Moujan | Artista i dissenyadora, doctora en disseny de la Sorbona (França). Artista en residència ECOTONS – CREAF en 2021.
• Clara Borràs | Investigadora de l’IRB Barcelona i il·lustradora científica.
• Jo Milne | Professora a EINA, Escola d’Art i Disseny, adscrita a la UAB. Artista resident a la Universitat Pompeu Fabra i Fundació Vila Casas 2022, i a l’IRB Barcelona el curs 2020-21.
• Paula Bruna | Doctora en belles arts per la UB i màster en ecologia al CREAF/UAB.
•Jordi Martínez-Vilalta | Catedràtic d’ecologia de la UAB, investigador del CREAF i membre del col·lectiu ECOTONS CREAF.

Carola Moujan presentarà una reflexió metodològica sobre el procés a ISEA2022. La publicació es titula “Artistic Residencies as Critical Research: Entangled Methodologies for Future Science”.

TNC – Xerrades a la fresca

Les Xerrades a la fresca are summer dialogues that will take place in the bar-peristyle of the TNC, and bring together the performing artists present at the ZIP Festival with professionals in scientific research and dissemination.

With the collaboration of ISEA2022 Barcelona (International Symposium on Electronic Art).


Les Xerrades a la fresca són diàlegs d’estiu que es realitzaran al bar-peristil del TNC, i posen en contacte els artistes escènics presents al Festival ZIP amb professionals de la recerca i la divulgació científica.

Amb la col·laboració d’ISEA2022 Barcelona (International Symposium on Electronic Art).

Dimecres 15 de juny:

21.30 h. HammamturgiaDiàleg entorn de la figura de Lynn Margulis entre els autors de Sociedad Doctor Alonso i Anna Omedes, Cristina Ribas i Jordi Serrallonga (MCNB).

Divendres 17 de juny:

21.30 h. Y pareceremos árboles. Ficciones botánicasDiàleg entorn l’ús dels microscopis entre la creadira Elena Córdoba i Toño García coordinador de Micrarium de CosmoCaixa (FLC).

Dissabte 18 de juny:

14 h. Game of Kin. Diàleg entre Laboratorio de Pensamiento Lúdico (LPL) i Elisabetta Broglio (CRG)

21.30 h. En un dia claro puedes ver para siempre. Diàleg sobre cosmologia entre els artistes Rosa Casado i Mike Brookes, i els investigadors Guillem Anglada (ICE-CSIC, IEEC).

Diumenge 19 de juny:

14 h. Un pensament salvatge. Diàleg entorn de la placa de petri entre els artistes Xesca Salvà i Marc Villanueva, i la investigadora Cristina Fillat (IDIBAPS).

21.30 h. Després de tot. Diàleg entre els artistes del col·lectiu PSiRC i l’investigador Marc Furió (UAB-ICP) sobre extincions.

Activitat vinculada al Festival ZIP

Institutional presentation / Beyond Matter. Cultural Heritage on the Verge of Virtual Reality – an international collaboration 

Artist talk / INTER/her: INTER/her: An immersive journey inside the female body

Artist talk / Autolume: Automating Live Music Visualization

Panel / Implementing STEAM approaches in Higher Education

Artist talk / Umbra

Full paper / One + one = three: the added value of dual degrees in higher education

(Canceled) BSC – Todos los museos son novelas de ciencia ficción

Pre-registration is required to participate in this activity: https://kenes.eventsair.com/isea2022/bsc/Site/Register

When writer Jorge Carrión receives a message that appears to be from the future, a series of events is triggered that lead him to question his sanity. The story is told in his novel Todos los museos son novelas de ciencia ficción, but also in the exhibition at the José Guerrero center in Granada – or it is the exhibition that is also told in the novel, because the story, together with the works, mix and merge as a product of a close collaboration between artists and scientists.

Fernando Cucchietti (BSC researcher) and Fernando Rapa Carballo (designer) will recount their experience in Todos los museos son novelas de ciencia ficción, and will present the work specifically commissioned for the book/exhibition. After the presentation there will be a visit to the Marenostrum supercomputer.


És necessari registre previ per a aquesta activitat: https://kenes.eventsair.com/isea2022/bsc/Site/Register

Quan l’escriptor Jorge Carrión rep un missatge que sembla ser del futur, es desencadena una sèrie d’esdeveniments que el porten a qüestionar-se el seny. La història es relata a la seva novel·la Todos los museos son novelas de ciencia ficción, però també a l’exposició al centre José Guerrero de Granada -o és l’exposició que també s’explica a la novel·la, perquè la història, juntament amb les obres, es barregen i fonen com a producte d’una estreta col·laboració entre artistes i científics.

Fernando Cucchietti (investigador BSC) i Fernando Rapa Carballo (dissenyador) relataran la seva experiència a Todos los museos son novelas de ciencia ficción i presentaran l’obra comissionada específicament per al llibre/exposició. Després de la presentació es farà una visita al superordinador Marenostrum.

Graner, centre de creació de dansa i arts vives – Obertura de procés de HUERTO, de Paula Quintana

HUERTO is an artwork in which astrophysical sciences, biochemical sciences and the so-called ‘occult sciences’, traversed by physical and organic experience. HUERTO places the body not as a tool but as a source of knowledge in itself, made up of systems and knowledge that dialogue and intertwine. A process developed by a team of artistic, scientific and technical professionals who work together in each and every phase of research and creation. A process that addresses this relationship between areas of knowledge without hierarchies, making all components at the service of their common interaction. It focuses not only on the consequences but on the reciprocal action itself, investigating the subtle time-space boundary in which each discipline would cease to be itself to be diluted into something else. An approach that opens up new possibilities and cognitive, imaginative and sensory experiences. The body as the fractal reflection of the movement of the cosmos, the microscopic realm and the social gesture, crossed by the ubiquity of a pulsation. Own observation from each of the disciplines involved: astrophysics, biomolecular, linguistic, sound and scene.

To reserve a place, please contact info@granerbcn.cat


HUERTO és un treball artístic en què conviuen ciències astrofísiques, ciències bioquímiques i les anomenades ‘ciències ocultes’, travessades des de l’experiència física i orgànica. HUERTO situa el cos no com a eina sinó com a font de saber en si mateix, conformat per sistemes i coneixements que dialoguen i s’entrellacen. Un procés desenvolupat per un equip de professionals artístics, científics i tècnics que treballen de manera conjunta en totes i cadascuna de les fases de la investigació i la creació. Un procés que aborda aquesta relació entre àrees de coneixement sense jerarquies, fent que tots els components estiguin al servei de la seva comuna interacció. Es posa el focus no sols en les conseqüències sinó en la pròpia acció recíproca, investigant en el subtil temps-espai frontera en què cada disciplina deixaria de ser ella mateixa per diluir-se en una altra cosa. Un acostament que obre noves possibilitats i experiències cognitives, imaginatives i sensorials. El cos com el reflex fractal del moviment del cosmos, del regne microscòpic i del gest social, travessats per la ubiqüitat d’una pulsació. Una observació pròpia des de cadascuna de les disciplines implicades: astrofísica, biomolecular, lingüística, so i escena. 

Per reservar una plaça, contacta a info@granerbcn.cat

Workshop / DALL·E: Creating Images from Text

Inscriptions: https://kenes.eventsair.com/isea2022/workshop14

Curated talk / DALL·E 2, a new AI system that can create realistic images and art from a description in natural language

Centre d’Art Tecla Sala – La curiositat del primat humà…a la recerca de la llum

A meeting with Rubèn Verdú, artist, and Jordi Serrallonga, archaeologist, naturalist and explorer, around the project “Els migdies d’Afeli”.

The conquest of light by hominids is a very important achievement for this evolutionary lineage. The constant interest shown by its members in domesticating it is essential to launching a whole host of practices aimed at fostering the speculative talent of the human species, what we might understand as its imaginative vocation. What elements stimulate this curiosity? Where are they taking us? We must remember that ours is an evolutionary journey in which this curiosity persists.

In the exhibition “Els migdies d’Afeli” (Centre d’Art Tecla Sala)


Una trobada amb Rubèn Verdú, artista, i Jordi Serrallonga, arqueòleg, naturalista i explorador, al voltant del projecte “Els migdies d’Afeli”.

La conquesta de la llum per part dels homínids és un assoliment molt rellevant per a aquest llinatge evolutiu. El constant interès que demostren els seus membres per domesticar-la és essencial per posar en marxa tot un munt de pràctiques encaminades a fomentar el talent especulatiu de l’espècie humana, allò que podríem entendre com la seva vocació imaginativa. Quins elements esperonen aquesta curiositat? Cap on ens porten? Cal recordar que la nostra és una marxa evolutiva en què aquesta curiositat perdura.

A l’exposició “Els migdies d’Afeli” (Centre d’Art Tecla Sala)

Artworks presented by Niio.art

Niio joins the exhibitions of the ISEA2022 Barcelona 27th International Symposium on Electronic Art with a selection of artworks addressing the main themes of the symposium. The screen-based works address the notion of possibles in different ways, from the dynamics of microscopic particulate matter to the global effects of climate change, from new worlds we could inhabit to those that are fading away, and from our individual perception of the world to the realization that even machines can forget. Through generative algorithms, artificial neural networks, virtual reality environments and video editing, Frederik de Wilde, Diane Drubay, Jeppe Lange, Sabrina Ratté, Antoine Schmitt, and Snow Yunxue Fu have created fascinating narratives that speak of the possible humans and non-humans, natures and worlds, and futures and heritages, integrating the culture and the processes of artistic, scientific, and technological disciplines.

Selection of artworks curated by Pau Waelder

Panel / Bending the possible (one pixel at a time). Small-file ecomedia for the Anthropocene

Jardins Fundació Muñoz Ramonet – Cicle ‘Ecosistemes híbrids en un paisatge urbà’

The gardens of the Julio Muñoz Ramonet Foundation will host a cycle Hybrid ecosystems in an urban landscape, which from June 7 to 15 programs a series of activities that share scientific knowledge, citizen science, art and journalism. Take a look to the full program of activities below.

Curated by La Mandarina de Newton
With the collaboration of Ajuntament de Barcelona


Els jardins de la Fundació Julio Muñoz Ramonet acolliran el cicle Ecosistemes híbrids en un paisatge urbà, que del 7 al 15 de juny programa una sèrie dactivitats que posen en comú el coneixement científic, la ciència ciutadana, l’art i el periodisme. Consulta el programa complet d’activitats a continuació.

Comissariat per La Mandarina de Newton  
Amb la col·laboració de Ajuntament de Barcelona

Dimarts 07/06
11:00h Quantum, Art and Uncertainty

Diàleg entre l’artista Paul Thomas i el professor ICREA de l’ICFO Maciej Lewenstein

Diumenge 12/06
12:00h La Física de la dansa

Taller-xerrada a càrrec de la Irene Lapuente de la Mandarina de Newton
dins del programa C13NCI4RT

Dilluns 13/06
17:00h Mapa Sonor

A càrrec de Víctor Jiménez i Marc Aguilar de Bit Lab Cultural SCCL

17:30 h Escoltant els ocells
A càrrec d’Eloïsa Matheu de Natura Sonora

Dimarts 14/06
17:00h Mosquito Alert

A càrrec d’Isis Sanpera, John Palmer, Roger Eritja i Alex Richter-Boix de
la UPF i el CREAF

17:30 h Mirant la vida
Diàleg amb Rubén Duro de Science into Images

18:00 h Presentació del llibre La ciencia de la microbiota, de Cristina
Sáez i Fundació Alícia

Diàleg amb Cristina Sáez

Dimecres 15/06
17:00h Memòries de l’art i la ciència de l’olor
A càrrec de Rosa Arias, Mar Escarrabill i Isidora Fernández de Science
for Change

Institutional presentation / POM – Politics of Machines Series

Institutional presentation / Hac Te – Hub of Arts, Science and Technology. Exploring the intersections between art, science and technology to strengthen the digital transformation of society

Art Barcelona. Associació de Galeries.

The art galleries from Barcelona join ISEA2022’s Extended Program with eight proposals:

Ana Mas Projects – De hormigueros y algoritmos by Anna Carreras
Carrer Isaac Peral 7, Hospitalet de Llobregat, Barcelona
From June 9 to June 16
The generative works of Anna Carreras are built in the same way that the ants of the same community are organised. All of us have observed at some point the determined work of these little insects, building tunnels, organising themselves in endless lines, moving small seeds, leaves… Everything is a result of small individual decisions guided by a shared intuition, subtle movements, but choreographically systematised. In the same way, the creation process of Anna Carreras is based on the sum of precise instructions and on the sequence of mathematic calculations dumped into the computer code designed by herself. The result is vivid digital images, sometimes static or sometimes dynamic, sometimes more geometric or more organic, but always unpredictable and unrepeatable, even by the artist herself.
Text by Loida de Vargas

Galeria H2o – SPAMT25YFDNFT by Martí Guixé
Carrer Verdi 152, Barcelona
June 17
In 1997 Martí Guixé presented “Spamt” at H2O Gallery in Barcelona. The project proposed the redesign of the traditional Catalan bread with tomato (“Spamt” is phonetic for “eS Pa aMb Tomàquet”), driven by the fact that at that time a new behaviour was emerging, eating in front of a computer screen, which was mainly due to the popularization of PCs. “Spamt”, therefore, was born out of the changes that technology brings to our daily lives.
Now, 25 years later, the blockchain and NFTs provide a new environment to continue investigating in a project that tries to bring food and its context to the digital world from the perspective of Art, Design and Food Design.


Galeria Senda – Cloud Seed by James Clar
Carrer Trafalgar 32, Barcelona
From June 10 to June 16
Cloud Seed is an interactive video artwork that immerses the viewer in a simulation of rain, fog, and rain. The installation uses a high resolution video screen acting like a window to an outside virtual space. The visual effects of this natural phenomena appearing before the viewer through calculated warping of the live image on the screen. The viewer sees themselves in the screen with raindrops collecting on the surface. The raindrops eventually run down the surface, leaving streaks on the video. All of this is done in realtime using custom programmed software. Visitors can see themselves within the raindrops with the image getting blurry as it gets foggier. Cloud Seed uses technology to bring attention to our influence and control of the environment in a visual way that is both poetic and cinematic. It brings the viewer to a space that is both real and generated, contemplative and sublime.

àngels barcelona – Remote Hands by Mario Santamaria
Carrer Pintor Fortuny, 27, Barcelona
From June 10 to June 25
The data does not go up to the Internet, it goes down to the hardware, to the wires; send and bury, bury and send. The exhibition proposes the dialogue of several pieces in relation to the materiality, visibility and representation of the internet. Remote Hands is the name of a service offered by data storage centers to carry out remote maintenance on their client machines. These remote hands are related to drawings taken from patents where the Internet is represented in the metaphorical form of the cloud.


Marlborough – Reflections of the Man (2021) by Martine Stig
Carrer d’Enric Granados, 68, Barcelona
From June 10 to June 16
In the film essay ‘The Reflection of the Man’ Martine Stig grapples with the meaning of the human in a hybrid world. Employing ubiquitous technologies like face recognition software, while also reflecting on them, Stig examines the act of seeing beyond the explorative and the embodied. Stig uses Rorschach techniques and algorithms in order to draw closer to nonhuman companions, and speculatively broadens the concept of being present.
The Reflection of the Man results from the artist ongoing dialogue with writer and researcher Ilse van Rijn about technology and memory in a more-than-human world.


LAB36 – Tecnologies alternatives by Mónica Rikić
Carrer Trafalgar 36, Barcelona
From June 7 to June 17
«La computadora que quería ser incomputable» is a futuristic fiction art project that opens the debate on whether artificial intelligence can be creative or not. It represents a small intelligent machine frustrated by the impossibility of not being creative, therefore human enough. The entire installation takes place inside a transparent square showcase placed on a pedestal. Inside is a soft robot, exposed as pieces of art are displayed, displaying its frustration and anguish at not being able to be creative, a work of art itself, as the AI is intended to be. Through different audiovisual actions, shape changes in the robot and a voiceover, it becomes a physical audiovisual device of emotional expression.


Suburbia Contemporary – Quasi tutto by Francesca Sandroni
Carrer de Valencia 345, Barcelona
June 11 at 7 pm
The sound performance that Francesca Sandroni offers us adds different elements, cultures, styles and languages. A layering of sound elements
recorded in the city of Barcelona. Conversations, different languages, reflections: the
sum is the necessary approach to the knowledge and fusion of realities in a single
urban agglomerate. An electroacoustic track that connects and interacts with each other; an active participation that changes the narrative, the ordinary flow of life. An authentic popular song in which we are all involved, responsible, in absolute harmonic dissonance.

Dilalica Border Crossers / The Robotic Church / Totemobile by Chico MacMurtrie
Carrer Trafalgar, 53, Barcelona
From June 9 to June 11
The Robotic Church is a site-specific installation and performance series comprising 50 computer-controlled pneumatic sculptures. Created between 1987 and 2006 and installed in ARW’s studio, a former Norwegian Seamen’s Church in, Brooklyn, New York, these machines mesmerize with their percussive sounds and gestures. They express themselves through rhythm and body language, ranging from introspective solos to powerful ensembles erupting from different corners of the space. Rather than merely amplifying sound, the percussive machines are programmed to beat, strum, vibrate, spin, and otherwise play their own bodies to communicate in their own unique voice. Their syncopated outbursts of call-and-response evoke the origin of communication.

Screening / Green before “Green”

Institutional presentation / There is no better ending than a good start

Institutional presentation / CENTRINNO: industrial citizen revolution

Keynotes – Open to the public


CCCB TEATRE

Open to the public with previous registration. Attendees registered in ISEA2022 Barcelona do not need to register to this specific event and will be able to access by showing accreditation. Once the capacity of the CCCB’S Theater is full, public will be able to follow the keynote speeches live from the Raval Room of CCCB.

Expanding the program open to the public, the CCCB, the epicenter of the Symposium, will host four keynote speeches at its Theater by leading figures in their respective fields: Olga Goriunova, academic and curator in the fields of digital arts and cultures; Joan Fontcuberta, internationally renowned photographer and conceptual artist; Christl Baur, head of the prestigious Ars Electronica Festival; and Ricard Solé, expert in complex systems analysis and synthetic biology.

Joan Foncuberta – June 13th at 10 am
T
he age of monsters

Inscriptions: https://kenes.eventsair.com/isea2022/keynote1

Abstract: “Il vecchio mondo sta morendo. Quello nuovo tarda a comparire. E in questo chiaroscuro nascono i mostri”.
[“The old world is dying. The new one is slow to appear. And in this chiaroscuro monsters are born”]
Antonio Gramsci
Almost without realizing it, we have become addicted to images. The old world (photography as a commitment to truth and remembrance) is dying and the new one (images created by artificial intelligence) is striving to emerge. From document to speculation, from natural to synthetic images, we now need to trawl through the chiaroscuro, pointing out their emerging monstrosities: monstrosities of language, of technology, of politics.
From the ruins of photography – archive pictures and family albums that decay and become amnesic – to predictions of potential futures and algorithms, with which we don’t know if we are dealing with nightmares or guarantees of progress. What is clear is that algorithms and artificial intelligence are taking the place of the eye and the camera at the core of visual culture.


Biography: For more than four decades, Joan Fontcuberta (Barcelona, 1955) has developed an artistic work focused on the field of photography, also carrying out a plural activity as a teacher, essayist, exhibition curator and historian.
Both his creative and reflective production is situated in a critical perspective of language and focuses on the conflicts between nature, technology, photography, memory and truth regimes. His projects, usually of a multidisciplinary nature, explore the narrative and documentary condition of the image, parodying its authoritarian aspects.

Moderated by Jorge Luis Marzo, art historian, doctor of Cultural Studies, curator of exhibitions, audiovisual director and professor at BAU Centre Universitari de Disseny de Barcelona. He has developed several national and international collaborative research projects, in exhibition, audiovisual or editorial format, often in relation to image policies.

Christl Baur – June 13th at 6:30 pm
GiriGiri – On the Edge of Possibilities

Inscriptions: https://kenes.eventsair.com/isea2022/keynote2

Abstract: Neither naive escapism into virtual worlds, nor the technological ultra-topia of space colonization will save us from facing the big, uncomfortable questions. How will our life on this planet have to look to prevent ecological super disaster? What actions must we take and what consequences must we accept? How much persuasion, how much effort, how much pressure, how much coercion will be necessary, and what “collateral damage” will be involved?
We have been teetering on the edge for decades, knowing what is going to come, but choosing to largely ignore it. The Japanese term “GiriGiri” describes this dangerous but thrilling feeling of living on the edge.
We don’t have a planet B, and science nor art can solve our problem. Science can point at it while art and artists, through their work, have the ability to open a space of “art” thinking. This might be our chance for change as change is required when there is no way out. Through artists we can explore the possibilities of our futures.

Biography: Christl Baur (DE) is the head of the Ars Electronica Festival, researcher with an interdisciplinary background in art history, cultural management, and natural science. She is particularly interested in the conjunction of aesthetic and social practices that center on collaboration and experimentation and challenge dominant social, political, and economic protocols. Her research field encompasses topics such as video art, new media technologies, computer art, biotechnology, and interactive art, and she works at the nexus of art & science.
Over recent years, she has curated, produced and delivered large-scale exhibitions and performances, research, residency & publication projects—most recently in cooperation with universities and scientific associations such as Google Arts & Culture, Frauenhofer, ESO, ESA, Hyundai as well as the Chinese University of Art Beijing. She has published several articles and works closely together with artists whose practice is situated at the interface of art, science, and technology.

Moderated by José Luis De Vicente, cultural researcher and exhibitions curator specialized in culture, innovation and design. He is the curator of Sónar + D, Sónar Festival Barcelona. He has curated multiple exhibitions for CCCB Barcelona, Fundación Telefónica Madrid, among many others. His latest project is Mirador Torre Glòries, a permanent installation in Barcelona that reinvents the concept of a viewpoint.

Olga Goriunova – June 14th at 10 am
Abstract people and model characters

Inscriptions: https://kenes.eventsair.com/isea2022/keynote3

Abstract: When data analytics abstracts people today, it follows some of the routines of statistics. However, understanding statistics paired with machine learning technologies is not enough to grasp what these newly abstracted people are like and what they do to us. This talk engages with these processes to show how model frameworks and idealising setups are used to delineate data-crunching in cultural, political and aesthetic terms. Ideal people and model characters are results of the work of collective imaginaries and the exercise of power beyond computing. Their embodiment of a return of the ideal calls for a re-think of our time in history.   

Biography: Olga Goriunova is Professor at Royal Holloway University of London and author of Art Platforms and Cultural Production on the Internet (2012) and Bleak Joys. Aesthetics of Ecology and Impossibility (with M.Fuller, 2019). The editor of Funand Software. Pleasure, Pain and Paradox in Computing (2014) and author of noted articles on new media idiocy, memes and lurkers, she was a co-curator of software art platform Runme.org (2003) before the age of social platforms. 

Moderated by Pau Alsina, general Chair at ISEA2022 Barcelona and professor and researcher in Arts and Humanities Studies at the Universitat Oberta de Catalunya, where he coordinates and teaches courses on art and contemporary philosophical and scientific thought. He is also editor in Chief at Artnodes Journal. He is the author of books such as Arte, ciencia y tecnología, co-author of Monstruos y quimeras: arte, biología y tecnología, of teaching textbooks such as Estética y teoría del arte o Pensamiento contemporáneo.

Ricard Solé – June 15th at 10 am
Science, Art and evolution: the Game of the Possible

Inscriptions: https://kenes.eventsair.com/isea2022/keynote4

Abstract: What are the limits of natural forms? Could there be an alternative life based on alternative rules? Why don’t mermaids exist? Will alien minds be different from ours? Does human creativity have limits? Could an artificial system achieve the creativity of van Gogh? Could music be different from the way we know it?
Science explores the organizing principles of (living and non-living) systems and the formulation of laws that can define the boundaries of the possible. Using very diverse examples from life, artificial life and art as a reference for what we assume to be limitless, we will explore these and other questions.
Physics, mathematics, computation, biology and chemistry intersect with science fiction, painting and literature and allow us to raise new questions and look at reality with the vision of complexity.

Biography: ICREA Research Professor at Pompeu Fabra University (UPF), where he leads the Complex Systems Laboratory (IBE-UPF), and External Professor at the Santa Fe Institute (USA). His academic background combines biology and physics, the discipline in which he earned his PhD, allowing him to focus his research career on complex systems.
His research covers very diverse fields, from the study of the evolutionary dynamics of viruses to synthetic biology and its application in the bioengineering of ecosystems, as well as the study of “liquid” cognitive systems and the origins of major evolutionary innovations. He has collaborated with the Center of Contemporary Culture of Barcelona (CCCB) as a popularizer and scientific advisor for the exhibition +Humans and is one of the promoters of the Science at Christmas program. In addition, he has written the books Redes complejas (Empúries, 2009; published by Tusquets in Spanish), Vidas sintéticas (Tusquets, 2012), La lógica de los monstruos (Tusquets, 2016) and Viruses as Complex Adaptive Systems (Princeton University Press, 2018).

Moderated by Pastora Martínez Samper, Vice President for Globalization and Cooperation at the  Universitat Oberta de Catalunya. She is responsible for the UOC’s strategic planning dealing with the contribution of the University to the 2030 Agenda for Sustainable Development and the implementation of the Open Knowledge Action Plan. She is also contributing to the involvement of both Catalan and Spanish Universities in the implementation of the 2030 Agenda.

Institutional presentation / Centre of expertise Arts & Education

Convent de Sant Agustí – Art as Cyber-Interoceptive Interfaces, Mark-David Hosale

Inscriptions open: https://kenes.eventsair.com/isea2022/workshop9/Site/Register

This workshop incorporates bioinformatic measurement technology to explore new modes of artistic expression that directly incorporate the senses as part of the medium of the work. The focus of this endeavour involves the tracking of a participant’s emotive inclination for use as an interactive modality in performance and computational art. 

Emotional state data is gathered from a biosensing acquisition system and analyzed using custom software and hardware tools built on poplar platforms such as, Arduino, Max/MSP, SuperCollider, Ableton Live, TouchDesigner, and Processing. Physiological measures, such as Electrocardiography (ECG, heart rate), Electrodermal Activity (EDA), Electromyography (EMG, muscle), Electroencephalography (EEG, brain waves), Electrooculography (EOG, eye movement), and Respiratory effort (RSP, breathing) can be read. The tools explored provide the ability to control the presentation of audio-visual and haptic stimuli and monitor the physical reaction as nuanced by emotional state, blurring the line between auditory and visual virtual content and physical experience.

The workshop provides participants with a hands-on experience with our tools and methodologies that allow participants to explore several layers of activity within this work including: 

1)The connection between the individual and physiological data, to see if it is possible to discover awareness with the systems of the body that are normally consciously ignored.
2)The connection made between two people, to see if there is a way that one can influence the embodiment of the other, and if the experience of embodiment can be shared. 
3)The psychosocial potential of the combining of embodiment and physiological data by looking at how this technology could be used to explore group experiences, and the ability of a performer to affect the audience. 
4)The role of affect and the environment, and how the participant or performer can have a biofeedback relationship with the audience and environment of an installation or performance.


Inscripcions obertes: https://kenes.eventsair.com/isea2022/workshop9/Site/Register

Aquest taller incorpora tecnologia de mesura bioinformàtica per explorar nous modes d’expressió artística que incorporen directament els sentits com a part del mitjà de l’obra. L’objectiu d’aquest esforç consisteix en el seguiment de la inclinació emocional d’un participant per utilitzar-lo com a modalitat interactiva en l’art computacional i de performance.

Les dades de l’estat emocional es recullen a partir d’un sistema d’adquisició de biodetecció i s’analitzen mitjançant eines de programari i maquinari personalitzades construïdes en plataformes d’àlber com ara Arduino, Max/MSP, SuperCollider, Ableton Live, TouchDesigner i Processing. Mesures fisiològiques, com ara electrocardiografia (ECG, freqüència cardíaca), activitat electrodèrmica (EDA), electromiografia (EMG, múscul), electroencefalografia (EEG, ones cerebrals), electrooculografia (EOG, moviment ocular) i esforç respiratori (RSP, respiració) es pot llegir. Les eines explorades proporcionen la capacitat de controlar la presentació d’estímuls audiovisuals i hàptics i controlar la reacció física tal com la matisa l’estat emocional, difuminant la línia entre el contingut virtual auditiu i visual i l’experiència física.

El taller ofereix als participants una experiència pràctica amb les nostres eines i metodologies que permeten als participants explorar diverses capes d’activitat dins d’aquest treball, com ara:

1)La connexió entre l’individu i les dades fisiològiques, per veure si és possible descobrir la consciència amb els sistemes del cos que normalment s’ignoren conscientment.
2) La connexió feta entre dues persones, per veure si hi ha una manera que una pugui influir en l’encarnació de l’altra i si es pot compartir l’experiència de l’encarnació.
3) El potencial psicosocial de la combinació de dades d’encarnació i fisiològiques mirant com es podria utilitzar aquesta tecnologia per explorar experiències de grup i la capacitat d’un intèrpret per afectar el públic.
4) El paper de l’afecte i l’entorn, i com el participant o intèrpret pot tenir una relació de biofeedback amb el públic i l’entorn d’una instal·lació o actuació.

LaserTalk Leonardo- Valencia: Futuros Pasados. ACTS en Valencia.

The interest in strengthening the relationship between art and science has its own history. The city of Valencia has witnessed this evolution, which already began in the 1960s. María José Martínez de Pisón, founder of the “Laboratorio de Luz” research group at the UPV, and Anna Mateu, editor-in-chief of the magazine Mètode and professor at the UV, will introduce us to the recent history of the relationship between art and science from these projects, imagining the futures we have built driven by the interaction of Art, Science, Technology and Society (ACTS) in Valencia. After the talk, there will be a live A/V sample of the UPV’s Master’s Degree in Visual and Multimedia Arts in collaboration with the Volumens Electronic Audiovisual Culture Festival.


L’interès per estrènyer les relacions entre l’art i la ciència té una història pròpia. La ciutat de València ha estat testimoni d’aquesta evolució, que ja començava als anys 60 del segle passat. María José Martínez de Pisón, fundadora del grup de recerca “Laboratori de Llum” de la UPV, i Anna Mateu, redactora en cap de la revista Mètode i professora de la UV ens introduiran la recent història de les relacions art i ciència des d’aquests projectes, imaginant els futurs que hem construït conduïts per la interacció Art, Ciència, Tecnologia i Societat (ACTS) a València. Després de la xerrada es farà una mostra de live A/V del Màster d’Arts Visuals i Multimèdia de la UPV en col·laboració amb el Festival de cultura electrònica audiovisual Volumens.

Short paper / The art of urgency: cultural mediation as a vehicle for socio-ecological transition

ACVIC – Art Generatiu i Interactiu, xerrada d’Anna Carreras

Interactive installations and generative art invite the programming of algorithms, the construction of mechanical inventions or electronic circuits. All this to create audiovisual experiences and artistic pieces in which the public participates or which evolve and are never the same. How do we work with digital artists who use the medium as a raw material?

On May 31, digital artist Anna Carreras will give a talk at ACVIC entitled Art Generatiu i Interactiu: Artistes Geeks que fem Art Amb Codi where she will address all of these issues.


Les instal·lacions interactives i l’art generatiu conviden a programar algoritmes, construir invents mecànics o circuits electrònics. Tot plegat per crear experiències audiovisuals i peces artístiques en que el públic participa o que evolucionen i no son mai iguals. Com treballem els artistes digitals que emprem el mitjà com a matèria primera?

El 31 de maig, l’artista digital Anna Carreras oferirà una xerrada a l’ACVIC sota el títol Art Generatiu i Interactiu: Artistes Geeks que fem Art Amb Codi on abordarà totes aquestes qüestions.

Artwork – The particle

This project has been awarded with the ISEA2022 Barcelona Grant by .Beep Collection and NewArtFoundation

Artwork – RAIN BEATS

This project has been awarded with the ISEA2022 Barcelona Grant by Fundació Privada Reddis

Full paper / Rituals of art and science to decompart-mentalize knowledge

Full paper / Connecting new media art archives worldwide

Full paper / The expanded world of invisible images – BLIND REVIEW’s and BLIND REVIEW’s artworks

Short paper / Setting limits in preservation strategies from the stage of acquisition: a feasibility approach for Media Art

Short paper / Algaphon: Transducing Human Input to Photosynthetic Radiation Parameters in Algae Timescale

Full paper / Artistic residencies in digital companies

Short paper / Umwelten: Shifting agencies among the human, the non-human, and a machine learning algorithm

Short paper / The vanishing of remix concept in machine-driven text

Short paper / Corresponding Wood Tools: Speculative Fabulations of Material Correspondence in Woodworking

Hangar – Introducing Arc-hive

Free admission until full capacity

“Introducing Arc-hive” is a presentation by Antonio Gagliano and Luciana Della Villa, part of the Hangar team, in the areas of Research and Knowledge Transfer and Communication respectively, in order to to introduce the European Arc-hive project, its fundamental objectives and challenges, and to open up the collective research process carried out. Arc-hive has aimed to create an open source digital platform to add, preserve, publish, distribute and contextualize a variety of information, knowledge and documentation on biomedical practices, ensuring open access to a variety of users, and a wide range of digital materials in all cultural sectors and territories. From January 2021 to June 2022, the challenges of creating and distributing cohesive digitization and dissemination protocols through a centralized digital space where the knowledge and best practices of Bioart are collected.


Entrada lliure fins completar aforament

“Introducing d’Arc-hive” és una presentació a càrrec d’Antonio Gagliano i Luciana Della Villa, formant part de l’equip de l’Hangar, en  les àrees de Recerca i Transferència de Coneixement i Comunicació respectivament, per tal d’introduir el projecte europeu Arc-hive, els seus objectius i desafiaments fonamentals, i obrir el procés de recerca col·lectiva dut a terme. Arc-hive ha tingut com finalitat la creació d’una plataforma digital de codi obert per afegir, preservar, publicar, distribuir i contextualitzar una varietat d’informació, coneixement i documentació sobre les pràctiques focalitzades en biomedia, garantint l’accés obert a una varietat d’usuaris, i un ampli abast dels materials digitals en tots els sectors culturals i territoris. Des de gener 2021 fins a juny de 2022, s’han abordat de manera col·lectiva els reptes de crear i distribuir protocols cohesius de digitalització i difusió a través d’un espai digital centralitzat on es recullen els coneixements i les millors pràctiques del Bioart.

Workshop / S+T+ARTS Geo-Llum

Inscriptions open: https://kenes.eventsair.com/isea2022/workshop13/Site/Register

Full paper / Click::REVU. An Optophonic Sound Installation

Full paper / Nonhuman Creativity in Generative Art: Beyond the Anthropocentric Paradigm

Full paper / Nam June Paik’s Bibimbap Aesthetics as a Korean Reinterpretation of the Gesamtkunstwerk

Full paper / The Medium is the Environment: Digital Materialism, Digital Art, and the Climate Crisis

Full paper / Towards the Sonic Laboratory: Laboratories’ creative potential

Full paper / Arts, Science and Technology in the ISSM Project and Exhibition

Full paper / Transforming Practices: a practice-based research approach to teaching emerging media at undergraduate level

Full paper / Supra-dimensional Cinema: VR Case Study ‘TesserIce’

Full paper / Spatial Photograms: Experimental Cyanotype Photography using 3D Scanning and Printing Technologies

Full paper / QATIPANA: Individuation processes on the relationship between art, machines and natural systems

Full paper / Merging Art, Media, and Ecology: Diego Rivera and Ariel Guzik at the Cárcamo de Dolores

Full paper / Pulcher Aureus Filum. Biological Substrate Computers and the Ecological Paradigm Shift

Full paper / A Mixed Reality Installation to Elicit Reflexivity on Adverse Childhood Experiences 

Full paper / The Process of Word Automation: From the Spoken Word to the Algorithm

Screening / The Erection of Phygital Graveyard

Institutional presentation / Technoetic Arts: A Journey of Speculative Research

Full papers / Internet vernacular creativity. Vaporwave, counterculture and copyright 

Full papers / Artificial Life within a frame of metacreation on stage

Full papers / Made you look: crossing visual attention with computational design to create motion-based visual distractions

Full paper / Buildings as Audio Visual Synthesisers: Experiments Performing Live Music on Wirelessly Networked Multi-Speaker Media Architectures (Online)

Full papers / Queer Communication: Human-Nonhuman Encounters

Full papers / Cultivating the possible: using design methodologies for artistic research

Full papers /  A comparative study of practice-based research and research-creation in media art: Comparing two doctoral studies in Australia and Canada

CITM UPC – VastWaste

VastWaste – VR based art installation

VastWaste is a data-driven, projection art installation that illuminates the parallels and interplay between marine pollution and space debris. It can also be experienced in Virtual Reality.

From June 13 to June 16: 4 pm to 8 pm

VastWaste – Conversation with Ozge Samanci and Jack Burkhardt

Conversation with VastWaste creator Ozge Samanci, who will be connected online, and programmer Jack Burkhardt in person about the creation and programming of VastWaste.

June 15th: 5:30 pm

See more about VastWaste here


VastWaste – VR based art installation

VastWaste és una instal·lació artística de projecció basada en dades que il·lumina els paral·lelismes i la interacció entre la contaminació marina i les deixalles espacials. També es pot experimentar en realitat virtual.

Del 13 al 16 de juny: 16h fins a 20h

VastWaste – Conversa amb Ozge Samanci i Jack Burkhardt

Conversa amb la creadora de VastWaste, Ozge Samanci, qui es connectarà telemàticament, i el programador Jack Burkhardt, presencialment, sobre la creació i programació de l’obra VastWaste.

15 de juny: 17:30h

Més informació sobre VastWaste aquí

Hangar – Presentació del documental On-the-Fly

Free admission until full capacity

Live coding uses algorithmic writing as a creative performance and is sometimes described as “thinking in public,” as the programmer’s writing process is presented to the audience.
During the performance, sound and visuals are projected while being encoded in algorithmic processes.
{on-the-fly} is a documentary that offers a glimpse into the practice of live coding and its community, a look at algorithmic performance where, with a single typo, everything can go wrong!
On-the-Fly is also a project co-financed by the Creative Europe program, directed by Hangar in collaboration with ZKM | Center for Art and Media Karlsruhe, Ljudmila and Creative Coding Utrecht which aims to promote the practice of Live Coding in Europe, supporting the exchange of knowledge between communities and promoting free and open source tools. onthefly.space


Entrada lliure fins completar aforament

El live coding utilitza l’escriptura algorítmica com una actuació creativa i es descriu a vegades com “pensar en públic”, ja que el procés d’escriptura del programador es presenta davant l’audiència.
Durant l’actuació, el so i els visuals es projecten mentre són codificats en els processos algorítmics.
{on-the-fly} és un documental que ofereix una visió de la pràctica del live coding i de la seva comunitat, una mirada a una performance algorítmica on, amb un sol error tipogràfic, tot pot sortir malament!
On-the-Fly també és un projecte cofinançat pel programa Europa Creativa, dirigit per Hangar en col·laboració amb ZKM | Center for Art and Media Karlsruhe, Ljudmila i Creative Coding Utrecht que té com a objectiu promoure la pràctica del Live Coding a Europa, donant suport a l’intercanvi de coneixements entre comunitats i promovent eines lliures i de codi obert. onthefly.space

Full papers / Museum Practices and Posthumanist Assemblages: Activating the Possibilities of Technology Collections

Deborah Lawler-Dormer is a research manager at the Powerhouse Museum, Sydney. Her work is transdisciplinary and often engages art, science and technology in collaboration with industry, tertiary and community partners. She is the lead curator for the exhibition Invisible Revealed (2022) developed in partnership with Australian Nuclear Science and Technology Organisation. She is also a visiting Research Fellow with the Expanded Perception and Interaction Centre at University of New South Wales and Adjunct Research Fellow at Institute for Culture and Society at Western Sydney University. Recent publications include ‘Critical posthumanist practices from within the Museum’ in The Palgrave Handbook of Critical Posthumanism (2022).

Christopher John Müller is a senior lecturer in Cultural Studies & Media at Macquarie University, Sydney. His work focuses on the intersection of technology and the deceptive “immediacy” of feeling. He is the author of Prometheanism: Technology, Digital Culture and Human Obsolescence (Rowman & Littlefield, 2016), and his articles, translations and reviews have appeared in Parallax, Thesis Eleven, CounterText, TrippleC, Textual Praxis. Chris co-edited The Palgrave Handbook of Critical Posthumanism (2022) and he co-edits the Genealogy of the Posthuman on www.criticalposthumanism.net.

Full papers / Spectrograms of the environment: entangled human and nonhuman histories

Full paper / STEAM research in Higher Education, an exploratory project

Full paper / Emergent. A post-pandemic mobile gallery 

Full paper / The multicultural and transdisciplinary construction of anti-consumerist critical thoughts – the multisensory diversity of the artistic installation series “The wishing Tree” (2012 – 2019)

Short paper / E-Waste: The Unnatural, Natural Resource | A Case Study on Creative Uses of Obsolete Technology

Short paper / Telewindow: a flexible system for exploring 3d immersive telepresence using commodity depth cameras

Short paper / eCO2system: exploring the environmental and social impact of the internet’s materiality through a data-driven media art installation

Full paper / A Case for Play: Immersive Storytelling of Rohingya Refugee Experience

Full paper / Knowing VR through practice

Full paper / The Bartleby Machine

Full paper / The Fun Palace: Designing Human Experiences at Mixed Reality Events to Increase Engagement

Full paper / Artistic residencies in digital companies

Full paper / Click::REVU. An Optophonic Sound Installation

Full paper / Sparking Emotion in Mexican Electronic Art

Full paper / Knowledge cultures in new media art

Full paper / Making a Manual: The Manual for the Curation and Display of Interactive New Media Art

Full paper / The Tapestry: Past and Possibility in the History of Magic

Full paper / Museum Practices and Posthumanist Assemblages: Activating the Possibilities of Technology Collections

Full paper / Spectrograms of the environment: entangled human and nonhuman histories

Full papers / Possible City: legacies of trauma in media space

Full papers / Protest and Aesthetics in The Metainterface Spectacle

Full papers / The Bartleby Machine

Full papers / Forging emotions. A deep learning experiment on emotions and art

Full papers / Weaving Augmented Reality into the Fabric of Everyday Life

Full papers / kin_ – An AR Dance Performance With Believable Avatars

Full papers / Can machines predict our future?

Full papers / Possibilising performance through interactive telematic technology: Mental Dance

Full papers / From hallucinatory Art to hallucination in the Virtuality. Devices for Alternative Realities. 

Full papers / Rebalancing media in environments: analysing flows of action

Full papers / Postlocative Art for a Non-Anthropocentric World

Short papers / Humans and Machines: A Study of the Impacts of the Technological Advances in the Light of Generative Art Theory

Full papers / 3D Printing backwards 

Full papers/ Splitting Defense: A Methodological Journey into the Material Basis of Practice-Based Research

Full paper / autonomX—Real Time Creation/Composition with Complex Systems 

Full papers / The Last Play: A transmedia installation

Full papers / Evoking Empathy Through Immersive Experiences in A Walk Alone

Full papers / Reflexive-vr.com: Reconfiguring a physical VR exhibition into an online virtual exhibition due to the COVID-19 pandemic

Full papers/ A Sonic Exploration of Spanish Flamenco and the Whirling Dervishes of Turkey with Wearable Technology

Full papers / Tuning in: Reflections in the Wake of Blackness through a Knitted Textile Antenna

Full papers / Decolonizing the imaginary through the tactical use of machinimas

Full papers / Towards a Theory of Machine Learning and the Cinematic Image

Other Exhibition Venues

Artworks from ISEA2022 Barcelona’s call:

Full papers / Digital Anarchival Poetics: Algorithms looking into Audiovisual Heritage

Full paper / Robophilia and device art in Japan

Full paper / Probing Food and Power with Robotized Spoonfuls of Edible Paste

Artwork / Slow Violence

Artwork / FORMS (it’s a)Live

Manifestations & Materfad – Exhibition Manifestations: Natures and Worlds

Manifestations: Natures and Worlds showcases works from four artists and designers which, through their unique projects, let us experience the materiality of Bio Art, Biotechnologies, Space Art, Quantum Art or Nano Arts and Speculative Design.

The exhibition, born from a festival with the same name, hopes, like the latter, to start a movement to make people more aware of the role of technology in our society and in our future.

Fulfilling its missions of technological surveillance and dissemination of knowledge in the field of materials and associated technologies, Materfad, Barcelona Materials Center, brings the exhibition Manifestations to its headquarters, the Disseny Hub Barcelona.

Manifestations is part of the Barcelona Design Week program and the ISEA2022 Barcelona event, where its driving team will present the project.
More information: https://manifestations.nl/, https://www.fad.cat/materfad/ca

Authors and projects: 

Tim Dekkers – The Parasitic Humanity
Maartje Dijkstra – Braindrain, TranSwarm Entities, Surface Distortion, Optic Traces
Daniëlle Ooms – Bioluminescent Algae Jacket
Jip van Leeuwenstein – A Diverse Monoculture 

Organizing entities: Manifestations and Materfad
Curated by: Viola van Alphen
Supported by: Stimuleringsfonds Creatieve Industrie (in English: Creative Industries Fund NL)
With the collaboration of: Barcelona Design Week, Generalitat de Catalunya, Disseny Hub Barcelona, Jori Armengol

Schedule:
9.00-21.00 h (except Mondays 16.00-21.00 h)


Manifestations: Natures and Worlds mostra obres de quatre artistes i dissenyadors que, a través dels seus projectes únics, ens permeten experimentar la materialitat del Bio Art, Biotecnologies, Space Art, Quantum Art o Nano Arts i Disseny Especulatiu.

L’exposició, nascuda d’un festival amb el mateix nom, espera, com aquest últim, iniciar un moviment per conscienciar la gent del paper de la tecnologia en la nostra societat i en el nostre futur.

Complint amb les seves missions de vigilància tecnològica i difusió del coneixement en l’àmbit dels materials i tecnologies associades, Materfad,, Barcelona Materials Center, porta l’exposició Manifestations a la seva seu, el Disseny Hub Barcelona.

Manifestations forma part del programa Barcelona Design Week i de l’esdeveniment ISEA2022 Barcelona, on el seu equip impulsor presentarà el projecte.
Més informació: https://manifestations.nl/, https://www.fad.cat/materfad/ca

Autors i projectes:

Tim Dekkers – The Parasitic Humanity
Maartje Dijkstra – Braindrain, TranSwarm Entities, Surface Distortion, Optic Traces
Daniëlle Ooms – Bioluminescent Algae Jacket
Jip van Leeuwenstein – A Diverse Monoculture

Entitats organitzadores: Manifestacions i Materfad
Comissariada per: Viola van Alphen
Amb el suport de: Stimuleringsfonds Creatieve Industrie (en anglès: Creative Industries Fund NL)
Amb la col·laboració de: Barcelona Design Week, Generalitat de Catalunya, Disseny Hub Barcelona, Jori Armengol

Horari:
9.00-21.00h (excepte dilluns 16.00-21.00 h)

Full paper / View from Above: Drone art and hacktivism for landscape transformation awareness

Full paper / Summoning the nereid nerds: invisibility and visions within network architectures

Full paper / Star-Stuff: A Shared Immersive Experience in Space

Full paper / A Networked Multi-channel Audio and Video Authoring and Display System for Immersive Recombinatory Media Installations

Full paper / Unrecording Nature

Full paper / Écosystème(s) : a self-interactive sound installation

Full paper / In pursuit of the Schizomachine: for a(n) (in)possible listening

Full paper / Sonus Maris

Full paper / Living Biotechnical Lives: Noise, Parasites, and Relational Practices

Full paper / Ecopornography in Digital Arts

Full paper / Inhaling Quantum Consciousness: Ecological Vibrational Possibles

Full paper / Posthuman Rituals

Full paper / Speakers, More Speakers!!! – Developing Interactive, Distributed, Smartphone-Based Immersive Experiences for Music and Art

Full paper / NUAGE: A Digital Live Audiovisual Arts Tangible Interface

Artwork / VastWaste

Artwork / RNR Project

Venue: Hall basement 1 CCCB (ISEA2022 Barcelona: from June 13 to 16, from 11 am to 8 pm)
Also, CCCB – Exhibition room (Exhibition BRAIN(S): from July 26 to December 11)

This project has been awarded with the ISEA2022 Barcelona Grant by .Beep Collection and NewArtFoundation

Drone’s Show – Espectacle de Drons (Flock Drone Art Barcelona)

Closing ISEA2022 Barcelona, the night of June 15, from 10:30 pm, Flock Drone Art Barcelona will offer a drone show open to the public at Platja del Somorrostro. Combining technology, lights and electronic music, a set of synchronized drones, this will be the first drone’s show offered fin the city of Barcelona, an aerial show of unique shapes and figures.


Com a clausura a l’ISEA2022 Barcelona, la nit del 15 de juny, a partir de les 22:30h, Flock Drone Art Barcelona oferirà un espectacle de drons obert a tot el públic a la Platja del Somorrostro. Combinant tecnologia, llums i música electrònica, un conjunt de drons sincronitzats oferirà per primera vegada a la ciutat de Barcelona un espectacle aeri de formes i figures singulars.  

Full paper / Click::REVU. An Optophonic Sound Installation

Full paper / Machine Learning-based Approaches in Biometric Data Art

Full paper / AI Creativity: AI.R Taletorium, New Storytelling Realm

Full paper / The Cabinet of Wolfgang von Kempelen: AI Art and Creative Agency

Invited talk – Interconnecting Archives: Paving a Path Forward

Short papers/ Environmental Critical Zones: Reading the Wrack Lines

Short papers / Perlin noise and sovereign land: Minecraft’s world generation algorithm and colonialism

Short papers / Artistic Research in European Extended Reality Laboratories

Short papers / Cultivating Human Potential in Virtual Art Studios

Short papers / Algorithmic Vision and the Dialectic of Visibility

Short papers / The Gap: Science Always Goes Before The Law

Short papers / Media Art and face recognition: critical lines of work

Short papers / Hybrid Art: technology and nature in arts practice and mediation

Short papers / eCO2system: exploring the environmental and social impact of the internet’s materiality through a data-driven media art installation

The internet’s materiality often lacks attention in recent controversies surrounding the environmental footprint of physical versus online activity. The operation of the internet presupposes a physical infrastructure that consumes natural resources and generates pollution. The obfuscation of the materiality of the internet conceals power asymmetries produced by the uneven access to the control of the internet’s material infrastructure.

Short papers / In Sight of Allo-states: Tracing the Path from Environmental Personhood to Agentials, Performances of Personhood and Other Artworks on the Agency-Personhood Continuum (APC)

Short papers / Data, performances and urban environments

Short papers / ‘Taman Tugu: Interference/Resistance’ – addressing urban rewilding with a musical augmented reality experience

Short papers / Live data in live performance

Short papers / KŌDOS: multiple investigations through art, science, and technology

Short papers / Form and Time / decentering sites of art studio pedagogy

Short paper / Artistic Residencies as Critical Research: Entangled Methodologies for Future Science

Short papers / Crossing Art, Science and Technology for Innovations through Maker Culture and Education

Short papers / E-Waste: The Unnatural, Natural Resource | A Case Study on Creative Uses of Obsolete Technology

Erik Contreras is an interdisciplinary designer and engineer with a background in mechanical engineering and rapid prototyping. His work involves prolonging the lifespan of consumer electronics and finding alternative uses for post-consumer products. His design philosophy seeks to promote user repair, modification, and reuse for consumer products. As an advocate for the right to repair, he wishes to develop products and prototypes that “welcomes the end-user, inside and out”.

Erik typically uses a hands-on approach towards his work/research and can be found hacking obsolete tech or 3D printing custom parts in his home machine shop. With technology being part of every aspect of life in the Bay Area, there also a vast accumulation of e-waste in the community. With e-waste being readily available, Erik feels the material is an “unnatural, natural resource” when it comes to finding parts and inspiration for his prototypes.

Short papers / The Voice of the Machine Audience

Short papers / When the others are the machines: the challenge of relating to the new craftsman

Short papers / AI Art and the “Transparent Author”

Short papers / Extensions of Reality: Plants and the Technological Virtual

Short papers / Polyphonic Materiality in Extended Reality

Short papers / Laboratorio de luz. More than 30 years of research in art, science and technology in the Spanish panorama

Short papers / Telewindow: a flexible system for exploring 3d immersive telepresence using commodity depth cameras

David Santiano:

David Santiano is a researcher and technologist that likes to perform scrappy and artsy research to explore possible and impossible avenues in new media and technology. 

Cameron Ballard:

Cameron Ballard is currently completing his PhD in computer science at NYU Tandon’s Center for Cybersecurity. His current work focuses on the sociotechnical implications of social media, especially applying data science methods to understand the financial ecosystem behind online disinformation. 

Before joining the Center for Cybersecurity, Cameron completed his undergraduate degree at NYU Shanghai, and stayed on as a researcher for the Telewindow project. In addition to his academic pursuits, Cameron co-founded Raditube, a research tool to study disinformation and radicalization on YouTube.

Michael Naimark:

Michael Naimark is an artist, inventor, and scholar in the fields of virtual reality and new media art. He is best known for his work in projection mapping, virtual travel, live global video, and cultural preservation, and often refers to this body of work as “place representation”. Naimark has been awarded 16 patents relating to cameras, display, haptics, and live, and his work has been seen nearly 400 art exhibitions, film festivals, and presentations around the world. He was the 2002 recipient of the World Technology Award for the Arts.

Since 2009, Naimark has served as faculty at NYU’s Interactive Telecommunications Program, USC’s School of Cinematic Arts, and the MIT Media Lab. In 2015, Naimark was appointed Google’s first-ever “VR resident artist” in their new VR division. Since 2017, Naimark has served as visiting faculty at NYU Shanghai, where he taught VR/AR Fundamentals and directed research on online telepresence.

Short papers / CHIME Design Lab: Community-centred, Collaborative Health Innovation partnered with Medical Education

Short papers / Online Possibles: Internet Spaces in a Postdigital World

Short papers / Complex acquisitions: understanding the infrastructural properties of born-digital objects in museum collections

Short papers / Virtual museums: heritage and future of mediated UX?

Short papers / Possi(A)bilities: Augmented Reality experiences of possible motor abilities enabled by a video-projected virtual hand

Short papers / The Weird, the Cute and the Dark: How to Account for Aesthetics When Working on Awareness about Design Patterns

ESDi School of Design – I ARA QUÈ?: TRASH_TALK EN VR

“I ARA QUÈ?” it is located at the intersection of an exhausted ecosystem and a pandemic that makes us question all our ways of life. “I ARA QUÈ?” is a set of works developed at ESDi that seek sustainable alternatives and sensitive responses to a world that is changing at an unprecedented rate. In this context, “TRASH_TALK” is a multimedia research exposed in virtual reality. It is a test of questions at the crossroads of the development of turbocapitalism 4.0, a planet filled with garbage, artificial intelligence and killer whales. Do computer files rot? What are the consequences of the loneliness of an image? Can I recycle.jpeg? Are there any orphan sounds? Can we sing a lullaby to the machines? Can I fall in love with software? What if the flood was virtual? Can I build circles in the cloud? Of all the files, why did you choose that? And of all the people, why did you choose me? In the exhibition, visitors will be immersed in a virtual stage in which they will have the opportunity to see 3 sculptures made with recycled digital material in addition to some interactive pieces such as music, videos, etc.

Monday to Friday from 8:30 am to 19 pm

Free with pre-registration at https://calendly.com/iaraque-trashtalk/


“I ARA QUÈ?” se situa a la intersecció entre un ecosistema exhaust i una pandèmia que ens fa qüestionar totes les nostres maneres de viure. “I ARA QUÈ?” és un conjunt d’obres desenvolupades a l’ESDi que busquen alternatives sostenibles i respostes sensibles a un món que canvia a una velocitat sense precedents. En aquest context, “TRASH_TALK” és una investigació multimedial exposada en realitat virtual. És un assaig de preguntes a la cruïlla del desenvolupament del turbocapitalisme 4.0, un planeta que s’omple d’escombraries, intel·ligència artificial i balenes assassines. Es podreixen els arxius informàtics? Quines són les conseqüències de la solitud duna imatge? Puc reciclar.jpeg? Hi ha sons orfes? Podem cantar una nana a les màquines? Em puc enamorar d’un software? I si el diluvi fos virtual? Puc construir cercles al núvol? De tots els arxius, per què vas triar aquest? I de tota la gent, per què em vas triar a mi? A la mostra els visitants se submergiran en un escenari virtual en el qual tindran l’oportunitat de veure 3 escultures fetes amb material digital reciclat a més d’algunes peces interactives com música, vídeos etc.

De dilluns a divendres de 8:30h a 19h

Gratuïta amb registre previ a https://calendly.com/iaraque-trashtalk/

Round table / Ethics and New Media Archiving

Round table / Towards a Global Distributed Network of New Media Art Archives

Short papers / The sonic body: creating embodied sonic performances within an extended reality context

DïaloG, Refik Anadol and Maurice Benayoun

DïaloG is an interactive urban media art installation exploring the themes of alterity, strangeness, and immigration, in a performative way. The work presents two pieces that are at the same time artworks and aliens. They are confronted with a new environment where they don’t belong to… yet. They will have to adapt their language, build common knowledge, integrating all new artifacts and natural phenomena that constitute now their environment.

This includes the other living beings moving around them, and, eventually, they will have to understand each other. While we use the concept of language very broadly to include speech, performance, gesture, utterance, and even data, we focus on strangeness from an ontological perspective, trying to mark a terrain of possibilities for the intersection of interpersonal and digital experiences in the urban sphere. MoBen and Refik Anadol take the notion of “dia-logos” (through-word, through speech) embedded in the etymological roots of the word “dialogue”, more understood as an informational thread processed through an iterative feedback loop between perception, and expression, and push it to a level of transactional complexity activating the potential difference between virtuality and visuality.

In this way, we aim to create a unique, site-specific language between each of both works we are presenting as living entities and their unknown public, and also, between our works that are initially alien to each other – a language of unexpected and indefinable machine expressions that adapt themselves to the constant flow of data representing real-time environmental, societal, and human actions.

DïaloG is made of two “living” visual dynamic entities facing each other in the public space. They don’t look like the living beings we know. They don’t speak any language we know. They are aliens, strangers, immigrants. They are clearly – and desperately – trying to understand each other, to understand their new environment and their strange public. DïaloG reflects on the difficulty of building a mutual understanding beyond social and cultural differences.

All that makes living beings what they are: their morphology, their behavior, their ethology, and, beyond language, their cognitive functions make the laborious process of learning from strangeness and alterity a reality. Dotted with ever-growing perceptive and cognitive capacities, aware of its environment, the artwork is now able to adapt itself, to evolve and to communicate as would a more advanced living entity do. DïaloG tries to epitomize the emergence of the artwork as a subject, not only able to learn from its environment but also to dialogue with its public, and even, it may be a bigger challenge, trying to understand other artworks.

Supported by MindSpaces, funded by the European HORIZON 2020-S+T+ARTS program

Opening: Saturday June 11th 7pm-10pm.


DïaloG és una instal·lació interactiva d’art mediàtic urbà que explora els temes de l’alteritat, l’estranyesa i la immigració, d’una manera performativa. L’obra presenta dues peces que són alhora obres d’art i extraterrestres. S’enfronten a un nou entorn al qual no pertanyen… encara. Hauran d’adaptar el seu llenguatge, construir coneixements comú, integrant tots els nous artefactes i fenòmens naturals que constitueixen ara el seu entorn.

Això inclou els altres éssers vius que es mouen al seu voltant i, finalment, s’hauran d’entendre. Tot i que utilitzem el concepte de llenguatge de manera molt àmplia per incloure la parla, l’actuació, el gest, l’enunciat i fins i tot les dades, ens centrem en l’estranyesa des d’una perspectiva ontològica, intentant marcar un terreny de possibilitats per a la intersecció d’experiències interpersonals i digitals en l’àmbit urbà. esfera. MoBen i Refik Anadol prenen la noció de “dia-logos” (a través de la paraula, a través de la parla) incrustada a les arrels etimològiques de la paraula “diàleg”, més entesa com un fil informatiu processat mitjançant un bucle de retroalimentació iteratiu entre la percepció i l’expressió i portar-lo a un nivell de complexitat transaccional activant la diferència de potencial entre virtualitat i visualitat.

D’aquesta manera, pretenem crear un llenguatge únic i específic del lloc entre cadascuna de les dues obres que presentem com a entitats vives i el seu públic desconegut, i també, entre les nostres obres que inicialment són alienes les unes a les altres: un llenguatge d’inesperat i inesperat. expressions màquines indefinibles que s’adapten al flux constant de dades que representen accions ambientals, socials i humanes en temps real.

DïaloG està format per dues entitats dinàmiques visuals “vives” enfrontades a l’espai públic. No s’assemblen als éssers vius que coneixem. No parlen cap idioma que coneixem. Són extraterrestres, desconeguts, immigrants. Estan clarament -i desesperadament- intentant entendre’s, entendre el seu nou entorn i el seu públic estrany. DïaloG reflexiona sobre la dificultat de construir una comprensió mútua més enllà de les diferències socials i culturals.

Tot això fa que els éssers vius siguin el que són: la seva morfologia, el seu comportament, la seva etologia i, més enllà del llenguatge, les seves funcions cognitives fan realitat el laboriós procés d’aprenentatge de l’estranyesa i l’alteritat. Esquitxada de capacitats perceptives i cognitives cada cop més grans, conscient del seu entorn, l’obra d’art és ara capaç d’adaptar-se, d’evolucionar i de comunicar-se com ho faria un ésser viu més avançat. DïaloG intenta plasmar l’emergència de l’obra d’art com a subjecte, no només capaç d’aprendre del seu entorn sinó també de dialogar amb el seu públic, i fins i tot, pot ser un repte més gran, intentar entendre altres obres d’art.

Amb el suport de MindSpaces, finançat pel programa europeu HORIZON 2020-S+T+ARTS

Inauguració: dissabte 11 de juny de 19 a 22 h.

Sónar – SónarÀgora & Screenings

ISEA2022 Barcelona and Sónar, with the coordination of the new Art, Science and Technology Hub from Barcelona, Hac Te, present an alliance with the aim of promoting the rellations between the academic and research community, the artists and the public.

Within this collaboration, Sónar co-presents three sessions of screenings from ISEA Conference Program on the topic of future possibilities regarding gender, environment, human rights and machines.

At the same time, ISEA2022 Barcelona collaborates in the new SonarÀgora debate area, which will host a series of masterclasses, workshops and other activities. These are aimed at professionals in the creative industries, designed to help them get to grips with the themes of Sónar+D 2022 (Web3, AI, Ecology).


ISEA2022 Barcelona i Sónar, sota la coordinació del nou Hub d’Art, Ciència i Tencologia de Barcelona, Hac Te, s’alien amb l’objectiu de promoure les sinergies entre la comunitat acadèmica i centrada en la recerca, els artistes i el públic.

En el marc d’aquesta col·laboració, Sónar co-presenta tres sessions de screenings de l’ISEA Conference Program que abordaran els futurs possibles en relació a temàtiques con el gènere, el mediambient, els drets humans o les relacions entre persones i màquines.

Alhora, ISEA2022 Barcelona col·labora en el nou SonarÀgora, un espai de debat que acollirà una sèrie de masterclasses, workshops i altres activitats. Estan dirigides a professionals de les indústries creatives amb la finalitat d’ajudar-los a aprofundir en els temes de Sónar+D 2022 (Web3, IA, Ecologia).

Mapping Cité Mémoire in Recinte Modernista de Sant Pau

H2Emotion invites the public to see on June 14, 15 and 16 to a new version of the mapping from the renowned Cité Mémoire Montreal projection circuit, open to all the public. The whole project and production are a gift commissioned, produced and funded by the Bureau du Québec.

The Grand Tableau from Cité Mémoire will be projected onto the façade of the Sant Pau Hospital during three nights. It is a journey through the key periods in Montreal’s history and a look at more than 375 years of history.

Created by multidisciplinary artists Michel Lemieux and Victor Pilon in collaboration with playwright Michel Marc Bouchard, the majestic digital work takes a poetic and playful look on the city of Montreal through images, words and music.

For this event, projections are at the following schedule:

June 14
·       10:30 pm

·       11:15 pm

June 15: 9:45 pm

June 16: 10 pm

___________________________________________________________________________________________________

H2Emotion convida el públic a veure el 14, 15 i 16 de juny una nova versió del mapping de Cité Mémoire Montreal obert a tot el públic. El projecte i la producció són un obsequi encarregat, produït i finançat pel Bureau du Québec.

El Grand Tableau de Cité Mémoire es projectarà a la façana de l’Hospital de Sant Pau durant tres nits. Es tracta d’un viatge pels períodes clau de la història de Montreal amb un repàs per més de 375 anys d’història.

Creat pels artistes multidisciplinaris Michel Lemieux i Victor Pilon en col·laboració amb el dramaturg Michel Marc Bouchard, la majestuosa obra digital dóna una mirada poètica i lúdica a la ciutat de Montreal a través d’imatges, paraules i música.

Les projeccions es faran a les següents hores:

14 de juny
·       22:30h
·       23:15h

15 de juny: 21:45h

16 de juny: 22:h

Comissioned and funded by Bureau du Québec à Barcelone, Guest of Honour at ISEA2022 Barcelona

Invited talk – MACBA Archive

Invited talk – Evanescent records

Photo by Tristán Pérez-Martín

  • Biography:  
    Constanza-Brncic-Foto Roman Rubert Constanza Brnčić is a dancer, choreographer, graduated in Philosophy at Universidad de Barcelona, Master degree in Contemporary Philosophy at Universidad de Barcelona, and she is finishing her PHD in Philosophy at Universidad de Barcelona. She is the director of Choreography Degree at Conservatory Superior of Dance / Institut del Teatre.
    Photo by Roman Rubert.

    This research is also developed by Blanca Tolsà, dancer, Alfredo Costa-Monteiro, musician.
    Tristán Pérez-Martín, Photographer.

Short papers / Mapping the atmospheric in school buildings: Digital art-based participatory inquiry with youth

Short papers / Animated cadavre exquis: a locked-down experience of collaborative filmmaking in education

Short papers / Learning Non-human. Can participatory practices change an Institution?

Short papers / Online collaborative design with students for autobiographical VR stories about Covid-19

Short papers / Memory’s death… or the desire of immortality

Short papers / Deep Space: Re-signifying Valle de los Caídos

Short papers / Below victory: revealing a buried past and present

Short papers / Reinventing the Colonial Gaze Employing AI: a Case Study

Short papers / Evolutionary Strategies in Architecture and Art

Short papers / Debunking the quantified self through artistic data portraits

Short papers / Decoupling design from the industrial paradigm

Short Papers / Bridging traditional and digital crafts: Digital Dynamic Ornaments

Short papers / Resilient terra

Short papers / Cymatics as a tool to create visual cartographies with the ecoacoustics from Delta del Llobregat Natural Park

Short papers / Visualizing the Unpredictable Behavior of Wildfire Using an Artificially Intelligent Aesthetic

Short papers / Codex Endogenous: Designing Interactive Self Data Visualization Tool for Trauma Impacted Individuals

Short papers / Boundaries in networked digital societies: Membranes as a new model of boundaries focusing on nonconscious cognition

Screening / The Unreal

Poster / Ephemeral value mappings – staging feedback loops between algorithms and emotion in online trading as an immersive multimedia experience

Poster / Identification, socialization and professionalization of art and design students through a techno-pedagogical model

Performance / Fractal Listening

Screening / Lavoro macchinine

Screening / Cybersyn 1973 / 2023

Institutional presentation / New Department of Digital Arts and Cinema at the University of Athens 

Screening / Erasures

Screening / Models for Environmental Literacy

Screening / The Blue Dot

Screening / Ener-geyser

Screening / Microplot

Panel / Tools for a Warming Planet

Panel / Crypto Land: Blockchain as a challenge for art and digital art collections of the future

Screening / A New Dawn

Screening / Untitled (A New Landscape)

Screening / Future Memories of Deep Water

Screening / 13 Eyes

Screening / Walking on Sol

Screening / DanceCubesII

Artist talk / Mycorrhizal Insurrection: Rerouting Anthropocentric Socio-Technical Systems (Online)

Panel / Decolonizing the machine: race, gender, disability, robots, computation and art

ISEA2022 Main Ceremony

Recinte Modernista de Sant Pau will host the Main Ceremony of ISEA2022 Barcelona, on June 14, where the testimony will be passed to the next city that will host the Symposium, Paris.

Fractal Listening

There is in nature, a mysterious and complex mathematical system that repeats itself over and over again, an underlying geometric pattern in forms as disparate as clouds, mountains, trees or our own circulatory system. Its distinctive feature is self-similarity, the same configuration that is repeated at different scales, branching out infinitely. There are those who believe that it is “God’s fingerprint”, “the absolute truth of the universe”. 

In Fractal Listening, any attempt at stylistic corseting is diluted in the hybridization of artistic languages. Thus, the fractal images dialogue with acoustic and electronic sounds in an interweaving of infinite kinesthetic notes. In this way, abstract figures in strident colors outline mandalas and enigmatic portals, piercing the virtual canvas with three-dimensional shapes that evoke sacred geometry. This incessant algorithmic repetition generated by pre-established codes, sometimes follows a visual choreography and other times -altered by the frequencies of live sound- it improvises an organic dance, introducing variations to the original pattern. Simultaneously, the sound dimension is embodied in layers and loops, intertwining the electronic bases of IDM, ambient and experimental with the live chords of a guitar. Intervening the work, a trumpet interprets vibrant and moving jazz melodies with harmonics that generate sensations of body and spirit, closing the virtuous circle with a sensory, immersive and enveloping atmosphere.

In 2019, Microfeel & Santiago Bartolomé began their collaborative work with the aim of furthering their respective creative pursuits. This path of experimentation materialized in different artistic proposals. In 2021 they created the live show AV Fractal Listening, the work combines digital art, electronic music and the guitar of the multimedia artist Microfeel (Sebastián Seifert) with the trumpet and processes of the musician and composer Santiago Bartolomé.

Sebastián Seifert – Fractal Listening

Ventriloquist Ontology

Ventriloquist Ontology is a media performance that explores the limits of control and points of hybridization between the human and the machine Ventriloquist Ontology is a media performance that conceptually stems out of philosophical ideas that are rooted in the realms of Posthumanism, Actor Network Theory and Object-Oriented Ontology. Inspired by Alejandro Jodorowsky’s dystopian theatrical play The School of Ventriloquists, it encompasses the creation of a modular wearable, trained using Natural Language Processing to create its own language that manifests in the form of speech and movement actuation. It explores the idea of soft control and points of hybridization between human and machine through the relationship of a performer and a wearable entity. This soft modular entity speaks through text generated using the GPT-2 language model, trained on a dataset of texts around biopolitics, algo-governance, the surveillanced body, and queer theory. The softness aspect of its control refers to the plasticity of the interface, the malleability of its hardware connections, the suggestive nature that the GPT-2 generated text pertains to, and the indicative nature of the movement of the actuators.

Sequentially, it brings forth the soft data of the body inextricably linked to ideas of care and intimacy, as well as to the pliability of the different levels of interpretation between the human and the machine. The aspect of control is tied to the cybernetic idea of steering the body to its optimal movement through a feedback loop between machinic language, and human assimilation. It also deals with the hardness of the linear actuators and the microcontroller that manipulates them, to the domination of these mechanical components over the softness and vulnerability of the human flesh. Ultimately, the idea of ventriloquism is used to give agency to an ontological entity comprised of subtle suggestive wearable modules, human flesh and cognitive motor abilities, born-digital, able to produce novel language, but also conditioned to reproduce the biases of its algorithmic parts.

Stillfrom the Ventriloquist Ontology performance presented at the iii Workspace, The Hague.

Cité Mémoire  

H2Emotion invites you on June 14 to the tableau from the renowned Cité Mémoire Montréal projection circuit.
 
The Grand Tableau from Cité Mémoire will be projected onto the façade of the Sant Pau Hospital. It is a journey through the key periods in Montreal’s history: the Indigenous presence, French Regime, British conquest and contemporary Montreal —a look at more than 375 years of history.
 
Created by multidisciplinary artists Michel Lemieux and Victor Pilon in collaboration with playwright Michel Marc Bouchard, the majestic digital work takes a poetic and playful look on the city of Montreal through images, words and music.

June 14
·       10:30 pm – 11:15pm  
·       11:15 pm – midnight

 h2emotion.ca
https://www.montrealenhistoires.com/cite_memoire/

Guest of Honour at ISEA2022 Barcelona

ISEA2022 Opening Ceremony

Please, notice that the Opening Ceremony will take place in a new space: Museu Frederic Marès (Plaça Sant Iu, 5, Barcelona)

On June 10, Museu Frederic Marès will host the ISEA2022 Barcelona Opening Ceremony to welcome both local and international participants to ISEA2022 Barcelona.

Before, you can visit the Maria Aurèlia Capmany viewpoint. Located on the terrace of the Novíssim building (Plaça de Sant Miquel, 2), it offers the best panoramic views of the city.

In order to attend to the Opening Ceremony, ISEA2022 Barcelona’s participants need to register in advance.

FORMS (it’s a)Live

Santi Vilanova, artist of the Playmodes collective, presents a new performance format of his work FORMS. This work – which in its “Screen Ensemble” version is part of the Beep collection of Electronic Art and of the exhibition that can be seen at the Recinte Modernista de Sant Pau – explores the compositional possibilities of visual music through ‘generative graphics and image sonication algorithms.

On this occasion, the artist has developed a live controllable audiovisual system, which generates infinite variations of sonicated spectrograms, and which operates halfway between the sound machine and the live musical instrument.

Forms – Playmodes

Slow Violence

This piece proposes a space to rethink some of the long-lasting effects, and formulates a visual exercise on the geological transformation and destruction of living ecosystems. We want to create a visual that reflects on the great acceleration of these changes (Anthropocene) and their repercussions on climate and biodiversity. A visual and living fresco that encapsulates the unstoppable disaster before our eyes, that devours and consumes nature in an exercise of terrible beauty and where we contemplate, in a very sensory and almost tactile way, the effects and changes produced on the earth’s surface.

Using techniques to photograph frequencies outside our visible light spectrum (ultraviolet and infrared) and time lapse explores ways of seeing complexities, forces, and natural phenomena that are not obvious to the human eye. We want to work on the technique to take an exploratory, deep and conscious look and make visible the invisible forces of nature (erosion, thawing, floods …), observing it through a different perspective.

Slow Violence – Hamill Industries

Screening / Code_red

Screening / American made machines // (canción g.)

Screening / Experimental Microscopic Media Art: Inner Essence

Screening / Life Line, single channel video

Screening / Glacier’s Lament

Screening / Unforgotten

Screening / Swarm Raid

Screening / Deep Reckonings

Screenings – Open to the public

The screenings are open to all the public.

Program in collaboration with Sónar.

Session 1

Session 1 of the screening’s program includes video experimental artworks that deal sharply with a variety of topics relevant to the main topic of ISEA2022 Barcelona in terms of future possibilities regarding gender, environment, human rights and machines.

Morning session: from 11 am to 12:10 pm
Afternoon session: from 2:10 pm to 3:20 pm

Session 2

Session 2 includes pieces that use a documentary approach either to explore concepts related to humans, technologies and environment or to show relevant initiatives that deal with these topics, including demonstrations of applied projects in this field.

Morning session: from 12:10 am to 1:20 pm
Afternoon session: from 3:20 pm to 4:30 pm

Session 3

Session 3 includes pieces that thoroughly reflect on the relations of humans and nature using different techniques and visual poetics…

Morning session: from 1:19 pm to 2:10 pm
Afternoon session: from 4:30 pm to 5:20 pm

VENUES:

Saturday 11th: CCCB Auditori
Sunday 12 th: CCCB Auditori
Monday 13 th: CERC Auditori
Tuesday 14th: CERC Auditori
Wednesday 15th: CERC Auditori
Thursday 16th: CCCB Auditori

EINA – Workshop ‘Texture Beyond Type’, Giorgia Scavo and Angelo Stitz

Inscriptions open: https://kenes.eventsair.com/isea2022/workshop8/Site/Register

From 11am to 2pm and from 3pm to 5pm

What does it mean to be a creative practitioner in the age of algorithms and surface-less media?
New media plays a crucial role in relation to the fragmentation of information so that they provide us with only some versions of the world. For instance, the way information is formatted and styled has an effect on how information is received and interpreted. 

We believe in this age it is necessary to re-evaluate the capabilities of human imagination, and that this can by done by exploring the relationship between executing control and being controlled by a machine. 
However, creative practitioners are sense makers imagining the possible rather than being satisfied with the probable. Often they distil intentions which are not perceivable to others. 

In this workshop participants are invited to use a text-editor as a tool to create visual textures from typographic symbols. We will start with an initial input to then produce possible outcomes, to then collaboratively will explore its aesthetical, historical, and social values to re-work them from alternative perspectives, and produce a final outcome. 

As a theoretical framework, our focus will be on creative methodologies that attempt to sabotage the functioning of tools and media or, on the contrary, collaborate with it. Here artists and designers capture, or rather provoke, improbable and unexpected results, exploring how to expand the field of the possible in contrast to that of the probable, putting in value the remains and the margin of error of the devices, as opposed to the regular and anticipated operation of those.

We will look at the thinking of the Czech philosopher Vilém Flusser, and other philosophers who have focused their research on questioning the role that tools and media play in the configuration of our perception and experience of the world. 

The workshop will take place at EINA Bosc, a new space form EINA University School of Design and Art of Barcelona that allows the centre’s educational programme to be expanded from a perspective of permanent innovation and creative dynamics. EINA Bosc houses workshops and versatile creative spaces open to non-disciplinary experimentation, digital and traditional graphic arts, sets for audiovisual practices and spaces to carry out exhibition and performance programmes, and has all the spatial, human and logistical support necessary to develop the school’s offer at all levels of training.

Biography:

Giorgia Scavo and Angelo Stitz met as Visual Communication students at the Royal College of Art in London in 2016 and share an interest in the transitions between human and machines. They are former co-founders of the student-led program forum ‘F[r]iction’ started in 2017.

Giorgia is focused on developing ongoing research about accidents and irregularities seen as openings to the unexpected. After she graduated at the Royal College of Art (London) in 2018, she graduated in Digital Art Direction at ESDi/URL (Barcelona) in 2020. Meanwhile she has been working as a graphic designer, art director and professor.

Angelo explores the visual, technical and social aspects of language and its obstacles in translating originality. His scope of work includes graphic design, visual identities and editorial design focussing on typography and type design. Recently, he taught as a sessional lecturer for the MA Design, Communication and Technology course at Ravensbourne University, London.


D’11h a 14h i de 15h a 17h

Què significa ser un professional creatiu a l’era dels algorismes i els mitjans sense superfície?
Els nous mitjans tenen un paper crucial en relació a la fragmentació de la informació perquè només ens proporcionen algunes versions del món. Per exemple, la forma en què la informació es formata i s’estila té un efecte sobre com es rep i s’interpreta la informació.

Creiem que en aquesta època és necessari re-avaluar les capacitats de la imaginació humana, i que això es pot fer explorant la relació entre executar el control i ser controlat per una màquina. Tanmateix, els professionals creatius són creadors de sentit que imaginen el possible en lloc d’estar satisfets amb el probable. Sovint destil·len intencions que no són perceptibles per als altres.

En aquest taller es convida als participants a utilitzar un editor de text com a eina per crear textures visuals a partir de símbols tipogràfics. Començarem amb una entrada inicial per produir possibles resultats, per després explorar-ne de manera col·laborativa els valors estètics, històrics i socials per tornar-los a treballar des de perspectives alternatives i produir un resultat final.

Com a marc teòric, ens centrarem en les metodologies creatives que intenten sabotejar el funcionament d’eines i mitjans o, per contra, col·laborar-hi. Aquí artistes i dissenyadors capten, o més aviat provoquen, resultats improbables i inesperats, explorant com ampliar el camp del possible en contraposició al del probable, posant en valor les restes i el marge d’error dels aparells, en contraposició al funcionament regular i previst d’aquests.

Ens fixarem en el pensament del filòsof txec Vilém Flusser, i d’altres filòsofs que han centrat la seva recerca en qüestionar el paper que juguen les eines i els mitjans en la configuració de la nostra percepció i experiència del món.

El taller tindrà lloc a EINA Bosc, el nou espai d’EINA Centre Universitari de Disseny i Art de Barcelona, que permet ampliar el programa pedagògic del centre des d’una òptica d’innovació permanent i dinàmiques creatives. EINA Bosc alberga tallers i espais de creació versàtils i oberts a l’experimentació no disciplinària, arts gràfiques digitals i tradicionals, platós per a pràctiques audiovisuals i espais per portar a terme programes expositius i performatius, i compta amb tot el suport espacial, humà i logístic necessari per desenvolupar l’oferta de l’escola en tots els nivells formatius.

Biografia:

Giorgia Scavo i Angelo Stitz es van conèixer com a estudiants de Comunicació Visual al Royal College of Art de Londres el 2016 i comparteixen interès per les transicions entre humans i màquines. Són antics cofundadors del fòrum del programa dirigit per estudiants “F[r]iction” iniciat el 2017.

Giorgia se centra a desenvolupar una investigació contínua sobre accidents i irregularitats vistes com a obertures a l’inesperat. Després de graduar-se al Royal College of Art (Londres) l’any 2018, es va graduar en Direcció d’Art Digital a l’ESDi/URL (Barcelona) l’any 2020. Mentrestant, ha estat treballant com a dissenyadora gràfica, directora d’art i professora.

Angelo explora els aspectes visuals, tècnics i socials del llenguatge i els seus obstacles per traduir l’originalitat. El seu àmbit de treball inclou el disseny gràfic, identitats visuals i disseny editorial centrat en la tipografia i el disseny de tipus. Recentment, va ensenyar com a professor de sessions al curs de màster en Disseny, Comunicació i Tecnologia a la Universitat de Ravensbourne, Londres.

Institutional presentation / Producing, Presenting and publishing with V2_

Institutional presentation / Hexagram Network – Emergence/Y

Artist talk / Xenological Entanglements Surrounding Transgender Life in Space

Panel / Light Shows, Live Coding & Transcoding (Online)

EINA – Birding the Future, by Krista Caballero & Frank Ekeberg

Birds provide a unique window into the cultural and ecological entanglements of our time. Unrestricted by human-imposed borders, approximately five billion birds migrate yearly, linking cultures, countries, and ecologies, and revealing issues collectively shared. Declining bird populations in practically all habitat types signal profound changes over our entire planet. Birding the Future poses three questions in response to this crisis: What does it mean that we can only see and hear extinct species through technology? What might happen as the messages of birds are increasingly being silenced? How might we bridge knowledge systems using traditional and emerging technologies to develop a cross-cultural praxis for ecological futures rooted in kinship with the world?

Birding the Future is an ongoing artwork that explores current extinction rates by focusing on the warning abilities of birds as bioindicators of environmental change. The installation invites visitors to listen to endangered and extinct bird calls and view visionary avian landscapes through stereographs and video. 

Calls of endangered birds are extracted to create Morse code messages based upon tales, stories, and poetry in which birds speak to humans. These are combined with calls of extinct birds, which act as a memory of the past and underscore technological reproduction as the only means to hear certain species. A real-time algorithm scales the extinction rate to the duration of the exhibition — the longer you stay the fewer birds you hear. The soundscape is paired with a series of stereographs, which explore the landscape of human-bird encounters via imagery, poetry, data and research. Video footage from the Goller Lab explores the ethics and technological impact of research conducted in a more-than-human world. 

To date there are five region-specific iterations of the project: Queensland Australia, Arabian Peninsula, Norway, Mid-Atlantic USA, RheinMain Germany and a series focused on laboratory birds

This installation will be shown at EINA Bosc, a new space form EINA University School of Design and Art of Barcelona that allows the centre’s educational programme to be expanded from a perspective of permanent innovation and creative dynamics. EINA Bosc houses workshops and versatile creative spaces open to non-disciplinary experimentation, digital and traditional graphic arts, sets for audiovisual practices and spaces to carry out exhibition and performance programmes, and has all the spatial, human and logistical support necessary to develop the school’s offer at all levels of training.


Els ocells ofereixen una finestra única a les entranyes culturals i ecològiques del nostre temps. Sense restriccions per les fronteres imposades pels humans, aproximadament cinc mil milions d’ocells migren anualment, enllaçant cultures, països i ecologies, i revelant qüestions compartides col·lectivament. La disminució de les poblacions d’ocells en pràcticament tots els tipus d’hàbitat indica canvis profunds a tot el nostre planeta. Birding the Future planteja tres preguntes en resposta a aquesta crisi: Què vol dir que només podem veure i escoltar espècies extingides mitjançant la tecnologia? Què pot passar quan els missatges dels ocells es silencien cada cop més? Com podríem unir sistemes de coneixement utilitzant tecnologies tradicionals i emergents per desenvolupar una praxi intercultural per a futurs ecològics arrelats en el parentiu amb el món?

Birding the Future és una obra d’art en curs que explora les taxes d’extinció actuals centrant-se en les capacitats d’advertència dels ocells com a bioindicadors del canvi ambiental. La instal·lació convida els visitants a escoltar els crits d’ocells en perill d’extinció i extingits i a veure paisatges aviaris visionaris a través d’estereografies i vídeos.

S’extreuen crides d’ocells en perill d’extinció per crear missatges en codi Morse basats en contes, històries i poesies en què els ocells parlen als humans. Aquests es combinen amb crits d’ocells extingits, que actuen com a record del passat i subratllen la reproducció tecnològica com a únic mitjà per escoltar determinades espècies. Un algorisme en temps real escala la taxa d’extinció a la durada de l’exposició: com més temps us quedeu, menys ocells escolteu. El paisatge sonor es combina amb una sèrie d’estereografies, que exploren el paisatge de les trobades humans-ocells mitjançant imatges, poesia, dades i investigació. Les imatges de vídeo del Goller Lab exploren l’ètica i l’impacte tecnològic de la investigació realitzada en un món més que humà.

Fins ara, hi ha cinc iteracions específiques de la regió del projecte: Queensland Australia, Península Aràbiga, Noruega, Mid-Atlantic USA, RheinMain Alemanya i una sèrie centrada en les https://www.birdingthefuture.net/labaus de laboratori.

Aquesta instal·lació es podrà veure a EINA Bosc, el nou espai d’EINA Centre Universitari de Disseny i Art de Barcelona, que permet ampliar el programa pedagògic del centre des d’una òptica d’innovació permanent i dinàmiques creatives. EINA Bosc alberga tallers i espais de creació versàtils i oberts a l’experimentació no disciplinària, arts gràfiques digitals i tradicionals, platós per a pràctiques audiovisuals i espais per portar a terme programes expositius i performatius, i compta amb tot el suport espacial, humà i logístic necessari per desenvolupar l’oferta de l’escola en tots els nivells formatius.

Mercat de les Flors – Re-embodiment & Dis/abilities: Performing River, by Johannes Birringer, Michèle Danjoux, Zhi Xu & Doros Polydorou

Inscriptions open: https://kenes.eventsair.com/isea2022/workshop11/Site/Register

(DAP-Lab)

Re-embodiment & Dis/abilities: Performing River is a workshop that explores immersive, ritualized, intimate movement experiences for mixed-ability participants willing to wear Oculus Quest2 VR headset as well as wearable sensors or fabrics. The participants are invited to examine their responses to sounds and tactile images (imagined relations) of water, river, flow, movement, liquidity – extending body (in whatever restricted, limited or possible way) to an interface between the real there, and the virtual nature drawings we shall instigate through our VR software and physical movement ideas.

We also plan to create experiments in inter-action – extending the notion of illustrating/drawing into the relationship between Oculus Quest headset wearer (performer) and illustrator/guide who hold the Oculus controllers and draws, in real time & in real flow. We understand such architectures as “kinetic atmospheres” which open up participatory scenarios, composed with fabrics, paper, drawing materials (graphite) as well as wearables, “design-in-motion” accoutrements or costumes created by Michèle Danjoux. Choreographic proposals (Xu, Birringer) emphasize sensorial and affective ritual engagements between performers and participant observers.

Performing River is ritual: The ethical questions raised by river/water – its availability, pollution, infrastructural dimension for local and wider trade – highlight that water is not just a metaphor of thinking practices, it is a site of deep contention and political crisis, as currents, floods, currencies, ecologies and economies flow together or collide. By exploring river (and flooding) as elemental, and water as vital infrastructure and inspiration for design as well as climate activism and consideration of habitats and ecospheres, this workshop reflects creatively on the function and circulation of this special medium in various cultures, examining its potential in fostering collective imaginaries.


Re-embodiment & Dis/abilities: Performing River és un taller que explora experiències de moviment immersives, ritualitzades i íntimes per a participants amb capacitats mixtes disposats a portar auriculars Oculus Quest2 VR, així com sensors o teixits que es puguin portar. Els participants estan convidats a examinar les seves respostes a sons i imatges tàctils (relacions imaginades) d’aigua, riu, cabal, moviment, liquiditat; estenent el cos (de qualsevol manera restringida, limitada o possible) a una interfície entre el real i els dibuixos de la natura virtual que instigarem a través del nostre programari de realitat virtual i idees de moviment físic. També tenim previst crear experiments en interacció, ampliant la noció d’il·lustració/dibuix a la relació entre el portador (intèrpret) dels auriculars Oculus Quest i l’il·lustrador/guia que sosté els controladors i dibuixos Oculus, en temps real i en flux real.

Entenem aquestes arquitectures com a “atmosferes cinètiques” que obren escenaris participatius, composts amb teixits, paper, materials de dibuix (grafit), així com peces de vestir, equipaments “disseny en moviment” o vestits creats per Michèle Danjoux. Les propostes coreogràfiques (Xu, Birringer) emfatitzen els compromisos rituals sensorials i afectius entre els intèrprets i els observadors participants.

Performing River és un ritual: les qüestions ètiques plantejades pel riu/l’aigua (la seva disponibilitat, contaminació, dimensió d’infraestructura per al comerç local i més ampli) posen de manifest que l’aigua no és només una metàfora de les pràctiques de pensament, sinó que és un lloc de conflictes profunds i crisi política, a mesura que els corrents, les inundacions, les monedes, les ecologies i les economies flueixen o xoquen. En explorar el riu (i les inundacions) com a element elemental, i l’aigua com a infraestructura vital i inspiració per al disseny, així com l’activisme climàtic i la consideració dels hàbitats i les ecosferes, aquest taller reflexiona de manera creativa sobre la funció i la circulació d’aquest mitjà especial en diverses cultures, examinant el seu potencial per fomentar els imaginaris col·lectius.

Artwork / ZENZ(A)I

Artwork from Barcelona Producció

Artwork / Epiphany

Artwork from Barcelona Producció

Short paper / “Extended Listening: Towards non-humans interpretation of the sound environment through AI systems”

Lo Pati – Òrbita #3, Núria Nia & Citlali Hernández

Looking like a satellite and measuring distances, personifying fragments of data and disorganizing them: the physical body engages in a dialogue between its own materiality and its digital image. Structures, living matter, and inert materials are transferred to a digital environment produced by everyday devices.

Conceived as a performance, Órbita # 3 derives from a set of actions resulting from the mixture of languages from live arts, live cinema and livestream tools to propose a joint action with an artificial entity that participates with Núria Nia and Citlali Hernández as an entity that makes visible another type of corporality, exposing their material, cognitive and relational conditions, initially dependent on the two artists but which may evolve according to their own learning and relationship with other entities.

Project developed at the Baladre artists’ residence managed by Lo Pati Art Center.


Semblar un satèl·lit i mesurar distàncies, personificar fragments de dades i desorganitzar-los: el cos físic emprén un diàleg entre la pròpia materialitat i la seva imatge digital. Les estructures, la matèria viva i els materials inerts es transfereixen envers un entorn digital produït per dispositius quotidians.

Concebuda com a performance, Órbita #3 deriva d’un conjunt d’accions fruit de la barreja de llenguatges de les arts en viu, el live cinema i les eines de livestream per a proposar una acció conjunta amb un ens artificial que participa amb Núria Nia i Citlali Hernández com a entitat que fa visible un altre tipus de corporalitat, exposant les seves condicions materials, cognitives i relacionals, inicialment dependents de les dues artistes però que podrà evolucionar segons el seu propi aprenentatge i relació amb altres entitats.

Projecte desenvolupat a la residència d’artistes Baladre que gestiona el Centre d’Art Lo Pati.

Artwork / Quantum Chaos set

Artwork / Last Breaths

Artwork / Liquid Views

Photo by Stefanie Seidl

With support of the Center for Art and Media | ZKM

Artwork / Sightseeing

Artwork / Common Thread

Dataset contributed by Dr. Dmitry Bratanov, Senior Research Engineer (RPAS and Automation), Research Engineering Facility, QUT

KONVENT – We Move Together or Not At All, Sasha Kleinplatz and Navid Navab

Approximate time, to be confirmed

We Move Together or Not At All is a choreographic installation that places consent, multi-sensory performance archive, and species inter-dependency in conversation. This performance by Sasha Kleinplatz and Navid Navab takes the form of an excitable plant-filled greenhouse with a dancer moving in its centre and it will be presented on June 11 at Konvent, a former convent of nuns located in Berga that has been converted into an experimental laboratory. Choreographer, dancer, and interdisciplinary artists work collaboratively to build performance scores meant to raise the temperature, moisture, scent, and bacteria in the greenhouse and co-orchestrate states of sensory access to the participants gestures, human or none.

Through this practice the sweat of the dancer becomes a source of heat and humidity that supports the plant life. We frame this sweat and heat, and the plant life that they support as the barely visible, archival trace of performance, as emergent formations traversing condensation, movement, sound, and affect. The performers are augmented with sensors that respond to torque, horizontality, verticality, and percussivity.  A responsive scenography transcodes qualitative variables of the performance into sound, vibration and condensation, as multimodal gestures towards a non-linear understanding of how the plants may experience the events within space.


Hora aproximada, pendent de confirmació

We Move Together or Not At All és una instal·lació coreogràfica que posa el consentiment, l’arxiu d’actuació multisensorial i la interdependència d’espècies a dialogar. La performance, a càrrec de Sasha Kleinplatz i Navid Navab, agafa forma d’hivernacle ple de plantes amb una ballarina movent-se al centre i es podrà veure l’11 de juny al Konvent, antic convent de monges a Berga convertit en un laboratori experimental.
Coreògrafs, ballarins i artistes interdisciplinaris treballen en col·laboració per crear partitures d’actuació destinades a augmentar la temperatura, la humitat, l’olor i els bacteris a l’hivernacle i coorquestrar els estats d’accés sensorial als gestos dels participants, humans o cap.

Mitjançant aquesta pràctica la suor del ballarí es converteix en una font de calor i humitat que sustenta la vida vegetal. Emmarquem aquesta suor i calor, i la vida vegetal que suporten com la traça d’arxiu gairebé visible de l’actuació, com a formacions emergents que travessen la condensació, el moviment, el so i l’afecte. Els intèrprets s’amplien amb sensors que responen al parell, l’horitzontalitat, la verticalitat i la percussivitat. Una escenografia sensible transcodifica variables qualitatives de l’actuació en so, vibració i condensació, com a gestos multimodals cap a una comprensió no lineal de com les plantes poden experimentar els esdeveniments a l’espai.

Artwork / Tools for a Warming Planet

Artist talk / Art, Science, Nature and Culture: Expressive Science in the Digital Age

Institutional presentation / What is Research-based Design Practice? A Collective Inquiry through A Graduate Seminar

Recinte Modernista de Sant Pau – Possibles

Modernism is a transversal movement with an international resonance kwnown for integrating all kinds of creators and trades in order to make the possibilites of working together a reality. Taking this interdisciplinary legacy and transporting it to the codes of the 21st century, digital art reflects this same spirit of transversality by uniting artists, scientists and technologists.

Combining these two concepts, from June 9 to 30, the Recinte Modernista de Sant Pau will host an exhibition of digital art with five works from the ISEA2022 Barcelona call and twenty pieces from the .Beep Collection.

This exhibition is included in the visit tour of the Recinte Modernista de Sant Pau. Tickets are required to access it. Alternatively, there will be free tours for people registered at ISEA2022 Barcelona exclusively for this exhibition.


El Modernisme és un moviment transversal de ressò internacional que s’ha distingit per integrar tot tipus de creadors i oficis per tal de fer realitat les seves propostes. Agafant aquest llegat interdisciplinar i transportant-lo als codis del segle XXI, l’art digital reflecteix aquest mateix esperit de transversalitat tot unint artistes, científics i tecnòlegs.

Aquesta exposició està inclosa en el circuit de visita del Recinte Modernista de Sant Pau. Cal disposar d’entrada per poder accedir-hi. Alternativament, es faran visites a les persones registrades a ISEA2022 Barcelona exclussivament a aquesta exposició sense cost.

Unint aquests dos conceptes, del 9 al 30 de juny, el Recinte Modernista de Sant Pau acollirà una exposició d’art digital amb cinc obres provinents de la convocatòria d’ISEA2022 Barcelona i una vinetena de peces de la .Beep Collection.

Artworks from ISEA2022 Barcelona’s open call / Obres provinents de la convocatòria oberta d’ISEA2022 Barcelona:

Artworks from .Beep Collection / Obres de la .Beep Collection:

Artworks presented by Niio.art / Obres presentades per Niio.art

Mapping Cité Mémoire (Open to all the public)

The Grand Tableau from Cité Mémoire will be projected onto the façade of the Sant Pau Hospital. It is a journey through the key periods in Montreal’s history: the Indigenous presence, French Regime, British conquest and contemporary Montreal —a look at more than 375 years of history.

June 14
·       10:30 pm – 11:15pm  
·       11:15 pm – midnight
June 15 and 16
·       10 pm – 10:45 pm
·       10:45 pm – 11:30 pm
·       11:30 pm – 12:15 am

Mapping Cité Mémoire (Obert a tot el públic)

El Grand Tableau de Cité Mémoire es projectarà a la façana de l’Hospital de Sant Pau. És un viatge pels períodes clau de la història de Montreal: la presència indígena, el règim francès, la conquesta britànica i la Montreal contemporània, una mirada a més de 375 anys d’història.

14 de juny
·       22:30h – 23:15h
·       23:15h – 00h
15 i 16 de juny
·       22h – 22:45h
·       22:45h – 23:30h
·       23:30h – 00:15h

Main Ceremony

Along with the exhibition, the Recinte Modernista de Sant Pau will also host the Main Ceremony of ISEA022 Barcelona, on June 14, where the testimony will be passed to the next city that will host the Symposium, Paris.

Cerimònia principal

Juntament amb l’exposició, el Recinte Modernista de Sant Pau acollirà també la cerimònica central d’ISEA022 Barcelona, el 14 de juny, on es passarà el testimoni a la pròxima ciutat que acollirà el Simposi, París.

Short paper – “The Right to the Image”: Ethics of Representation and Appropriation in New Media Art Archives since the 2011 Arab Uprisings

Short paper – Newsslider, smart mining of archives

Short paper – Restoring the Recent Past: Learnings from producing a retrospective of VR content from the UK

Short paper – VR as a function for archiving media arts, one example

Short paper – Experimental archiving. Artpool’s website as a digital archive of underground art in Hungary

Short paper – Public Library Consoles – Publishing Collections with the Flick of a Hand

Short paper – Archiving the Symposium Expanded Animation: Challenges, Solutions and International Collaborations

Short paper – Archiving Strategies in the Computational Age: creating a Media + Data Art digital media library based on a curatorial methodology

Short paper – Conservation of Multimedia Art: Case Study on Teoman Madra Archive

Panel – Right-Click to Save: Preservation, NFTs, and Distributed Ledgers

Panel – Demusealizing the museum: audience’s digital agency and institutional critique 2.0 as possible futures for art institutions

Panel – Emerging Collaborative Preservation Projects in Asia

Panel – Multi-Generation Digital Stewardship: XR Art & Technology Archives

Long paper – Stayin’ Alive. Southern Cone Video Art Archives in Context.

Long paper – Accessing and Displaying the Archive

Long paper – The future of art museums in the digital age: VR for archiving purpose

Long paper – Practicing Odin Teatret’s Archives: virtual translations of embodied knowledge through archival practices

Long paper – The Australian Emulation Network: Accessing Born Digital Cultural Collections

Long paper – AR[t]chive – Augmented Reality Experience for a Digital Art Archive

Long paper – “Always Only Once:” The paradox of preserving performative digital works

Long paper – A forgotten, almost lost, and partially hidden piece of history: new media arts in Latin America

Lightning Talk – Collecting and Preserving Expanded & Extended Nonfiction

Lightning Talk – MEMODUCT posthuman.archive: The Site-specific Media Art History

Lightning Talk – The Different Histories of Electronic Art in the V2_ Archive

Lightning Talk – Archiving Twitter Database & Visualization from Artwork

Lightning Talk – Introducing Videotage Media Art Collection (VMAC)

Lightning Talk – UNCOPIED.ART: Making the original truly unique: Introducing a blockchain for GLAM institutions

Lightning Talk – Research-based Online Archive and the Canonization of Net Art

Lightning Talk – Screen Recordings and Reinterpretations from Archiving to Creation Visions.of.Mouchette.org

Lightning Talk – Digitized Analog Memories. Methods of Visualizing Found Media

Lightning Talk – Participatory Preservation: Experiments in Distributed Networks of Care

Lightning Talk – IMAI Play: The video art channel of the Inter Media Art Institute

Artworks – Spiral of Words

Artwork – Visually reading the pandemic: Translating an Open Access Archive into an immersive interactive Artwork

Artwork – Archiving New Media Art Archives

Artwork – Gendernaut. Queering the future

Artwork – Visualizing the Illkun (Anger)

Artwork – ‘Data Whiskers’ and ‘Ecophagy’

Artwork – i:M:mobile

Artwork – Anatomy of a Fatberg

Casa Amèrica Catalunya –  Tortuous Drift, Karla Brunet

Moving images and sounds recorded in selected locations of the Mediterranean as Ceuta, Gibraltar, Valencia, Ebro’s Delta, Formentera, Ibiza, Malta, Sardinia, Sicilia, and Cyprus create Tortuous Drift.  Each place has a particularity, whether geographical, subjective, social, or environmental. For example, Ceuta and Gibraltar are the entrance gate to the Sea as they are a very regulated frontier between Europe and Africa. Islands on the central Mediterranean are the entrance gate to the majority of the attempts to arrive in Europe and it states the greater number of deaths by drowning. Western Mediterranean has the saltiest sea and Ebro’s Delta is one of the areas at great risk of being flooded with global warming.

Data visualizations of salinity, conductivity, temperature, and pH of the water collected during the field trips are mixed in the performance as animated graphs, molecules and numbers. These visualizations raise questions of acidification of the sea and global warming. Another date used in the performance is the statistics of drowned persons trying to cross the sea in search of a better life. These data – social and environmental – are played together with images and sounds collected in the field trips.

In this performance layers of materials entangle together to construct a narrative with visuals and sounds. The live cinema performance is ephemeral; a time-based event that recreates the experience of sensing the Mediterranean Sea. Tortuous Drift creates a statement of this journey. It’s not a drift in a straightforward way, it’s complex, sinuous, and tangled like the feelings and stories lived in the sea. 

The performance will be presented on June 10 in Casa Amèrica Catalunya, entity that works on the links between Latin America and Catalonia, which understands culture as a tool to understand and approach the realities of the different peoples at both sides of the Atlantic.

A project by:


Les imatges en moviment i els sons gravats en llocs seleccionats de la Mediterrània com Ceuta, Gibraltar, València, el Delta de l’Ebre, Formentera, Eivissa, Malta, Sardenya, Sicília i Xipre creen Tortuous Drift. Cada lloc té una particularitat, ja sigui geogràfica, subjectiva, social o ambiental. Per exemple, Ceuta i Gibraltar són la porta d’entrada al mar ja que són una frontera molt regulada entre Europa i l’Àfrica. Les illes de la Mediterrània central són la porta d’entrada a la majoria dels intents d’arribada a Europa i suposen el major nombre de morts per ofegament. El Mediterrani occidental té el mar més salat i el Delta de l’Ebre és una de les zones amb major risc d’inundació per l’escalfament global.

Les visualitzacions de dades de salinitat, conductivitat, temperatura i pH de l’aigua recollida durant les sortides de camp es barregen en l’actuació com a gràfics animats, molècules i números. Aquestes visualitzacions plantegen preguntes sobre l’acidificació del mar i l’escalfament global. Una altra dada utilitzada en l’actuació són les estadístiques de persones ofegades que intenten creuar el mar a la recerca d’una vida millor. Aquestes dades, socials i ambientals, es reprodueixen juntament amb imatges i sons recollits en les sortides de camp.

En aquesta performance capes de materials s’entrellacen per construir una narració amb visuals i sons. L’actuació de cinema en directe és efímera; un esdeveniment basat en el temps que recrea l’experiència de sentir el mar Mediterrani. Tortuous Drift crea una declaració d’aquest viatge. No és una deriva d’una manera senzilla, és complexa, sinuosa i enredada com els sentiments i les històries viscudes al mar.

L’actuació es presentarà el pròxim 10 de juny a Casa Amèrica Catalunya, entitat que treballa per refermar els vincles que uneixen Llatinoamèrica i Catalunya, entenent la cultura com a lligam i com a eina per conèixer i apropar les realitats dels diferents pobles de banda i banda de l’Atlàntic.

Un projecte de:

La Llotja – Possibles i impossibles: una mirada des de l’art i el disseny especulatiu. Conferència a càrrec de Pau Alsina (Online)

May 18 at 12pm

The aim of this talk is to share some reflections on the role of design as a builder of worlds, possibles or impossibles, probables or unlikely, in connection with the event that will take place this year 2022, in Barcelona and 11 other cities, ISEA2022 Barcelona, the 27th International Symposium of Electronic Arts. An international event of reference in the intersections between art, design, science, technology and society, in which institutions, creators and communities related to this fertile transversal field will take part, called to explore together the concept of the “Possibles”.

The Possible shapes our reality, and that is precisely why it is a political problem in itself. From “everything is possible” to “being realistic and asking for the impossible”, from “infinity of possible worlds” to “this is not possible and cannot be done”. How to draw the new possibilities that will come, and not just confirm the ones that are waiting to be confirmed, experienced and thought, as possibilities that can be realized from our worldview? How to go from the impossible, the fable or the utopia to bite directly into our reality?

Zoom link: https://us06web.zoom.us/j/85829159476?pwd=bko2QTBQb0l1c0h5VWJKRFgvSE9Pdz09


18 de maig a les 12h del matí

L’objectiu d’aquesta xerrada és compartir algunes reflexions clau al voltant del paper del disseny com a constructor de mons, possibles o impossibles, probables o improbables, en connexió amb l’esdeveniment que tindrà lloc aquest any 2022, a Barcelona i 11 ciutats més, l’ISEA2022 Barcelona, la 27a edició de l’International Symposium of Electronic Arts. Un esdeveniment internacional de referència en les interseccions entre art, disseny, ciència, tecnologia i societat, en el que hi participaran institucions, creadors i comunitats relacionades amb aquest fertil àmbit transversal, convocades a explorar plegades el concepte dels “Possibles”.

El Possible configura la nostra realitat, i precisament per això és un problema polític en si mateix. De “tot és possible” a “ser realistes i demanar l’impossible”, d’un “infinit de mons possibles” a “això no és possible i no es pot fer”. Com dibuixar els nous possibles que vindran, i no només confirmar els que hi ha a l’espera de ser confirmats, experimentats i pensats, com a possibles que es poden fer realitat des de la nostra visió del món? Com passar de l’impossible, la faula o la utopia per mossegar directament a la nostra realitat?

Enllaç al Zoom: https://us06web.zoom.us/j/85829159476?pwd=bko2QTBQb0l1c0h5VWJKRFgvSE9Pdz09

PLANTA (Fundació Sorigué) –  ‘CALL OUT’,  Abel Korinsky & Orhan Kavrakogl

PLANTA is a place for talent and creativity in a business environment. It combines contemporary art, architecture, knowledge and landscape and it is the intersection between the Sorigué group and Fundació Sorigué.

On June 11 and 12, PLANTA will host the installation ‘CALL OUT’,  by Abel Korinsky & Orhan Kavrakogl, recently awarded with one of the ISEA2022 Barcelona’s grants from Fundació Sorigué.

The installation is about satellites which spread around the world and build a huge network/ swarm in our orbit to connect the world virtually. SpaceX, founded by Elon Musk, wants to place more than 12,000 satellites in our orbit by 2027. Since 1967, a decade after the first satellite “Sputnik” was launched, the Outer Space Treaty has provided the basic framework for international space law. However, countries have increasingly been allowing commercial endeavors under their own regulations and a “war” on claiming space as private property has already begun. Space around Earth is not under any nation’s flag and it’s basically on a first-come-first-served basis that an individual with an astronomical source of income can obtain control over.

Satellites govern a large part of our daily lives but we are not well aware of this fact, even though literal thousands of them are floating right above our heads. Satellites enable us to achieve a lot in our time of highly-advanced technology but there are still many unanswered questions about them. Responsibility, debris, ownership, data collection and control of communication are only a few of the major topics which need to be discussed.

This site-specific, data-driven, immersive installation creates a field of light using LED tubes and surrounds the audience with a real-time, yet ever-changing 3D presence of light. The light reminds the audience of the existence of satellites above their heads that are invisible to the naked eye but are slowly and surely taking up space and littering our global common. The installation sheds light on the subject and brings up the questions that need to be answered—for our generation and for the generations to come.

While showing the real-time movements and the appearance/disappearance of satellites, the work generates abstract light patterns derived from the satellites themselves. The intense sound spatialization is synced with the visuals to enhance the audience’s experience. The transient nature and the physical beauty of the light patterns works with the three-dimensional sound to transport the audience to outer space, and the boundaries between reality and illusion are blurred.

“Call Out” is an activity that requires prior reservation, tickets available here

The visit will include a complete tour of PLANTA (with audio-guided tour) and the temporary installation “Call Out”.


PLANTA és un lloc per al talent i la creativitat en un entorn empresarial. Combina art contemporani, arquitectura, coneixement i paisatge i és la intersecció entre el grup Sorigué i la Fundació Sorigué.

L’11 i 12 de juny PLANTA acollirà la instal·lació ‘CALL OUT’, d’Abel Korinsky & Orhan Kavrakogl, recentment guardonada amb la beca ISEA2022 Barcelona concedida per la Fundació Sorigué.

La instal·lació tracta sobre satèl·lits que s’estenen per tot el món i construeixen una gran xarxa/eixam a la nostra òrbita per connectar el món virtualment. SpaceX, fundada per Elon Musk, vol col·locar més de 12.000 satèl·lits a la nostra òrbita l’any 2027. Des de 1967, una dècada després del llançament del primer satèl·lit “Sputnik”, el Tractat de l’Espai Exterior ha proporcionat el marc bàsic per al dret espacial internacional. Tanmateix, els països han anat permetent cada cop més esforços comercials sota les seves pròpies regulacions i ja ha començat una “guerra” per reclamar l’espai com a propietat privada. L’espai al voltant de la Terra no està sota la bandera de cap nació i, bàsicament, un individu amb una font d’ingressos astronòmica pot obtenir el control per ordre d’arribada.

Els satèl·lits governen una gran part de la nostra vida diària, però no som ben conscients d’aquest fet, tot i que milers d’ells estan surant just per sobre dels nostres caps. Els satèl·lits ens permeten aconseguir molt en el nostre temps de tecnologia altament avançada, però encara hi ha moltes preguntes sense resposta sobre ells. La responsabilitat, les deixalles, la propietat, la recollida de dades i el control de la comunicació són només alguns dels principals temes que cal tractar.

Aquesta instal·lació immersiva específica del lloc, basada en dades crea un camp de llum mitjançant tubs LED i envolta l’audiència amb una presència de llum 3D en temps real, però sempre canviant. La llum recorda a l’audiència l’existència de satèl·lits per sobre dels seus caps que són invisibles a simple vista però que, a poc a poc i amb seguretat, estan ocupant espai i embrutant el nostre comú global. La instal·lació il·lumina el tema i planteja les preguntes que cal respondre, per a la nostra generació i per a les generacions futures.

Mentre mostra els moviments en temps real i l’aparició/desaparició dels satèl·lits, l’obra genera patrons de llum abstractes derivats dels mateixos satèl·lits. La intensa espacialització del so es sincronitza amb les imatges per millorar l’experiència de l’audiència. La naturalesa transitòria i la bellesa física dels patrons de llum treballa amb el so tridimensional per transportar l’audiència a l’espai exterior, i els límits entre la realitat i la il·lusió es desdibuixen.

“Call Out” és una activitat que requereix reserva prèvia, entrades disponibles aquí

La visita inclourà el recorregut complert al PLANTA (amb visita audioguiada) i a la instal·lació temporal “Call Out”.

This project has been awarded with the ISEA2022 Barcelona Grant by Fundació Sorigué

Performance /  “Zone #1, installation/performance for a percussion player, electronics and video” – Collaboration as Creation

Performance / “Marzelline’s Confessions” by Jocelyn Ho, performed by Margaret Schedel on Embedded Iron

ESPRONCEDA – DIGITAL AWARENESS. From education to social impact and human identity

Today’s society moves between the physical and the digital, both territories are part of the same reality, so it is necessary to become aware of that flow through education, the social awareness of all our actions with respect to humans and our terrestrial ecosystem. The exploration of new worlds, metaverses, digital, is a great challenge to the conscious use of advanced technologies and at the same time it is important to maintain cultural heritage, material and immaterial, linked to artistic creation and communities

From June 10 to 18, 2022, within the extended program proposed by ISEA2022 Barcelona and New European Bauhaus Festival (side events): ESPRONCEDA – Institute of Art & Culture – organizes a major exhibition and workshops in collaboration with national and international artists/entities, curated by Alejandro Martín and available also online in Espronceda virtual: https://hubs.mozilla.com/LF3tHg9/espronceda-virtual-neb-festival-2022-isea

Projects:

Schedule:

June 10th5 pm – Press preview / 7 pm – Opening of the exhibition and guided tour. From 7 pm to 9 pm with the presence of artists and partners.
June 11th: From 12 pm to 3 pm – Workshop by Aalto University on: Cultural heritage as a source of knowledge in art and design education.
June 13th: From 4 pm to 6 pm – Games workshop for sustainable goals by Leonardo ISAST / From 7 pm to 9 pm – Guided tour for ISEA2022 Barcelona experts and visitors.


La societat actual es mou entre allò físic i allò digital, ambdós territoris formen part d’una mateixa realitat, per això cal prendre consciència d’aquest flux a través de l’educació, la consciència social de totes les nostres accions respecte als humans i al nostre ecosistema terrestre. L’exploració de nous mons, metaversos, digitals, és un gran repte per a l’ús conscient de les tecnologies avançades i alhora és important mantenir el patrimoni cultural, material i immaterial, vinculat a la creació artística i a les comunitats.

Del 10 al 18 de juny de 2022, dins del programa ampliat proposat per ISEA2022 Barcelona i New European Bauhaus Festival (actes paralels): ESPRONCEDA – Institute of Art & Culture – organitza una gran exposició i tallers en col·laboració amb artistes/entitats nacionals i internacionals, comissariada per Alejandro Martín i disponible també en línia a Espronceda virtual: https://hubs.mozilla.com/LF3tHg9/espronceda-virtual-neb- festival-2022-isea

Projectes que s’hi podran veure:

Horaris:

10 de juny: 17h – Previsualització de premsa/ 19h – Inauguració de l’exposició i visita guiada. A partir de les 19h a les 21h, amb la presència d’artistes i socis.
11 de juny:  De 12h a 15h – Taller de la Universitat Aalto sobre: El patrimoni cultural com a font de coneixement en l’educació artística i del disseny.
13 de juny: De 16h a 18h – Taller de jocs per a objectius sostenibles a càrrec de Leonardo ISAST.
De 19h a 21h – Visita guiada per a experts i visitants d’ISEA2022 Barcelona.

Xarxa de Biblioteques Municipals – Altres Veus

Altres Veus is a series of lectures in libraries and live interviews, via the @bibliotequesXBM Instagram channel, to discuss current issues with experts. This year the cycle will be divided into three thematic areas: “Ukraine Special” coordinated by Manel Alías, “Artificial Intelligence and 5G” coordinated by Albert Cuesta and “Persecuted Culture” coordinated by Laura Huerga.

This cycle aims to promote debate, to encourage a critical spirit around current issues. If you want to stay up to date on these topics, check out our proposal and choose the one that works best for you: face-to-face lectures at the library or live interviews on our Instagram.

See this link for more information on on-site activities.


Altres Veus és un cicle de conferències a les biblioteques i entrevistes en directe, pel canal Instagram de @bibliotequesXBM, per tractar temes d’actualitat amb experts. Aquest any el cicle es dividirà en tres àmbits temàtics: “Especial Ucraïna” coordinat per Manel Alías, “Intel·ligència artificial i 5G” coordinat per Albert Cuesta i “Cultura perseguida” coordinat per Laura Huerga.

Aquest cicle vol promoure el debat, fomentar l’esperit crític a l’entorn de temes d’actualitat. Si vols estar al dia sobre aquests temes consulta la nostra proposta i escull la que més s’adapti a tu: conferències presencials a la biblioteca o les entrevistes en directe al nostre Instagram.

 Consulta aquest enllaç per a més informació sobre les activitats presencials.

Institutional presentation / Oneirocracy, Pandemic and Cyborg Dreams

Institutional presentation / Leonardo activates creativity to push the boundaries of today and unleash the possibilities of tomorrow

Institutional presentation / Montreal Digital Spring, Our Future

Institutional presentation / ACM SIGGRAPH History Online Archives: broadening our vision

Institutional presentation / ISEA Symposium Archives: Progress and Teamwork

Panel / Possibilities of the Virtual in Digital Space; Rethinking Bodies, Cognition, and Values in Metaverse

Panel / Art and technology at school. Resources for a critical integration of new media art practices in the school context

Panel / The Creation of the Medialab Madrid Archive: Preserving the Memory of Transdiciplinary Media Art Practices

Panel / Art Intelligence

Panel / Art and possible relations in nature

Panel / Flows of Connection (Online)

Artist talk / Intelligent Habitat

Invited talk – “Global Archiving Network: A Case Study at the Second Summit on New Media Art Archiving at ISEA2022”

Invited talk – ACM SIGGRAPH History Archives: Expanding the Vision through Teamwork

Invited talk – FILE Archive

Invited talk – Ars Electronica Archive

Invited talk – ISEA Symposium Archives: Progressing from the Past to the Future

Invited talk – Revealing Higher Impact of Media Art Archiving

Invited talk – Establishing the Computer Arts Society Archive

Artwork / AquA(l)formings – Interweaving the Subaqueous

Artwork / ゴジラ/ɡɒdˈzɪlə/

Artwork / Vibrant Landscapes

Xarxa de Biblioteques Municipals – Exposició 100 anys de ciència-ficció

Traveling exhibition, consult this link for further information about the locations

Author: Black and White Platform

One hundred years ago, the science fiction genre as we know it today was born, and this exhibition shows, with a lot of graphic support, the history of the genre in literature, cinema and television, from its first precedents until today. day.

Each of the 13 panels that make it up includes a QR code with which attendees can use their mobile phone to access additional information and content, as well as a lot of bibliographic information.

We also include a flash drive with some videos that serve as audio commentary of the exhibition for people with hearing impairments, and at the same time show additional images and information.


Exposició itinerant, consulta aquest enllaç per a més informació sobre les ubicacions.

Autor: Plataforma Blanc i Negre

Fa cent anys va néixer el gènere de ciència-ficció tal i com el coneixem avui dia, i en aquesta exposició es mostra, amb molt de suport gràfic, la història del gènere en literatura, cinema i televisió, des dels seus primers precedents fins avui dia. 

Cadascun 13 dels plafons que la componen inclou un codi QR amb el que els assistents poden fer servir el seu mòbil per accedir a informació i contingut addicional, així com molta informació bibliogràfica 

Incloem també un pendrive amb alguns vídeos que serveixen d’audiocomentari de l’exposició per a persones amb discapacitat auditiva, i alhora mostren imatges i informació addicional.

Xarxa de Biblioteques Municipals – Exposició l’ètica de les màquines

Traveling exhibition, consult this link for further information about the locations

Original idea, contents and coordination: Cosicosa Association

Machine Ethics is a traveling and participatory pop-up exhibition aimed at exploring the complexities and ethical and social challenges associated with the impact of the use, design and development of intelligent systems in everyday life.

The exhibition is divided into three main blocks: 1- Smart technologies, 2- Areas where smart technologies are very present (care and body, leisure and home, professional field and education) , 3- The use and design of smart technologies pose ethical and social challenges.


Exposició itinerant, consulta aquest enllaç per a més informació sobre les ubicacions.

Idea original, continguts i coordinació: Associació Cosicosa

L’ètica de les màquines és una exposició pop-up itinerant i participativa orientada a explorar les complexitats i els desafiaments ètics i socials vinculats a l’impacte de l’ús, disseny i desenvolupament de sistemes intel·ligents en la vida quotidiana.

L’exposició s’articula en tres grans blocs: 1- Tecnologies intel·ligents, 2- Àmbits on les tecnologies intel·ligents estan molt presents (les cures i el cos, oci i llar, l’àmbit professional i l’educació), 3- L’ús i el disseny de tecnologies intel·ligents comporten reptes ètics i socials.

Invited talk – Introducing Arc-hive

ESDi School of Design – Medusa Alga Laguna (Online)

Postponed to May 12 / Posposat al 12 de maig

Artist Tue Greenfort talks about his participation at the Venice Biennale 2022. Moderated by Christian Alonso (ESDi School of Design-University Ramon Llull). 

Tue Greenfort’s interdisciplinary practice deals with issues such as public space, nature and culture. Interweaving these subjects with the language of art and research the artist formulates a critique of current economical and scientific production modes. Fascinated by the dynamics in the natural world, Greenfort’s work often revolves around ecological thinking and its history, including the environment, social relations, and human subjectivity. 

Tue Greenfort lives and works in Denmark and Berlin. He is represented by König Galerie. Selection of group and solo shows: SculptureCenter (2013), dOCUMENTA(13), Berlinische Galerie (2012), South London Gallery (2011), Kunstverein Braunschweig (2008) and Secession, Vienna (2007). Publications: „Linear Deflection“, published by Walther König in 2009 and „Photosynthesis“, published by Sternberg Press in 2006.


L’artista Tue Greenfort parla de la seva participació a la Biennal de Venècia 2022. Moderat per Christian Alonso (ESDi School of Design-Universitat Ramon Llull).

La pràctica interdisciplinària de Tue Greenfort tracta temes com l’espai públic, la natura i la cultura. Entrellaçant aquests temes amb el llenguatge de l’art i la recerca, l’artista formula una crítica als modes de producció econòmics i científics actuals. Fascinat per la dinàmica del món natural, el treball de Greenfort sovint gira al voltant del pensament ecològic i la seva història, incloent el medi ambient, les relacions socials i la subjectivitat humana.

Tue Greenfort viu i treballa a Dinamarca i Berlín. Està representat per König Galerie. Selecció d’exposicions col·lectives i individuals: SculptureCenter (2013), dOCUMENTA(13), Berlinische Galerie (2012), South London Gallery (2011), Kunstverein Braunschweig (2008) i Secession, Viena (2007). Publicacions: “Linear Deflection”, publicat per Walther König el 2009 i “Photosynthesis”, publicat per Sternberg Press el 2006.

Artwork / Quadra Minerale – Rare Earths

On the basis of the war, deeply linked to mineral colonization, Rare Earth Elements, has sought to expand the geopolitical reading on the subject and the problems derived from it technology, economy and society – from a publication, an installation of the creative process, a pictorial polyptych and various works in drawing, printmaking, video and photography.

• In 2010, the press began to talk about the so-called “war of the rare earths”.
• Rare Earths and lanthanides, have been extracted from the end of the 19th century.
• They belong to a large group of the periodic table of elements, which celebrates 150 years of history in 2019.
• In the 1960’s, they started being used for high technology China, United States, India and Brazil, are major producers of rare earths.
• China is now a key country in the production of the Rare Earths and its tight control has generated profound disagreements and conflicts – affection and disaffection – worldwide.

The development of the proposal concludes in the Vademécum: Quadra Minerale. Rare earths, other minerals and mining concepts. An approach to the elements and their technological uses in contemporaneity.

ESDi School of Design – Onformative studio: searching for new ways of creative expression of art, design and technology (Online)

Cedric Kiefer will talk about the projects developed at onformative studio. Moderated by Christian Alonso (ESDi School of Design-University Ramon Llull). 

Guided by an emotional approach, Berlin based studio onformative constantly searches for new forms of creative expression. Through an experimental practice they create meaningful digital artworks to challenge the boundaries between art, design and technology. Their outcomes and interpretations take on varying forms across media through self-initiated and commissioned works that range from interactive media installations, generative design and dynamic visuals to data-driven narratives. 

As the co-founder and creative lead at onformative, Cedric develops and directs projects to define the creative vision of the studio. Cedric’s fascination with science, technology and art fuels the development of new projects at onformative. Parallel to his work at the studio, he regularly teaches and talks about digital art and design at international universities, conferences and festivals.


Cedric Kiefer parlarà dels projectes desenvolupats a onformative studio. Moderat per Christian Alonso (ESDi Escola Superior de Disseny-Universitat Ramon Llull).

Guiat per un enfocament emocional, l’estudi onformative de Berlín busca constantment noves formes d’expressió creativa. Mitjançant una pràctica experimental creen obres d’art digitals significatives per desafiar els límits entre art, disseny i tecnologia. Els seus resultats i interpretacions prenen formes diferents a través dels mitjans de comunicació mitjançant treballs autoiniciats i per encàrrec que van des d’instal·lacions de mitjans interactius, disseny generatiu i visuals dinàmics fins a narracions basades en dades.

Com a cofundador i responsable creatiu d’onformative, Cedric desenvolupa i dirigeix projectes per definir la visió creativa de l’estudi. La fascinació de Cedric per la ciència, la tecnologia i l’art alimenta el desenvolupament de nous projectes a l’onformative. Paral·lelament al seu treball a l’estudi, ensenya i parla regularment sobre art digital i disseny a universitats, congressos i festivals internacionals.

Museu de Ciències Naturals de Barcelona – EN RESIDÈNCIA

Image: Pere Vivas

This activity is part of the process of creating Martí Madaula EN RESIDÈNCIA at the Institut Vapor del Fil, where a group of 1st year ESO students from the Institut Vapor del Fil (Sant Andreu) and their teachers take part. The creation process of Martí Madaula at the Vapor del Fil Institute is one of the 26 creation processes that are being developed in the context of the 13th edition of EN RESIDÀNCIA (September 2021-June 2022).

People, technology and objects related to space expeditions – and to the moon in particular – are one of the mainstays of the explorations and research carried out by Martí Madaula and the young people involved in this creative process. A process still alive, which can be followed on the blog documenting the day-to-day running of this residence.

The Terrat Viu of Museu de Ciències de Barcelona will be the point from which the young participants in this project will be able to make an observation in interaction with Kike Herrero, the researcher of the Institute of Space Studies (IEEC), who will travel expressly in Barcelona from the Parc Astronòmic del Montsec (PAM). Initially scheduled for March, this observation had to be suspended due to adverse weather conditions. Although the creation process of Martí Madaula and the group of young people is already at a much more advanced stage, the nocturnal observation of the moon is expected to provide nutrients to a creation process that will be presented publicly at the end of May. . It will be in La Capella, in the context of “Per Capítols”, the exhibition that from May 24 to July 3 will host the works and the creation processes of six of the creation processes of the current edition of EN RESIDÈNCIA.

EN RESIDÈNCIA at the institutes of Barcelona is a program promoted jointly by the Institut de Cultura de Barcelona and the Consorci d’Educació de Barcelona. The association A Bao A Qu took part in conceiving the program, an entity that is also in charge of curating and coordinating the process of creating Martí Madaula at the Vapor del Fil Institute.

EN RESIDÈNCIA offers a shared workspace between artists, students and teachers of public secondary schools. Throughout the course, and within the school hours, creators of very different disciplines and generations develop a process of artistic creation together with a group of young people, from ideation to public presentation.


Aquesta activitat forma part del procés de creació de Martí Madaula EN RESiDÈNCiA a l’Institut Vapor del Fil, on participen un grup d’alumnes de 1r d’ESO de l’Institut Vapor del Fil (Sant Andreu) i les seves docents. El procés de creació de Martí Madaula a l’Institut Vapor del Fil és un dels 26 processos de creació que s’estan desenvolupant en el context de la 13a edició d’EN RESiDÈNCiA (setembre 2021-juny 2022).

Les persones, la tecnologia i els objectes vinculats amb les expedicions a l’espai -i a la lluna en particular- són un dels eixos articuladors de les exploracions i investigacions realitzades per Martí Madaula i els joves que participen en aquest procés de creació. Un procés encara viu, que es pot seguir al blog  que documenta el dia a dia d’aquesta residència. 

El Terrat Viu del Museu de Ciències de Barcelona serà el punt des del qual els joves participants en aquest projecte podran fer una observació en interacció amb Kike Herrero, l’investigador de l’Institut d’Estudis Espacials (IEEC), que es desplaçarà expressament a Barcelona des del Parc Astronòmic del Montsec (PAM). Inicialment prevista pel mes de març, aquesta observació es va haver de suspendre per causa de la climatologia adversa. Tot i que el procés de creació de Martí Madaula i el grup de joves ja està en una fase molt més avançada, s’espera que l’observació nocturna de la lluna aporti nutrients a un procés de creació que es presentarà públicament a finals de maig. Serà a La Capella, en el context de “Per Capítols”, l’exposició que del 24 de maig al 3 de juliol acollirà les obres i els processos de creació de sis dels processos de creació de l’actual edició d’EN RESiDÈNCiA. 

EN RESiDÈNCiA als instituts de Barcelona és un programa promogut conjuntament per l’Institut de Cultura de Barcelona i el Consorci d’Educació de Barcelona. En la ideació del programa hi va participar l’associació A Bao A Qu, entitat que també s’ocupa del  comissariat i la coordinació del procés de creació de Martí Madaula a l’Institut Vapor del Fil.

EN RESiDÈNCiA proposa un espai de treball compartit entre artistes, alumnes i docents de centres públics d’educació secundària. Al llarg de tot un curs, i dins de l’horari lectiu, creadors i creadores de disciplines i generacions molt diverses desenvolupen un procés de creació artística juntament amb un grup de joves, des de la ideació fins a la presentació pública.

Workshop / Re-orienting bodies: Unfolding Sensorial Unknowns

Inscriptions open: https://kenes.eventsair.com/isea2022/workshop3

Workshop / Radio Play: Live Participatory Worldbuilding with GPT-3

Inscriptions open: https://kenes.eventsair.com/isea2022/workshop1

Institutional presentation / European Media Art Plattform Expanded

Institutional presentation / TEKS – Trondheim Electronic Arts Centre

Institutional presentation / C-CATS – centre for creative arts and technologies at the university of Surrey

Institutional presentation / Manifestations – art, tech & fun festival

Institutional presentations / Künstlerische Tatsachen (Artistic Facts)

Institutional presentation / Funding at the intersection of art, science and technology

Institutional presentation / Introducing the ACM SIGGRAPH Digital Arts Community

Institutional presentation / Kulturtanken – Arts for Young Audiences Norway

Institutional presentation / The Mixed and Augmented Reality Art Organisation: An Overview of Ten Years Since Our Launch at ISEA 2013

Institutional presentation / TeleAgriculture: A Crowd/Cloud Data Network for Creative Cultivation and Engagement in Agricultural Practices Through Art

Institutional presentation / A Path To Constructing A Diverse Future in Digital Media Arts

Institutional presentation / EUR ArTeC in digital art and hydrological ecosystems

Institutional presentation / The ARTENSO_LAB: an incubator of digital cultural mediations

Institutional presentation / Crossing over from digital practices to media arts and into social innovation: School of Arts, University of Nova Gorica (SI)

Institutional presentation / FILE FESTIVAL – Archive implementation

Institutional presentation / 27 years of artistic exploration – merging pixel, particles and people – MAD emergent art center