Artist talk / INTER/her: INTER/her: An immersive journey inside the female body
- Abstract: An immersive installation and Virtual Reality artwork focussed on post-reproductive diseases and pain over 40’s women experience: endometriosis, fibroids, polyps, Ovarian and other cysts, cervical, ovarian, uterine and endometrial cancers. The sensory and emotional experience moving from the outside in within a real dome space into VR space, with a 3D audio soundscape of the voices and stories of real women recounting their experiences, making it an intimate, emotional and possibly haunting experience, with accompanying wearable haptic garment providing a visceral vibration responsive experience on the lower abdomen, where the various diseases occur.
Artist talk / Autolume: Automating Live Music Visualization
- Abstract: Deep Learning is becoming increasingly more accessible for artists, leading to generative and discriminative models being used for artistic expression. We distilled approaches found in research and installations relating to GANs into a live VJing program. We propose an interactive tool for visualizing music using live audio feature extraction and a MIDI controller to allow artists to accompany live performances. Following previous approaches for offline audio-reactive visuals using GANs, we map the amplitude, onset strength and notes in the music to influence the images generated. Furthermore, we use findings in interpretable GANs and techniques in Network Bending to incorporate a MIDI controller that is common for VJs. This allows the artist to adjust the visuals with a known interface.
- Biography: Philippe Pasquier is a professor at Simon Fraser University’s School for Interactive Arts and Technology, where he directs the Metacreation Lab for Creative AI. Philippe leads a research-creation program around generative systems for creative tasks. As such, he is a scientist specialized in artificial intelligence, a multidisciplinary media artist, an educator, and a community builder. His contributions range from theoretical research in and creative AI, multi-agent systems, computational creativity, machine learning, affective computing, evaluation methodologies, to applied artistic research and practice in digital art, computer music, as well as interactive and generative art.
Jonas Kraasch is a graduate student at Simon Fraser University’s School for Interactive Arts and Technology, where he is part of the Metacreation Lab for Creative AI. With his prior studies in Cognitive Science with a focus on Deep Learning his goal is to combine both his passions for AI and creative expression by creating both creative systems and tools to assist artists in their work. In his research he focuses on deep learning, machine learning, creative AI, data ethics and generative models
Artist talk / Umbra
- Abstract: Jess Holz creates ‘microsculptures’ incorporating insect and plant material, imaged by scanning electron microscopy. By collaging materials into small sculptures she creates imagined interactions between entities present. In her work she experiments with bizarre distortions due to charge buildup (an imaging artifact) as a way to challenge the assumed objectivity of scientific images.
- Biography: Jess Holz (b. 1985) creates artworks which give the viewer a peek into invisible worlds, as well as a chance to reflect on the influence of scientific visual culture on our collective imagination. She has recently received an MFA in Art+Technology at the University of Wisconsin-Milwaukee; previously she has worked in several labs and imaging facilities, gaining valuable technical experience with a number of microscopic imaging techniques. She currently works as a microscopy research associate at a Boston University lab which investigates the neural circuitry underlying thought and emotion. A true artist/scientist at heart, she has been using the scanning electron microscope for artistic purposes for the past 16 years. The discrepancy between what can be perceived by eye and what is imaged by the microscope has fostered her fascination with perceptual systems along with the optical properties of materials. Jess actively exploits this in photography and installation.
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.
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“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.
Invited talk – Interconnecting Archives: Paving a Path Forward
- Abstract: The concept of connecting information from various repositories of information has been around for quite a while, yet most online new media art archives exist independently without direct connections to each other. Programmers working on the ISEA, SIGGRAPH and FILE online archives have been collaboratively developing a system to link information about the people and art events documented in their respective archives to each other. This initiative will extend to include the Archive of Digital Art and Ars Electronica archives, as well as other archives, once the prototype is completed. This panel will discuss the challenging process of developing interfaces, building APIs, and working with wikidata as well as the process of analyzing, sanitizing, authenticating and modifying databases containing information about people and new media art events.
- Biography:
Bonnie Mitchell is a digital artist, animator, and archivist, as well as a professor at Bowling Green State University in Digital Arts, Ohio, USA. Mitchell is the co-director of the SIGGRAPH History and ISEA Symposium online Archives and also is a member of the organizing team of the Summit on New Media Art Archiving (first held in 2021 online and again in 2022 in Barcelona). She is also a member of the ISEA International Advisory Committee, the ACM SIGGRAPH History, and the Digital Arts Committees. In 2023, Mitchell is in charge of the celebration of the 50th SIGGRAPH conference in Los Angeles.
Alexa Mahajan is a senior at Bowling Green State University, majoring in digital arts and minoring in computer science and math. She is interning at Pixar Animation Studios in the Pixar Undergraduate Program for technical direction, summer of 2022. Mahajan also works as a programmer for the SIGGRAPH History Archives, focusing on user interface development and content organization. She aspires to work as a technical director and get to combine her passion for animation and programming to develop tools that help others create with excellence.
Luis Wilson obtained a bachelor’s degree in Computer Science from the Monterrey Institute of Technology and Higher Education in Mexico in 2021. Currently he is a software engineer at Microsoft working in web development, his main area of interest. Since 2020, he has been a volunteer programmer for the SIGGRAPH History Archive, helping the site grow and reach its potential. He is also involved in the archive’s mission of creating interconnected data between new media art archives by creating tools that aid in establishing the relationship of data coming from different sources.
Oliver Grau (DE) is first Chair Professor for Image Science in the German-speaking countries at the Danube University since 2005 and has held more than 350 lectures and keynotes. Grau’s “Virtual Art,” (2003) is the most quoted art history monograph since 2000. He conceived scientific tools for digital humanities like the Archive for Digital Art (ADA, since 1999) and developed international MA programs like Image Science and the joint master in MediaArtsCultures. Grau was founding director of the MediaArtHistories Conferences. He has received several awards for books including Mediale Emotionen (2005), Imagery in the 21st Century (2011), recently: Digital Art through the Looking Glass (2020). 2014 he received a doctor h.c., 2015 he was elected into the Academia Europaea.
Round table / Ethics and New Media Archiving
- Abstract: In recent decades, new media art archives have multiplied and diversified across digital networks and online platforms, contributing to the creation of instant and unruly archives that often emerge in unforeseen and involuntarily ways. Concomitantly, our relationships with archival documents, new media, art institutions, and the historical, social, and political realities they pertain to have changed. Based on case studies discussed in previous panels, this roundtable addresses participants, first and foremost, as viewers themselves to think about how visual and archival literacy can be disseminated in order to respond to this unprecedented proliferation of new media art archives in more critical and engaged ways. Beyond questions of authorship, ownership, copyright, and consent, we will address issues around responsibility, authority, dignity, colonialism, and care to draw out the differences between performing and practicing ethics in and of new media art archives. Encouraging self-critical and self-reflexive perspectives, this roundtable invites users, artists, curators, and scholars to confront the complex and often ambiguous ethics vis-à-vis the subjects of new media art archives and to recognise our agency as well as complicity in ethical transgressions as equally responsible viewers and listeners.
- Biography:
Lisa Deml is a Midlands4Cities funded doctoral researcher at Birmingham City University. She holds degrees in Art History and Philosophy from the Courtauld Institute of Art, London, and the Ludwig-Maximilians-University, Munich. Initially trained as a journalist, she subsequently worked for public cultural institutions and non-profit organisations internationally, including Haus der Kulturen der Welt (HKW), Berlin, Haus der Kunst, Munich, and Ashkal Alwan, Beirut. Her research interests focus on visual articulations of citizenship, particularly in the framework of documentary and new media practices in the Middle East and North Africa.
Nathalia Lavigne is an art writer and curator, a Ph.D. Candidate at Architecture and Urbanism College, University of São Paulo (FAUUSP), and a former visiting scholar at The New School. She is a contributor to Artforum International, Contemporary And (C&), Folha de São Paulo, among others; and has an MA in Cultural and Critical Studies from Birkbeck, University of London. Among the exhibitions she curated are Against, Again: Art Under Attack in Brazil (2020) at Anya and Andrew Shiva Gallery, New York; and Disappearance Tactics (2021) at Paço das Artes, São Paulo. She is currently a visiting researcher at Humboldt-Universität zu Berlin, and has been awarded a DAAD scholarship in 2021.
Round table / Towards a Global Distributed Network of New Media Art Archives
- Abstract: Online new media art archives exist throughout the world and contain a rich history of the research, events, artifacts, and people that helped to define the field of new media art. The purpose of this round table discussion is to brainstorm the idea of developing a world-wide network of online new media art archives. This distributed connection among archives would enable easy access to related information and benefits both users and archive administrators. This effort raises many questions and presents unique challenges but through the input of the new media art archiving community, solutions and a path forward will be forged.
- Biography:
Bonnie Mitchell is a digital artist, animator, archivist as well as a professor at Bowling Green State University in Digital Arts, Ohio, USA. Mitchell’s artworks explore spatial and experiential relationships to our physical, social, cultural and psychological environment through interaction and physical immersion. Her creative work includes interactive installation art, environmental data visualization art, experimental visual music animation, net-art, and new media art archive development. Mitchell is the co-director of the SIGGRAPH History and ISEA Symposium online Archives and also a member of the organizing team of the Summit on New Media Art Archiving (first held in 2021 online and again in 2022 in Barcelona). She is also a member of the ISEA International Advisory Committee, the ACM SIGGRAPH History and Digital Arts Committees and is the SIGGRAPH 2023 History Chair in charge of the 50th conference celebration.
Oliver Grau (DE) is first Chair Professor for Image Science in the German-speaking countries at the Danube University since 2005 and has held more than 350 lectures and keynotes. Grau’s “Virtual Art,” (2003) is the most quoted art history monograph since 2000. He conceived scientific tools for digital humanities like the Archive for Digital Art (ADA, since 1999) and developed international MA programs like Image Science and the joint master in MediaArtsCultures. Grau was founding director of the MediaArtHistories Conferences. He has received several awards for books including Mediale Emotionen (2005), Imagery in the 21st Century (2011), recently: Digital Art through the Looking Glass (2020). 2014 he received a doctor h.c., 2015 he was elected into the Academia Europaea.
Invited talk – MACBA Archive
- Abstract: The archive of the Museum of Contemporary Art of Barcelona (MACBA) aims to conserve the museum’s documentary heritage and promote research into contemporary art. The archive preserves documentation of special historical value generated by MACBA and other individuals and organizations related to contemporary art practices. This document collection, built around the discursive lines of MACBA, is shown to the public through exhibitions and activities. The museum has developed the MACBA Digital Repository, an online archive, to preserve and disseminate the digital art and documentary collections.
- Biography:
Marta M. Vega is head of the MACBA archive and library. She holds degrees in Art history and Documentation from the University of Barcelona. Her previous experience in libraries includes the Biblioteca de Catalunya and the Museu Nacional d’Art de Catalunya. She co-authored the e-pub on museum archives Folding the exhibition, MeLa Project, 2014.
Invited talk – Evanescent records
Photo by Tristán Pérez-Martín
- Abstract: “Evanescent records” is a 10 minute talk about an artistic research project on obsolete sound recording devices through the personal archive of musician Victor Nubla. It reflects on artistic research methodologies and embodied approaches to the idea of archive.
- Biography:
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.
Artist talk / Xenological Entanglements Surrounding Transgender Life in Space
- Abstract: Space travel for transgender people will require some way of producing hormones for long-duration space missions. One potential way of doing this is through the genetic engineering of testicular cells so that they produce estrogen rather than testosterone. The Xenological Entanglements. 001: Eromatase project explores some of the elements of this desire. Consisting of open-source hardware, speculative photoperformance, and laboratory research, the project additionally highlights the need for novel methods of hormone production in a world where there still exists extensive gatekeeping regarding access to transgender healthcare.
- Biography: Adriana Knouf, PhD (NL/US) works as an artist, writer, and xenologist. She engages with topics such as wet media, space art, satellites, radio transmission, non-human encounters, drone flight, queer and trans futurities, machine learning, the voice, and papermaking. She is the Founding Facilitator of the tranxxenolab, a nomadic artistic research laboratory that promotes entanglements among entities trans and xeno. Adriana regularly presents her artistic research around the world and beyond, including a work that has flown aboard the International Space Station. Her work has been recognized by a number of awards, including an Award of Distinction at Prix Ars Electronica (2021), an Honorary Mention from the Science Fiction Research Association’s Innovative Research Award, and as a prize winner in The Lake’s Works for Radio #4 (2020).
Artist talk / Art, Science, Nature and Culture: Expressive Science in the Digital Age
- Abstract: For over a decade my work has made visible the normally invisible microscopic life. Plankton, in their endless variety, stir my imagination and impulse to observe, draw, and create. Influenced and by scientists in the Menden-Deuer lab, as well as current events, my commitment to depicting plankton grew in the face of climate change. In addition to producing 50% oxygen we breathe they are at the bottom of the food chain.
As the explorations evolved, lessons of painterly abstraction crept into this work. I imagined the natural ocean environment of plankton filmed in the lab, which led to thinking about gesture drawing. If I could be loose and expressive in drawing humans, why not with plankton?
The bits of the Biblical Manuscripts present in this series are intended as signifiers, not as religious Text, but as reference to human history and general spirituality. In parallel with my investigations of plankton, I was creating imagery incorporating visual structures of Hebrew Manuscripts. The tradition of the manuscripts includes micrography (little writing) turned into decorative patterns and sometimes fanciful beasts. I sensed a convergence, and the moment I put the plankton and patterns of the Hebrew Manuscripts together the convergence instantly emerged. This series uses motifs from the Leningrad Codex, created in Old Cairo in 1008, likely by artists from the Asher scriptorium.
New technology facilitated this work. Scientific researchers working today use digital imaging, recording microscopic life for later study in format accessible to artists. Much of the Leningrad Codex is digitized and online. Inexpensive printing allowed for interim outputs of evolving digital imagery, subject to gestural drawing and redigitizing. Thus I am able to bring Nature and Culture together with the goal of stirring inner thoughts, recalling the continuum of human history while highlighting essential microscopic life.
- Biography: Cynthia Beth Rubin began the transition from painting to digital imaging in the early 1980’s. Her prints, videos, and interactive works have been shown in the Techspressionism exhibition, NY Creative Tech Week, Jewish Museum in Prague, Siberia State Museum in Novosibirsk, the Kyrgyzstan State Museum, on the ICC tower in Hong Kong, the Cotton Club screen in Harlem, and numerous editions of ISEA and SIGGRAPH. Rubin’s awards include multiple Connecticut Artist Fellowships, the New England Foundation on the Arts, among others, and artist residencies in France, Israel, Canada, and Scotland. She is artist-in-residence in the Menden-Deuer lab at the University of Rhode Island, School of Oceanography, thus her practice includes collaborations with scientists studying plankton and their predators. Based in New Haven, Connecticut, her studio practice extends to New York City, Narragansett RI and beyond
Short paper – “The Right to the Image”: Ethics of Representation and Appropriation in New Media Art Archives since the 2011 Arab Uprisings
- Abstract: In 2017, the Syrian video art collective Abounaddara, that earned international acclaim for its documentation of Syrian life amidst conflict, has removed the vast majority of its videos from their Vimeo archive in response to what it regarded as their improper use by the Triennale Milano. Curator Massimiliano Gioni countered that the exhibition only made available material that was already in the public domain and that underscored the Triennale’s commitment to Syrian migration struggles. This case illustrates ethical concerns regarding authorship, authority, consent, and copyright that permeate the representation of digital and openly accessible media archives as part of international art exhibitions—which are exacerbated when they pertain to representations of conflict and violence. Now more than ever are we in relationships of moral, affective, and material intimacy with violence, and this calls for a reconsideration of how our senses are solicited by and implicated in the conduct of conflict. Taking Abounaddara’s video art archive as a point of departure, this paper invites participants to discuss practices of engagement that can respond to the growing demands and responsibilities inherent in new media art archives of conflict and violence.
- Biography: Lisa Deml is a Midlands4Cities funded doctoral researcher at Birmingham City University. She holds degrees in Art History and Philosophy from the Courtauld Institute of Art, London, and the Ludwig-Maximilians-University, Munich. Initially trained as a journalist, she subsequently worked for public cultural institutions and non-profit organisations internationally, including Gropius- Bau, Berlin, Haus der Kunst, Munich, and Ashkal Alwan, Beirut. Prior to her doctoral research, she coordinated the multi-year project Afro-Sonic Mapping as well as assisted in the preparation and implementation of the exhibitions and accompanying publications Love and Ethnology and The Most Dangerous Game at Haus der Kulturen der Welt (HKW), Berlin. Her research interests focus on visual articulations of citizenship and artistic strategies to foster transnational solidarity and resistance, particularly in the framework of documentary and new media practices in the Middle East and North Africa.
Short paper – Newsslider, smart mining of archives
- Abstract: Currently, the potential of (media) archives in journalism is underutilized. Historical data is scarcely used to connect historical developments to current events. With the design research project Newsslider, we explore how emerging technology (artificial intelligence and natural language generation) can empower journalists to connect historical events to contemporary reporting.
- Biography:
Danielle Arets is heading the Journalism and Responsible Innovation lab at Fontys University for Applied Sciences, school of journalism. She is also a researcher at Design Academy Eindhoven. In her research group, journalism researchers, designers, and ICT specialists work hand in hand, investigating technology trends and prototyping future content delivery concepts
Martina Huynh and Jonas Althaus founded studio Cream on Chrome; a socially-engaged experience design studio based in Rotterdam. By designing multimedia experiences and interactive spaces they explore new perspectives in the fields of economy, journalism, ecology and emerging technologies.
IDfuse is the company of Tijmen Altena and Paul Tuinenburg. IDfuse specializes in the design and support of the process that brings academic knowledge to fruition
Short paper – Restoring the Recent Past: Learnings from producing a retrospective of VR content from the UK
- Abstract: The Immersive Arcade was a retrospective of UK-based immersive content, showcased during 2021. The project was not set up to archive the content, but to restore it for new audiences. The production team made several observations about the lifecycle of immersive content and what types of considerations regarding the identity of a piece of content emerge in a restoration process. They are documented in this short paper with the aim to inform work on future retrospectives and similar archiving and restoration projects.
- Biography: Aki Järvinen, PhD, is an immersive researcher and designer with 20 years of experience with interactive media. He works at Digital Catapult in London helping UK companies adopt immersive technologies into their business.
Short paper – VR as a function for archiving media arts, one example
- Abstract: Many media projects done via the Internet have either been forgotten or scattered by the author’s memories, notes in the print media or have simply disappeared as if they did not even exist. Some works are archived in libraries, on the websites of artists, or art associations. Data on them is scarce, however, and few can still be viewed in their original form. Through reinterpreting and media transformation, some of the works performed this way, through VR technology, can be preserved, archived, and made available to a wider audience. Currently, there is no platform for VR archiving of such performed/reinterpreted works; the existing, mostly gaming, platforms can be used for this purpose. This paper aims to show, in one example, what are the possibilities and which benefits can be obtained from such presentation and archiving of works of media art made through the Internet.
- Biography:
Predrag S. Šiđanin, Ph.D. – multimedia artist, founder of //VirtualUnit creative laboratory for virtual reality. Dean and full professor of VR at the Faculty of Digital Production, EDUCONS University, Sremska Kamenica, Serbia.
Luka Z. Tilinger, MA – illustrator and programmer, co-founder of //VirtualUnit creative laboratory for virtual reality. Assistant professor of gaming and Unity at EDUCONS University, Sremska Kamenica, Serbia.
Maja S. Budžarov, MA – ceramic and multimedia artist, co-founder of //VirtualUnit creative laboratory for virtual reality. Associate professor of interactive art at EDUCONS University, Sremska Kamenica, Serbia.
Nina Zvezdin, MArch – architect, multimedia artist and musician, member of //VirtualUnit creative laboratory for virtual reality. Architectural Intern, ATIproject, Pisa, Italy.
Short paper – Experimental archiving. Artpool’s website as a digital archive of underground art in Hungary
- Abstract: The paper intends to present a unique example of digital art archiving, the experimental website of Artpool Art Research Center, an underground art archive founded in 1979 in Budapest, Hungary. The website created by one of the founders, artist György Galántai can be considered both as the extension of the physical space of the archive, and as a web-based multimedia artwork to be archived. Artpool is known as one of the largest art archives of non-official art in the East-Central European region, with a focus on experimental mediums like mail art, artistamp, artist books, visual poetry, sound poetry, installation, or performance. Artpool.hu developed between 1995 and 2020 not only functions as a digital archive of the underground art scene of the region but also serves as an example of the experimental use of the web in the nineties, which was characterized by the positive vibes around the new political conditions in Europe and the prospect of a global network, the Internet. The underground status of Artpool has been challenged by recent years’ institutional transformation, becoming the department of the Museum of Fine Arts Budapest in 2015, also affecting Artpool’s digital archival strategies and online presence.
- Biography: Flóra Barkóczi is an art historian working as an archivist and researcher at Artpool Art Research Center Budapest. She is also a PhD student at the Film, Media and Contemporary Culture PhD program at ELTE Budapest. At Artpool she is responsible for the development and research of materials based on new media and digital technologies since the 1980s. She is interested in new interpretations of Artpool’s presence on the Internet since the mid-nineties, as a continuation of its former networker activities of the 1970s. Her research focus includes new media art, contemporary fine art photography, and internet-based art practices from the 90s on. As a PhD candidate, she is focusing on the development of digital culture and media art in Hungary and as a broader context in the East-Central European region in the nineties and its conditions determined by the establishment of liberal democracies right after the change of the regime.
Short paper – Public Library Consoles – Publishing Collections with the Flick of a Hand
- Abstract: A series of consoles have been developed to investigate the sharing of digital collections in public libraries. The interfaces reduce in complexity throughout the study to facilitate ease of access whilst maintaining playability and engagement. Interaction in the final interface is sufficiently simplified to enable browsing and publishing of the collection with hand movements, using a low-cost infrared sensor.
- Biography: Dr. Dan Norton is an artist researcher and has exhibited in numerous international centers. He is coordinator of the Fine Art degree program at ADEMA University School, UIB.
Dr. Fernando Vilariño is Associate Director at the Computer Vision Center and Associate Professor at the Department of Computer Science UAB in Barcelona, Spain where he gives lectures about Artificial Intelligence, Robotics and Multimedia Systems.
Short paper – Archiving the Symposium Expanded Animation: Challenges, Solutions and International Collaborations
- Abstract: The Expanded Animation Symposium, an annual symposium at Ars Electronica, has addressed computer animation in the context of media art since 2013. Based on the early discussions at the media festival and in conjunction with the Prix Ars Electronica’s category Computer Animation, the symposium tackles animation at the intersection of art, technology, and society. The symposium serves as a hybrid between practice and theory and features talks, panel discussions, workshops, and artist presentations at various venues (i.e., museum, university, festival, cinema). 164 international experts presented and discussed current positions and future trends in the last nine editions. Due to the pandemic, the previous two editions took place online. All these activities have been documented and archived in various forms. This paper discusses challenges and concrete proposals for archiving the Expanded Animation Symposium and collaborating with Ars Electronica’s archive and international partners.
- Biography: Dr. Juergen Hagler is an academic researcher and curator working at the interface of animation, game, and media art. He studied art education, experimental visual design and cul- tural studies at the University for Art and Design Linz, Austria. Currently, he is a Professor for Computer Animation and Media Studies and the head of studies of the degree programme Digital Arts at the University of Applied Sciences Upper Austria, Hagenberg Campus. Since 2014 he is the co- head of the research group Playful Interactive Environments with a focus on the investigation of new and natural forms of interaction and the use of playful mechanisms to encourage specific behavioral patterns. He has been involved in the activities of Ars Electronica since 1997 in a series of different functions. Since 2017 he is the director of the Ars Electronica Animation Festival and initiator and organizer of the Expanded Animation Symposium.
Short paper – Archiving Strategies in the Computational Age: creating a Media + Data Art digital media library based on a curatorial methodology
- Abstract: As an innovative solution to the challenges of documenting, indexing and researching new media art, this proposal proposes the creation of the Video-Policy media library (from now on MeViPol) within the framework of the research group HUM-1062: Policies of the audio-visual image and its technological environment in artistic practice. This project focuses on two lines of research. On the one hand, curatorial strategies for archiving works developed in Media Art and Data Art. On the other hand, we consider that the artistic trends encompassed in these two blocks have characteristics of obsolescence due to the rapid advance of technology, so MeViPol proposes a virtual space in which both the programming code with which these works are developed and the records generated for their development, both technical and conceptual, is collected.
- Biography:
Alonso-Calero, J.M. Lecturer and Researcher in Fine Arts. Doctoral thesis: “The flow of the scene in physical interaction: participation, virtuality and presence”. He has combined his teaching work with the management and organisation of scientific events related to the hybridisation of artistic and creative languages. Her research activity is carried out in the field of interdisciplinary artistic creation. She is studying for a PhD in Audiovisual Communication. Research grant in a Virtual Reality group in the Department of Computer Architecture to later join the professional world of the audiovisual sector. He carries out different artistic projects framed in the relationship between art and new media, highlighting interaction projects, relational art and territory, etc… IP of projects such as “Map of design transfers”, “Bürohack. Bureaucratic Experience by UX”, “SCENUX Prototype: a tool for the registration through gamification of the user’s experience in creation and reception”, “LIMBO Space Social Sound XD”.
Vertedor-Romero, J.A. Artist and interdisciplinary researcher. Currently on a research stay at the University of Granada with a Margarita Salas grant. PhD in Communication in the audiovisual research line at the University of Málaga. Master’s in Interdisciplinary Artistic Production at the Faculty of Fine Arts in Málaga. Research support grant for postgraduate studies at the University of Malaga. Artist-in-Residence Scholarship at the Faculty of Fine Arts in Malaga. Fine Arts at the Faculty of Fine Arts in Malaga.
Robles-Florido, J.C. Lecturer in Sculpture since 2019, with three six-year periods of research CNEAI, active, since 2019, Director of the Department of Art and Architecture of the UMA. My artistic research is concerned with making visible the conditioning factors of the formation of desire to elaborate strategies for approaching the Other in the current moment of mass media globalisation of culture. Through photography, video, sculpture and intervention in public space, I open a reflection where the contemporary multitude inhabiting is the protagonist.
Short paper – Conservation of Multimedia Art: Case Study on Teoman Madra Archive
- Abstract: This paper focuses on the archival process of the multimedia artist Teoman Madra who is an acclaimed artist creating artworks with technological means of multimedia capabilities between the 1960s to early 2000s. Preserving multimedia artworks is a challenging task that requires comprehensive solutions due to the nature of the always-changing technological environment. It is inevitable that there is a paradigm shift from the traditional approach to preserve the artworks as self-contained physical objects to a broader scope of regarding the artwork as an entity with its tangible and intangible dimensions. This manuscript stands as the debut academic dissemination of the intensive archiving process of the Turkish multimedia artist Teoman Madra and it aims to shed light on the missing answers for the following question, “How did the media arts evolve in Turkey between the 1960s and 2000s?” The cataloging process of the linear media (VHS, BETAMAX, miniDV, negatives, diapositive, etc) and the methodologies implemented for descriptive analysis have been discussed in detail.
- Biography:
Selçuk Artut’s artistic research and production focus on theoretical and practical dimensions of human-technology relations. An author of six books and an editor of one, Artut is an Associate Professor at the Visual Arts and Visual Communication Design Program at Sabanci University, Istanbul where he mainly teaches Sound and Interaction Courses.
Begüm Çelik. Multidisciplinary artist Begüm Çelik is pursuing her master’s degree in Visual Arts & Visual Communication Design program under the supervision of Selçuk Artut at Sabancı University where she completed her B.Sc. in Computer Science & Engineering in 2021. Her artistic production is fed from her interdisciplinary journey by combining technology and performance since she is engaged with many theater practices
Panel – Right-Click to Save: Preservation, NFTs, and Distributed Ledgers
- Abstract: Artists have experimented with cryptocurrency incentivized distributed ledgers such as blockchains since the advent of Bitcoin. In parallel, crypto advocates frequently claim that distributed ledger protocols will ensure an accessible and immutable record of anything registered to it, including artwork. This panel examines this idea with nuance, neither buying into the mass deception around NFT marketing tactics nor rejecting the reality that a subset of artists are creating significant, challenging works that inherently utilize these technologies. Preserving the asset may seem to be in the regular wheelhouse of preservation professionals, who have decades of experience developing guidelines for saving software-based art, but ledger-based technologies have their own preservation promises and challenges.
- Biography:
John Bell is a software developer and artist at Dartmouth College. His work there includes acting as Director of the Data Experiences and Visualizations Studio, Associate Director of the Media Ecology Project, Manager of Dartmouth Research Computing’s Digital Humanities Programx, and teaching as a Lecturer in Film and Media Studies. His research focuses on collaborative creativity and has produced everything from utilitarian semantic web publishing platforms to aggressively useless installation art. In addition to his work at Dartmouth, he is Assistant Professor of Digital Curation at the University of Maine, where he teaches the preservation and presentation of digital media, and Senior Researcher for the Still Water Lab. He holds one of what is believed to be the first three collaborative doctoral degrees ever conferred in the United States, the other two of which are held by the co-authors of their collective dissertation on collaboration in the arts.
Regina Harsanyi is passionate about improving and educating others on best practices for the longevity of variable media, from plastics to distributed ledger technologies. A graduate of New York University’s Institute of Fine Arts, Harsanyi has primarily focused on the topic of time-based media art from historical and technical perspectives in both private and public sectors. She has led major time-based media preventive conservation projects for multiple institutions, studios, and collectors, including but not limited to Museum of the Moving Image, bitforms gallery, and TRANSFER gallery. From 2017-2020, Harsanyi also facilitated over 200 exhibitions across 26 locations under Wallplay, many of which highlighted the legitimacy of creative technology. She remains dedicated to creating interdisciplinary bridges between academia, museums, collectors, corporations, and artists to better serve the longevity of complex works of art.
Jon Ippolito is a new media artist, curator, and educator whose work aims to expand the art world beyond its traditional confines. As an artist, Ippolito exhibited work at the Walker Art Center and ZKM/Center for Art and Media Karlsruhe; as a curator, he curated Virtual Reality: An Emerging Medium and, with John G. Hanhardt, The Worlds of Nam June Paik at the Guggenheim; as a Professor of New Media, he founded the University of Maine’s graduate Digital Curation program. In almost 200 presentations, Ippolito has spoken out on copyright maximalism, academic insularity, and technological obsolescence. Along with his books At the Edge of Art and Re-collection: Art, New Media, and Social Memory, he has published chapters in 20 anthologies and articles in periodicals from the Art Journal to the Washington Post.
Panel – Demusealizing the museum: audience’s digital agency and institutional critique 2.0 as possible futures for art institutions
- Abstract: This panel aims to discuss some artistic and research projects that explore new methodologies of working with digital museum archives and User Generated Content (USG) to ‘demusealize’ some established institutional practices. In a moment when the role of museums and their very definition are strictly problematized, how Artificial Intelligence (AI) systems and collaborative hashtags on social media can be used to dismantle museum discourses? In which way these digital tools are able to be explored as a new kind of institutional critique? Could these systems also be used as a way to expand poetic layers of art beyond its marketing and productivist focus? From these raised questions, the researcher and curator Nathalia Lavigne will moderate a discussion with the artists and researchers Dr. Giselle Beiguelman, Dr. Bruno Moreschi and Rafael Pagatini, whose artistic projects are questioning traditional museological narratives and problematizing the colonialist gaze in museum collections using digital tools..
- Biography:
Nathalia Lavigne. Art writer and curator, a Ph.D. Candidate at Architecture and Urbanism College, University of São Paulo (FAUUSP) and a former visiting scholar at The New School. She is a contributor to Artforum International Magazine, Contemporary And (C&), Folha de São Paulo, among others; and has an MA in Cultural and Critical Studies from Birkbeck, University of London. Among the exhibitions she curated are “Against, Again: Art Under Attack in Brazil” (2020), at the Anya and Andrew Shiva Gallery, New York; and Disappearance Tactics (2021), at Paço das Artes, São Paulo. She is currently a visiting researcher at Humboldt-Universität zu Berlin, and have been awarded a DAAD scholarship in 2021.
Bruno Moreschi. Researcher and multidisciplinary artist. Postdoctoral fellow at the Faculty of Architecture and Urbanism at the University of São Paulo (FAUUSP), PhD in Arts at the State University of Campinas (Unicamp), with a Capes scholarship, and exchange at the University of Arts of Helsinki (Kuva Art Academy), Finland, via CIMO Fellowship. Projects recognized by scholarships, exhibitions and institutions such as ZKM, Van Abbemuseum, 33rd Bienal de São Paulo, Rumos Award, Funarte, Capes and Fapesp. He is currently a researcher on the Histories of AI: Genealogy of Power / Mellon Sawyer Seminar (Cambridge University), senior researcher at the Center for Arts, Design and Social Research (CAD+SR) and one of the coordinators of GAIA /C4AI/Inova USP.
Giselle Beiguelman. Artist and Professor at the School of Architecture and Urbanism at the University of Sao Paolo, Brazil. She is also a member of the Laboratory for OTHER Urbanisms (FAUUSP) and co-coordinator of GAIA (Grupo de Arte e Inteligência Artifical – INOVA USP. Her interests include the aesthetics of memory and contemporary nomadism. Among her recent works are the Portuguese-language Hateland, covering online reactions to violence against vulnerable groups in Brazil; a co-authored book about the storage and preservation of digital artworks; and an on-going investigation of the colonialist imagination in 20th century artworks using artificial intelligence. Author of many international award-winning projects, her artworks are part of museums collections worldwide, such as ZKM (Germany) and Pinacoteca de S. Paulo (Brazil).
Rafael Pagatini. Artist, researcher and assistant professor at the Federal University of Espírito Santo, Brazil. Pagatini is currently a PhD candidate in Visual Arts at the State University of Campinas, São Paulo. In 2020, he was a guest researcher at the Hannover University of Applied Sciences and Arts, Germany. He has held individual and collective exhibitions in Brazil and abroad: Shiva Gallery, New York (2020), European Center for Constitutional and Human Rights, Berlin (2019); Leipziger Baumwollspinnerei, Leipzig (2019); Columbia University, New York (2018); 20th Contemporary Art Festival Sesc_Videobrasil, São Paulo (2017); Paço das Artes, São Paulo (2016); Rumos Itaú Cultural, São Paulo (2013).
Panel – Emerging Collaborative Preservation Projects in Asia
- Abstract: It has always been the case that artistic and cultural practices transform with new technologies. As technology constantly evolves, contemporary artistic practices have increasingly engaged with non-traditional media. Museums, galleries, and art institutions are adapting their approaches to the presentation, dissemination and preservation of new media art. While media artworks and exhibitions are ubiquitous nowadays, archiving plays an important role in preserving history and generating knowledge of art. What are the needs and challenges of developing a media art archive? How can art archives encourage interdisciplinary collaboration to facilitate contextualization, preservation and presentation of artworks?
As a media art archive based in Hong Kong since 2008, Videotage Media Art Collection(VMAC) has continued its development with the expansion of its collection of artworks from Hong Kong to China, Taiwan and Macau in recent years. Esteemed curators from nearby regions are invited to collaborate for the acquisition. Local researchers are invited to study and write about the VMAC archive, providing reflections and new perspectives in media art archiving. This panel brings together art professionals, researchers and scholars to share their collaboration experiences and look at the issues of archiving media art in Hong Kong and China, and beyond.
- Biography:
Kyle Chung is a curator and researcher whose recent exhibitions explore the dynamics between technologies, materiality and human agency. Selected exhibitions include 2³ or Not 2³: East Kowloon is on Minecraft in New Vision Arts Festival, Hong Kong; Ellen Pau: Time After Time Will Tell at 1961, Singapore; #YOU #ME #ourSELFIES at Hong Kong Visual Arts Centre; One World Exposition 2.1: #like4like at chi K11 art space, Hong Kong; Carla Chan: To Outland at SMAC, Berlin, Germany; Conjunctions and Disjunctions: International Symposium on Electronic Art 2016, Hong Kong; Bright Shadow at The Morgue, London, UK. With a PhD in Creative Media, Chung is currently an independent curator; Curator at Videotage, Hong Kong; and Lecturer at School of Creative Media, City University of Hong Kong.
Joel Kwong is an international media art curator, writer, producer and educator based in Hong Kong. She is currently the Programme Director for Microwave International New Media Arts Festival, as well as the founder of SIBYLS – a creative consultation and production agency. Kwong has a strong belief in the power of art and technology, and her curated projects have been shown in many different cities around the globe. Her most recent projects in 2021 includes Future Media Art Festival in Taiwan, Microwave Festival edition 2021, Glow Shenzhen online media art showcase “Fireflies: The Glowing Dots”, Connecting the Dots – a media art archaeology online exhibition & website etc.
Su Wei (born in Beijing) is an art writer, art history researcher and curator based in Beijing. He is currently a Researcher at the Tsinghua University Art Museum. In 2014, he was awarded first place at the first International Awards for Art Criticism (IAAC). Su Wei’s work in recent years focuses on re-constructing the narrative—and radical imagination—of contemporary Chinese art history, and explores the roots of the legitimacy and rupture of contemporary Chinese art history in a global context. Pivotal to his work is the attempt to take the “post-1949” as the key in understanding artistic production in a contemporary situation, and in so doing he seeks to re-define the stance and possibilities of art in nowadays China. He thus engages in an anti-establishment critical practice by mapping the limits, contextual clues and unconscious energies of the post-1949 art production, which figures the dual presence of decay and emptiness.
Panel – Multi-Generation Digital Stewardship: XR Art & Technology Archives
- Abstract: Panelists will discuss their roles in a collaborative inter-institutional project funded by the Knight Foundation to create an XR & blockchain certificate enabled digital database that will archive, index, lend, and exhibit complex digital objects using a web-based platform that expands the current capabilities of the virtual 3D exhibition platform New Art City.
The panel will offer perspectives on collections management, blockchain certificates, artist contracts, and best practices for reauthoring. The team will provide insights from the first 6 months of the beta test of this collaborative project which archives and exhibits Creative New Media Projects produced in San José from 1984-2014 on New Art City. The Art & Technology Archive beta test will allow the technical and digital design upgrades to follow the material, social, and archival process; ensuring that necessary upgrades to New Art City are designed holistically and inclusively with integrated feedback from Museums, Librarians, Archivists, & Curators.
- Biography:
Rhonda Holberton. Assistant Professor of Digital Media Arts, Department of Art & Art History San José State University. Holberton’s interdisciplinary research and art practice illuminates the politics of the corporeal body navigating through virtual space. Recent projects utilize networked VR designed to trigger subtle interactions of electrons between biological and digital systems through biofeedback & reiki, a speculative cosmetic company whose mission is focused on the potential of products to create distributed performative action ritualizing the Anthropocene, and a collaborative choreography with Neural Networks.
Don Hanson. Founder of New Art City. Don is an interdisciplinary/internet artist producing web-based interactive work and digital artmaking tools since 2008. As founder of New Art City he aims to provide an accessible toolkit to all types of artists and create an online home for born-digital artifacts. As an active member of the arts and technology community in the Bay Area, Don has served as technical director for Codame Art+Tech and B4BEL4B Gallery, and now focuses full-time on the operations and development of New Art City.
Amanda Helton. As Manager of Digital Strategy, a position created as part of the San José Museum of Art’s (SJMA) 2018 strategic plan, Helton works closely with the curatorial and public programs teams to develop innovative digital engagement tools that expand access to the Museum’s programs and permanent collection. At SJMA since 2017, she served as project database registrar for 50X50: Stories of Visionary Artists from the Collection, a major grant-funded digital publication designed to share the Museum’s permanent collection with a wide audience. Subsequent ongoing projects support efforts to shape the technological vision for the Museum’s future and to support its strategic ambition to be a borderless museum. Helton is also deeply committed to accessibility issues in both the physical and virtual realms and is a member of the Museum’s Equity Task Force.
Dr. Timothy C. Summers. Board Member of the enterprise think tank Leonardo/ISAST, is a seasoned, high-impact executive with broad strategic perspective and a proven track record in growing businesses, delivering solutions to problems, and developing and executing sound internal processes from the ground up. He is an ethical hacker, professor, frequent media commentator, TED speaker, and consulted expert internationally recognized as one of the world’s leading experts on cyber strategy, blockchain, normal chaos, and how hackers think. He is a trusted adviser and executive consultant to Fortune 500 companies, academic institutions, and governments worldwide. Timothy specializes in the scholarship and practice of hacker cognitive psychology (the hacker’s mindset) and normal chaos paradigm enabling him to advise on building and sustaining organizations during times of uncertainty. Dr. Summers is an executive scholar with an in-depth understanding of disruptive technologies and their strategic applications, as well as international business expertise, having conducted business around the world.
Nick Szydlowski. Scholarly Communications & Digital Scholarship Librarian, Martin Luther King, Jr. Library, San José State University. Nick is a librarian with experience in scholarly communications, repository management, preservation, and web development. His recent projects include the digital exhibit Robert Morris: Civil Rights Lawyer & Antislavery Activist.
Long paper – Stayin’ Alive. Southern Cone Video Art Archives in Context.
- Abstract: This presentation addresses some problems affecting physical and digital archives dedicated to video art in the Southern Cone, relating to matters of accessibility, preservation and dissemination of video-based art collections in the present. In an attempt to map such a complex situation, firstly, I look at some of the most relevant Latin American video art festivals. I take as case studies the Encuentros Latinoamericanos de Video, the Festivales Franco-Chilenos and Franco Latinoamericanos de video arte, VideoBrasil and Buenos Aires Video, which promoted the production, circulation and dissemination of audiovisual arts in the last two decades of the 20th century and, alongside, fostered the creation of physical archives or video libraries in the region. Secondly, I identify some institutional and academic projects that, since the mid-2000s, have carried out tasks of valorization and remediation of video-based art collections. Actions through which it has been possible to give visibility, accessibility and survival to some video art works, and documentation related to the above-mentioned festivals. Finally, under the premise of problematizing the initiatives that safeguard this audiovisual culture and its difficulties to endurance, I point out common challenges to audiovisual archives in the present, and the answers articulated by some research projects to face them.
- Biography: Alejandra Crescentino is a PhD candidate in the Program Artistic, Literary and Cultural Studies (EALyC), and Teaching and Research Personnel in Training (PDIF) in the Department of Linguistics, Modern Languages, Logic and Philosophy of Science, Theory of Literature and Comparative Literature, and East Asian Studies, of the Facultad de Filosofía y Letras, Universidad Autónoma de Madrid. She obtained a Master’s degree in EALyC from the Universidad Autónoma de Madrid in 2016. She graduated with a degree in History of Fine Arts in 2013 and Professor in Art History in 2009 from the Universidad Nacional de Cuyo, Argentina. She is a member of the research group “DeVisiones. Discourses, genealogies and practices in contemporary visual creation”, Universidad Autónoma de Madrid.
Long paper – Accessing and Displaying the Archive
- Abstract: The pressure to open archives and cultural collections is increasing. Not only the Open- GLAM movement (Galleries, Libraries, Archives, Museums) demands easy access to freely usable sources. Civil society and even in-house interests (e.g., communication during the pandemic) point to a considerable need for action. This paper therefore considers two types of accessibility: individualized access for humans and ways of (automated) access for machines.
For interpersonal communication a curation tool for the exhibition context is presented that can be used quickly and is easily deliverable to different online and offline places. The automation aspect is structured according to the so-called FAIR-Principles. Here, too, a digital service is described that makes it easier for those archives and collections to become FAIR (Finable, Accessible, Interoperable, Reusable) and capable of (information) dialogues that would otherwise have to retrofit the existing systems.
- Biography: Tabea Lurk hold a PhD in art history & media theory and a master in library & information science. Since August 2015 she has headed the media library of the HGK FHNW. From 2006-2015 she worked as a lecturer for digital preservation at the Academy of the Arts (BUA) BFH Bern. Between 2008 and 2015 she headed the ArtLab (BUA) which functioned as an interface between the humanities and natural sciences. In 2012 she established the Master of Advances Studies (MAS) in Preservation of Digital Art and Cultural Heritage. Main areas of work: Access to digital information; information literacy; data management in the context of art, design and artistic research; digital archiving.
Jürgen Enge is a computer scientist and head of the IT department at Basel University Library. Previously, he worked at the Academy of Art and Design FHNW Basel, the University of Applied Sciences and Art in Hildesheim, Holzminden und Göttingen (HAWK), the Zurich Univery of Art, Bern University of the Arts, University of Deign (HfG) and Center for Art and Media at Karlsruhe. He has always been interested in the interplay between art, technology and society. He has built extensive and specialized data management and archiving systems. In addition, he has developed countless websites and digital tools that enable (automatized) indexing, sustainability and FAIR access and preservation of cultural digital sources and data. The services described above originate from him. Main areas of work: digital archiving; data & system development; digital communication; information infrastructures.
Long paper – The future of art museums in the digital age: VR for archiving purpose
- Abstract: Art museums are committed to expanding the digital display of their archives by using digital technology, diversifying the types and forms of their exhibitions, increasing archival formats, and promoting repeated visits anytime, anywhere. Many museums have also begun to use virtual reality (VR) display platforms such as Google Arts & Culture, which is intended primarily for viewing art in high-resolution images and video. More than 2,000 cultural institutions, including the Guggenheim Museum in New York and Orsay Museum in Paris, use this platform to provide virtual content. It is reasonable to infer from this that the rising popularity of VR technology and of online VR platforms targeting the art sector should also have potential applications in archival work. For example, the National Museum of Modern and Contemporary Art (MMCA) in Seoul already utilizes VR technology for documenting its physical exhibitions. However, despite the growing application of this technology, few studies have comprehensively studied the forms and content of the artworks archived in traditional museums (i.e., paintings and photographs) and by comparison to electronic art archives that utilize modern VR technology. By analyzing the advantages and disadvantages of virtual reality technology, this study aims to explore the potential of such applications in the context of digital archiving. In this paper, we take several major modern and/or contemporary art museums as examples for analysis and comparison. We show that virtual reality technology has brought advantages to the archival work of contemporary art museums, such as enhanced immersion and expanded diversity of exhibits. Further, it appears likely that the increasing commodification of VR technology will further possibilities in the future.
- Biography:
Ze Gao is an interdisciplinary artist, curator, and media art researcher. Working in the intersection of art and technology. He studied Multidisciplinary Fine Arts at the Maryland Institute College of Art and received his M.F.A from The School of Visual Arts in New York. With a background in both image science and art, his research across different practices and interests, including artificial intelligence, human-computer interaction, museum study, and extended reality. He has several publications, mainly in the areas of New Media Art and Chinese Classical, he currently living in Hong Kong and Guangzhou. He has been invited as a visiting scholar to the Department of Philosophy, Sun Yat-sen University (Guangzhou, China,2020), Confucius Institute, University of Bonn,(Bonn, Germany, 2019), and School of Art and Design, Yunnan University,(Kunming, China,2019), residence artists at Nanchuan Lixiang Lake Art residence project, Sichuan Academy of Fine Arts,(Chongqing, China,2020), Glasgow School of Art,(Glasgow, Scotland, UK, 2014).
Dr. Varvara Guljajeva is an artist and researcher holding the position of Assistant Professor in Computational Media and Arts at the Hong Kong University of Science and Technology (Guangzhou). Previously, she held positions at the Estonian Academy of Arts and Elisava Design School in Barcelona. Varvara was invited as a visiting researcher to XRL, Hong Kong City University, IAMAS (Ogaki, Japan), LJMU (Liverpool, UK), Interface Cultures in the Linz University of Art, and Design, Blekinge Institute of Technology (Karlshamn, Sweden). Her PhD thesis “From Interaction to Post-Participation: The Disappearing Role of the Active Participant” was selected as the highest-ranking abstracts by Leonardo Labs in 2020.
As an artist, she works together with Mar Canet forming an artist duo Varvara & Mar. Their works were shown at MAD in New York, FACT in Liverpool, Santa Monica in Barcelona, Barbican in London, Ars Electronica in Linz, ZKM in Karlsruhe, and more. www.var-mar.info
Long paper – Practicing Odin Teatret’s Archives: virtual translations of embodied knowledge through archival practices
- Abstract: nformed by contemporary research in performance studies, this writing examines the ongoing challenges and possibilities of using XR technologies to create a virtual archive of embodied theatre techniques. This is part of a research project working with the (analogue) archive of Odin Teatret in Denmark, in which we are facing the challenge of transferring the embodied knowledge of actors’ training into a virtual navigation system which evokes interaction and affect. We begin by outlining a critical epistemological framework which calls for new accounts of knowledge distribution and the place of embodied and affective praxis within this frame. We describe the process of having different training strands from practitioners of Odin and pupils being mapped with the use of motion capture technology. Further on, we approach one of the key aspects of this research, that of the translation of such embodied techniques and movement qualities into data and, consequently, into an immersive experience of archival navigation. With this paper we aim to contribute to the discussion on documentation of embodied knowledge in present times, one which calls for new approaches to practices of transmission, archive interaction and embodied navigation.
- Biography:
Adriana La Selva is a theatre-maker, a performer and a researcher. She is currently a fellow FWO researcher with the project Practicing Odin Teatret’s Archives at S:PAM (Studies in Performance and Media- Ghent University) – in association with IPEM (Institute for Psychoacoustics and Electronic Music), Utrecht University, Manchester Metropolitan University and Aalborg University. She concluded her Master’s degree in Contemporary Arts, at the University of Lancaster, UK, on Deleuze and Guattari’s notion of becoming in relation to physical theatre. She is a member of the international theatre group The Bridge of Winds, led by Odin Teatret actress Iben Nagel Rasmussen. Adriana co-founded Cross Pollination, an international platform for performers and researchers, which focuses on dialogues in-between practices and tactics for embodied knowledge building.
Ioulia Marouda is a multidisciplinary designer whose work expands between interactive art and scenography. She is currently a doctoral fellow in art science and computer science at Ghent University and part of the IPEM (Institute for Psychoacoustics and Electronic Music). Her research interests include interaction in XR, embodiment, computer graphics and perception. She currently focuses on the transmission of embodied knowledge through immersive and interactive technologies as well as the translation of physiological data as a way to explore the possibilities of the virtual body to uncover qualities otherwise invisible. Ever since her diploma studies in Architecture at the National Technical University of Athens, she grew an unusual interest in the way digital technologies affect our perception of space. This led her to study further in the Interactive Architecture Lab at UCL. She has worked with design studios and in theatre in Germany and the UK designing physical and digital temporary spaces. Ultimately, through working across mediums she aims to express stories and atmospheres of the present.
Long paper – The Australian Emulation Network: Accessing Born Digital Cultural Collections
- Abstract: This paper outlines a new funded project which aims to conserve and render born digital artefacts widely accessible by establishing an Australian Emulation Network. High value cultural collections from university archives and the GLAM sector requiring legacy computer environments will be targeted. The project expects to generate new knowledge across media arts, design, and architecture. Expected outcomes include stabilising and providing researchers with emulated access to born digital cultural artefacts, sharing legacy computer environments across the network, and establishing an Australian software preservation community of practice, building skills in preserving and emulating digital cultural artefacts with substantial future applications also in scientific preservation.
- Biography: Melanie Swalwell is Professor of Digital Media Heritage at Swinburne University of Technology. Her research focuses on the creation, use, preservation, and legacy of complex digital artefacts such as videogames and media artworks. Melanie is currently leading three digital heritage research projects: “Play It Again: Preserving Australian videogame history of the 1990s”; “Archiving Australian Media Arts: Towards a best practice method and national collection”; and “The Australian Emulation Network: Born Digital Cultural Collections Access”, funded by the Australian Research Council. An ARC Future Fellow from 2014-18, Melanie continues to research “Creative Micro-computing in Australia, 1976-92”. Melanie is the author of Homebrew Gaming and the Beginnings of Vernacular Digitality (MIT Press, 2021), editor of Game History and the Local (Palgrave, 2021), and co-editor of Fans and Videogames: Histories, Fandom, Archives (Routledge, 2017) and The Pleasures of Computer Gaming: Essays on cultural history, theory and aesthetics (McFarland, 2008).
Long paper – AR[t]chive – Augmented Reality Experience for a Digital Art Archive
- Abstract: This paper introduces an immersive augmented reality (AR) experience of interactively exploring a digital archive. AR[t]chive is being designed for an exhibition context but also to serve as a research tool, around the content of the Archive of Digital Art (ADA). Archive contents are presented as virtual elements arranged in real space. Users are able to walk among these, manipulate them directly using their hands and use virtual tools to create compositions in 3D space. This work is part of a larger collaboration and represents an exploration of future-facing ways to access and utilize ADA, but can also inspire work on other digital archives. The paper outlines the design of the interactive experience, including the different considerations taken. This is followed by a description of the current implementation, which constitutes work in progress. To conclude, we offer a brief outlook and future directions.
- Biography:
Tiago Martins is a researcher and creative technologist working at the intersection of art, interaction design and game design. Coming from an academic background in Computer Science at the New University of Lisbon (Portugal), Tiago later expanded upon his interest in interactive media at the University of Art and Design in Linz (Austria), where he obtained a PhD from Interface Cultures. Tiago has taken an active part in innovation-oriented projects taking place in different environments and institutions, including the University of Art in Berlin (UDK) and the German Research Center for Artificial Intelligence (DFKI). He is currently researching and teaching mixed-reality applications at his alma mater in Linz.
Christa Sommerer and Laurent Mignonneau are internationally renowned media artists working in the field of interactive computer installation. They are Professors at the University of Art and Design in Linz Austria where they head the Department for Interface Culture at the Institute for Media. Sommerer and Mignonneau previously held positions as Professors at the IAMAS International Academy of Media Arts and Sciences in Gifu, Japan and as Researchers and Artistic Directors at the ATR Media Integration and Communications Research Lab in Kyoto Japan. They also were Visiting Researchers at the MIT CAVS in Cambridge US, the Beckmann Institute in Champaign Urbana, IL, USA and the NTT-InterCommunication Center in Tokyo.
Long paper – “Always Only Once:” The paradox of preserving performative digital works
- Abstract: The 20th century saw various approaches to expanded cinema performance, including color organs and mixed media “psychedelic” light shows. These practices were difficult to document technically and were, to various extents, based on performance in the moment. Technically, archival 20th century visual performance documentation and preservation ranges from the non-existent to the surprisingly future proofed. But expanded cinema historian William Moritz summed up the unrepeatability of performance experience in a 1969 review of the mixed media performance ensemble Single Wing Turquoise Bird: “always only once.” Contemporary performative digital practice shares some parallels with these earlier performative practices: the work may be performed live by a performer, or an algorithm may perform the work automatically. In either case, preservation faces the paradox of recreating moments that were intended to happen “always only once.” Examining 20th century attempts to preserve the ephemeral can inform not only how we approach preservation of performative and process-based digital works, but also which works we attempt to preserve.
- Biography: Amy Alexander has been making computational art projects since the 1990s. She is a Professor of Computing in the Arts in the Visual Arts Department at UC San Diego. Alexander has worked in performance art, installation, software, and online media, generally employing custom software to generate real-time video that reflects on cultural issues. She has written and lectured on topics including software art, historical and contemporary audiovisual performance, algorithmic bias and algorithmic determinism, and media preservation. She has served as a reviewer for festivals and commissions for new media art and computer music.
Alexander’s projects have been performed and exhibited at venues ranging from The Whitney Museum, Prix Ars Electronica, Transmediale, SIGGRAPH, ISEA, NIME, and the New Museum to club performances at Sonar (Barcelona), First Avenue (Minneapolis) and Melkweg (Amsterdam). She has also performed on the streets of Los Angeles, San Diego, San Jose, Zürich, and Aberdeen, Scotland.
Long paper – A forgotten, almost lost, and partially hidden piece of history: new media arts in Latin America
- Abstract: Who tells history? We can find multiple versions of the new media art history, most of them with subtle differences. Still, until a few years ago, it has been unusual to find references pointing to countries out of a small group from Europe and North America. Several projects have been developed to change that situation. UNESCO’s Digi-Arts project, and the Latin American Electroacoustic Music Collection, hosted by The Daniel Langlois Foundation for Art, Science and Technology, are examples of the relevant role and the impact that the preservation and documentation of electronic artworks, together with its public access, can play in having another perspective on our recent history.
- Biography:
Dr. Dal Farra is professor of music and electronic arts at Concordia University, Canada, and director of the electronic arts center CEIARTE-UNTREF, Argentina. He is the founder of the international symposia Balance-Unbalance (BunB) and Understanding Visual Music (UVM). Dal Farra has been director of Hexagram in Canada, coordinator of the Multimedia Communication national program of the Federal Ministry of Education in Argentina, senior consultant of the Amauta New Media Art Centre of Cusco in Peru, and researcher of UNESCO, France, for its project Digi-Arts. He designed university programs on art-science. Ricardo created the Latin American Electroacoustic Music Collection. He is a board member of ISEA International, and a member of several editorial boards: Leonardo/ISAST (MIT Press, USA), Organised Sound (Cambridge University Press, UK), and Artnodes (UOC, Spain), among others. Dal Farra is a composer/artist specialized in transdisciplinary actions with science and emergent technologies.
Lightning Talk – Collecting and Preserving Expanded & Extended Nonfiction
- Abstract: The history of the evolving field of new media work is pushing individuals to take a huge effort to preserve important artifacts and analyze projects. Extended Nonfiction is a project that promotes the study, training, production and preservation of audiovisual, interactive, transmedia and immersive nonfiction narratives. Extended Nonfiction is an informative, formative and productive proposal that places emphasis on the field of reality, on real stories; but not just any reality, on expanded and extended reality.
- Biography: Arnau Gifreu-Castells. Doctor in Communications and has a Master’s Degree in Digital Arts (UPF). He has been a research affiliate at the Open Documentary Lab (MIT, 2013-2018) and part of the i-Docs group (University of the West of England). He has published various books and articles in his research area, interactive, transmedia and immersive non-fiction, and specifically on interactive documentaries.
Lightning Talk – MEMODUCT posthuman.archive: The Site-specific Media Art History
- Abstract: MEMODUCT posthuman.archive is a repository of media art practices in the field of digital humanities, site-specific media art history and cyber-anthropology. The major contributions of the project are: 1) Archiving of media art from the underrepresented regions, i.e., The Global Margin, initiatives that were recent and as such exhibited in the most important exhibitions and festivals, but which have not yet been explored in depth and systematically processed as a cluster, or a scene; 2) Documentation of the new media artworks that became “inaccessible” due to the instability of the Internet media and the rapid obsolescence of computer technology; 3) Modeling of new methodology in relation to the question: How to write European history of tactical media and environment art, the conjuncture of New Europe 1988-2022?
- Biography:
Violeta Vojvodic Balaz, studied at the University of Belgrade at the Faculty of Fine Art for her PhD (2017), with a doctoral thesis The Case Of Art-Adventurers Operating Into Global Margin: Art, Money, and Value in The Age of Artificial Intelligence. She specialised European Diploma in Cultural Management, Brussels, her research was focused on strategic planning and virtual organisation (2006). Currently, she is PhD candidate at the Transdisciplinary Studies of Modern Arts And Media, Faculty for Media and Communication in Belgrade.
Eduard Balaz, received Mag. of Art from the Faculty of Fine Arts, Belgrade in 2003. He worked as Artistic director in Hammer Creative (Novi Sad) and Blueliner Marketing (NYC), currently he is working as freelance UI/UX designer.
Violeta Vojvodic Balaz and Eduard Balaz had been working as media artists since 1999. They were founders of Urtica, art and media research group (1999-2002) https://urtica.org, and they were one of the co-founders of New Media Center_kuda.org (Novi Sad, Serbia).
Lightning Talk – The Different Histories of Electronic Art in the V2_ Archive
- Abstract: V2_, Lab for the Unstable Media is an interdisciplinary center for art and media technology in Rotterdam, the Netherlands. It strives to build a ‘living archive’ of electronic art, using its own documentation from over 40 years, made accessible on its website. This presentation outlines some of the strategies to bring out the different histories of electronic art that narrate the art form’s critical role in giving meaning to and (re-)interpreting the real-world effects of technology.
- Biography:
Arie Altena is archive editor at V2_ and the author of Wat is community art? (2016) and 40 Years of V2_ (2022).
Michel van Dartel is Director of V2_Lab for the Unstable Media and Research Professor at the AVANS Centre of Applied Research for Art, Design and Technology (CARADT).
Lightning Talk – Archiving Twitter Database & Visualization from Artwork
- Abstract: In 2020, I created an artwork on the state of truth-telling crisis during the 2020 U.S. Presidential Election. The project is titled Project Echo. It is a multi-modality and multi-disciplinary new media artwork involving Twitter data and took two and a half years of extensive research collaboration with a political scientist and a computer engineer to develop. When the project concluded shortly after the Capitol insurrection, we realized that we had compiled a significant database of Tweets. It has become a valuable historical record of Twitter disinformation activity relating to the 2020 U.S. Presidential Election. As an artist unfamiliar with how archives are established, I am interested in figuring out how to provide public access to the database and its associated visualizations. I look to cultural institutions to help establish an archive of the database and provide the public with the opportunity to access this piece of American History.
- Biography:
Jiayi Young is an artist and a designer. She is an Associate Professor of Design at the University of California, Davis. Young creates large-scale installations, permanent and temporary public artworks. Her inquiries lie within the emergent and experimental field of digital media with an emphasis on the cross-disciplinary areas of design that integrate the arts and the sciences with cutting-edge technology. Her current research and creative work are focused on constructing data-driven interfaces, installations, real-time projection graphics, participatory performances, and immersive environments in cultural and public places with the goal of creating generative energy to engage the public in social dialogue.
Lightning Talk – Introducing Videotage Media Art Collection (VMAC)
- Abstract: Founded in 1986, Videotage is a leading Hong Kong-based non-profit organization specializing in the promotion, presentation, creation and preservation of new media art across all languages, shapes and forms. Videotage Media Art Collection (VMAC) strives as the identity and body that documents Hong Kong’s extensive media art history. Through Hong Kong’s character of a cultural, geographical and political peninsula that uniquely merges Chinese and Western influences, the collection depicts how the city has been a sensitive witness to a period of art in history. It also displays the development of society as much as that of technology-exploring issues of identity and life in urban, political and cultural environments through a wide array of techniques that mark the transition from analogue to digital artmaking.
- Biography:
John Chow Ho Fung is the Senior Archive Coordinator at Videotage and he currently works at Videotage (HK). John is involved in the curation and preservation of over a thousand media art artifacts – magnetic tapes from Hong Kong pioneering video artists preserved in the Videotage Media Art Collection (VMAC). John has participated on various archival forums including Archives in the Digital Era, ART TAIPEI (2019) and Rethinking Art Collection and Archive, and FLAME HK (2019). He is also a member of the Floating Projects Collective.
Chung Wing Shan is currently the Project Coordinator at Videotage. Chung’s work focuses on acquisition, preservation, and dissemination of the Videotage Media Art Collection (VMAC) as well as organising public programmes related to VMAC. She has worked on programmes including the VMAC Forum and the Hallucinatory Hereafter.
Lightning Talk – UNCOPIED.ART: Making the original truly unique: Introducing a blockchain for GLAM institutions
- Abstract: This lightning briefly introduces the conceptual aspects of uncopied.art, an endeavour with the mission to make ORIGINAL truly UNIQUE, with physical and digitally immutable certificates of authenticity, expertise, inventory that will outlive us. In the talk the authors discuss the core values, offering a closer view to the workflow of certification.
The authors focus on the opportunities, UNCOPIED may offer for archiving and aim to jointly discover potential risks and pitfalls going along with implementing this emerging technology for the long run in archives. Furthermore, the audience will be introduced to the recent case study that relies on a collaboration with LCMA, the Los Angeles County Museum of Art.
As a byproduct of securing art works on a transparent blockchain, UNCOPIED makes available its own dataset to scientists interested to work with open data for research purpose. UNCOPIED aims to provide innovative methods to secure digital collections by making metadata public. A scientific committee is in charge of making the dataset accessible in the respect of stakeholders interests, privacy and ethical concerns.
The authors briefly discuss the current non-hierarchical organizational setting of UINCOPIED and outline its necessity against the background of Open Innovation and its meaning in the progress of innovation.
- Biography: Eveline Wandl-Vogt is a thinker and maker, knowledge designer, creative experimentalist and innovator. Against a background of Art Driven Innovation, Humanity Centered Design and Open Innovation, she is facilitating Social Innovation for the purpose of good, contributing to invent inclusive, sustainable. Responsible futures. Eveline is foundress and orchestra of exploration space (at) ÖAW and foundress and Director of Ars Electronica Research Institute “knowledge for humanity”. She is affiliated to metaLab (at) Harvard, and is ambassador for “knowledge for humanity” of the Republic of Uzupis. Eveline is chair of the scientific committee of uncopied.art.
Elian Carsenat is a computer scientist trained at ENSIIE/INRIA, started his career at JP Morgan in Paris in 1997. He later worked as consultant and managed business & IT projects in London, Paris, Moscow and Shanghai. In 2012, Elian created NamSor, a piece of sociolinguistics software to mine the ‘Big Data’ and better understand international flows of money, ideas and people. NamSor helps answer the perennial question all countries ask about their diasporas – who are they, where are they and what are they doing. In 2020, NamSor is building new APIs to estimate risk for gender, racial or ethnic biases in applying machine learning or other artificial intelligence to decision making that affects People’s lives. Elian is founder and CEO of unopied.art.
Dario Rodighiero works at Harvard University. He is affiliated at the Berkman Klein Center for Internet & Society and a postdoc of the Metalab. His capacity at the intersection of visual studies, data science, and digital humanities makes him comfortable in multiple disciplines. With Metis Press, he published in 2021 Mapping Affinities.
Lightning Talk – Research-based Online Archive and the Canonization of Net Art
- Abstract: During the exhibition and research project “Calculating Control: (Net)art and Cybernetics” the Zentrum für Netzkunst had designed and built a small archive on the website of the project. Working from the site-specific history of Haus der Statistik (a building that operated as the Central Administrative Headquarters for Statistics in the German Democratic Republic), Calculating Control explored the impact of cybernetics on artistic and social practices, networks, and technology. The online archive, which is still accessible and updatable, includes different resources and references related to the topics of cybernetics, GDR, as well as artworks and specifically net art. By “misusing” the open-source software for bibliographies “Zotero” the “Calculating Control” archive offers a structure that allows making new links between net art and other historical artifacts and references.
Even though it might seem that such an archive doesn’t fulfill its function as an agency for a long-term preservation of net art, it is not an “empty” archive. Rather than being focused on a singular medium or an art period, this research-based archive introduces one possible narrative, connecting net art to local history and supporting its circulation in the collective online memory. The lightning talk looks at the role of the research-based archive in the context of canonization of net art on the internet.
- Biography: Tereza Havlíková (born in Prague) is an art historian and curator living in Berlin. Her research focuses on net art and digital art in a broader context of internet history and culture as well as online curatorial practice. She is a founding member of Zentrum für Netzkunst and a pioneer participant in the urban model project Haus der Statistik in Berlin.
Lightning Talk – Screen Recordings and Reinterpretations from Archiving to Creation Visions.of.Mouchette.org
- Abstract: Mouchette is an iconic virtual character from the early net.art time. Fourteen screen recordings of her website have been found online on Youtube channels. These videos are documenting the viewing practices of some visitors, the way they browse the website mouchette.org the way they comment their visit, and how they embed it inside their own narrative, stories of horror, of magic or of seduction.These recordings are an exceptional archival of this website recorded by the viewers in very different ways.
- Biography: Martine Neddam is an artist who uses language as raw material. Since she began as an artist her favorite subjects always were speech acts, modes of address, words in the public space. Since 1988 she has exhibited text objects (banners, plaques, shadows on the wall) in museums and galleries. She has also conceived many large-scale public commissions in several European countries : Netherlands, France, Great Britain. Since 1996, she has created virtual characters who lead an autonomous artistic existence where the actual author remains invisible, among others Mouchette (1996) and David Still (2001) and XiaoQian (2005) and Madja Edelstein-Gomez (2018). In 2013 she began to develop her own software MyDesktopLife, supported by the ZKM | Center for Art and Media (Karlsruhe). Her work has been exhibited at La Biennale de Montréal (2011), Whitechapel Gallery (London, 2016) and the Stedelijk Museum (Amsterdam, 2018/2020).
Lightning Talk – Digitized Analog Memories. Methods of Visualizing Found Media
- Abstract: With the rise of home computers in the 1980s and the worldwide web being publicly available in the 1990s there has been a boom of media that was created by the public. As these files are getting to be over 30 years old, there is a unique opportunity, as an archivist, regarding curating these files and providing a perspective of this time period for future generations.
“Digitized Analog Memories” is a case study of possible methods for curating personal media found on discarded floppy disks. The method for the study was to create a “desktop vignette”, or digital collage, of the previous owner’s life using legacy hardware and software (Pentium III Windows 98 PC). During the collage process, specific desktop color schemes were chosen based on the content found on the floppy disk as a means of recreating the previous owner’s desktop when they originally created the files.
From this study, three key nodes of discourse around the topic of archiving and presenting historical personal data came up: 1) Is all personal data relevant to archive for historic or anthropological reference? 2) How much subjective flexibility can be given to the curator/artist when it comes to presenting historical digital media? 3) How should the hardware for reading dead formats be maintained for future archival use? From this study, all personal data was relevant, however personal photos and journal entries were the most popular to exhibition viewers. The curation of this material should be minimal and maintain period-correct aesthetics. The media should be raw, but personal information of the original owners should be redacted. While legacy hardware is still cheap and easily available today, institutions need to make the effort to maintain legacy machines for use in the distant future.
- Biography:
Erik Contreras is an interdisciplinary designer and engineer from the San Francisco Bay Area with a background in rapid prototyping, and hardware hacking + repair. His work involves finding alternative uses for post-consumer products and media through hands-on craft and new media digital art pieces. He feels that obsolescence creates an opportunity to showcase a product’s true character in the real world given the influence from consumer culture and technological hype has faded away due to time.
Lightning Talk – Participatory Preservation: Experiments in Distributed Networks of Care
- Abstract: The recent emergence of decentralized economies has foregrounded an urgent need for new modes of long-view care and stewardship in contemporary Time-based Media Art. This lightning talk presents some learnings and insights from 10 years of hands-on applied research in the gallery and museum context. Case studies are structured around design thinking methodologies, and outcomes from experiments ranging from new exhibition formats, to collecting models, decentralized storage experiments and more.
- Biography: Kelani Nichole is a technologist, collector and founder of TRANSFER, an experimental gallery focused on simulation in contemporary art since 2013. In addition to founding and running a leading digital art gallery, Kelani has spent 15 years in UX research and product development. In 2018 she invented a new model for distributed cultural infrastructure with The Current, a non-profit museum collection rethinking patronage and access for Time-based Media Art. Her work over the past ten years has focused on expanding an understanding and practical application of conservation and preservation through applied research and experiments with a global community of artists, collectors and institutions.
Lightning Talk – IMAI Play: The video art channel of the Inter Media Art Institute
- Abstract: The Düsseldorf Inter Media Art Institute (IMAI) is a non-profit foundation that archives, exhibits, and distributes time-based media art. The archive boasts more than 3,000 works that document the international history of video art from the 1960s until today. More than 1,000 of these videos can be viewed in full in the catalogue on the foundation’s website. Since September 2021, this website also hosts the foundation’s participatory video art channel: IMAI Play. IMAI Play invites users to create video art playlists, publish them on the foundation’s website, and share them on social media. Through social tagging every playlist is accompanied by user-defined metadata to facilitate new readings of the archive. Users can also create their personal watch lists and comment on the playlists of other users. With IMAI Play, the Inter Media art Institute aims to stimulate communication about video art and create a space for new perspectives, discoveries, and unexpected connections.
- Biography:
Darija Šimunović is a cultural studies scholar (MA) and has been responsible for the video art collection and its distribution at the IMAI since 2010. She was a research associate at the Institute for Visual Media of the ZKM Karlsruhe and worked as a visiting lecturer in video art history at the Düsseldorf University of Applied Sciences and the Paderborn University.
Linnea Semmerling is director of the Düsseldorf Inter Media Art Institute (IMAI). She has developed programs and exhibitions for various museums including ZKM Karlsruhe, IKOB Eupen, Marta Herford and TENT Rotterdam. She holds degrees in Cultural Studies, Art Studies and Technology Studies from Maastricht University and the University of Amsterdam.
Artworks – Spiral of Words
- Abstract: SPIRAL OF WORDS is a platform for creative writing in VR, based on an idea realized in 1998. Three authors from three locations (London, UK; The Hague, the Netherlands and Novi Sad, Serbia) sent texts at defined time intervals, starting from words to sentences over paragraphs to short stories, all this took place via e-mail/the internet, creating a common narrative in a defined location that built a spiral of words in a fictional space.
The VR project SPIRAL OF WORDS is a kind of ‘artistic recycling’ as well as an archive of the idea of a realized textual narrative performance.
The narratives in SPIRAL OF WORDS have been partially modified, they symbolize the original idea in different colors. The project is refreshed, enriched, and different in relation to the original performance, it is actually a reinterpretation of a creative collaborative idea, in a way that VR media allows. And that is the direct interaction of the users, where they freely communicate with the given words, choosing them, moving them, and creating their own meta-text, in any form they desire. Certain words in the spiral, when selected, activate short audio and visual effects that are symbolic to them. All selected words of the newly created narrative can be changed, rearranged, or rejected. SPIRAL OF WORDS is currently an unrepeatable experience, in which user’s meta-text only lasts for the duration of the session.
- Biography:
Predrag S. Šiđanin, Ph.D. – multimedia artist, founder of //VirtualUnit creative laboratory for virtual reality. Dean and full professor at the Faculty of Digital Production, EDUCONS University, Sremska Kamenica Serbia.
Luka Z. Tilinger, MA – illustrator and programmer, co-founder of //VirtualUnit creative laboratory for virtual reality. Assistant professor at EDUCONS University, Sremska Kamenica Serbia.
Maja S Budžarov, MA – ceramic and multimedia artist, co-founder of //VirtualUnit creative laboratory for virtual reality. Associate professor at EDUCONS University, Sremska Kamenica Serbia.
Nina B Zvezdin, MEA – architect, multimedia artist and musician, member of //VirtualUnit creative laboratory for virtual reality. Currently residing in Pisa, Italy on internship.
Artwork – Visually reading the pandemic: Translating an Open Access Archive into an immersive interactive Artwork
- Abstract: The presented artwork is a cross-organisational, cross-sectoral, transatlantic collaboration between the art:scientists Dario Rordrighiero and Eveline Wandl-Vogt, the social entrepreneur Elian Carsenat and Ars Electronica Solutions as well as Garmantis. During the first year of the pandemic, the authors developed two pre-conceptioptions of 2D visual artworks based upon open data of a COVID19 related open access archive, namely the “COVID19 cartography” on the one hand, and the “Chinese Sea” on the other. During 2021 and funded by DARIAH.EU, the team scaled up and created an immersive, 3D production for Deep Space at Ars Electronica, launched at Ars Electronica Festival 2021. The artwork is not just a unique piece of art, it invites the participant to experience knowledge created at the moments of exploration in a playful approach. In their presentation the authors will refer as well to the guiding questions related to the innovation and implementation process, workflows, funding, scaling up and how the applied methods and technologies may be meaningful and applicable for other archives.
- Biography:
Eveline Wandl-Vogt is a thinker and maker, knowledge designer, creative experimentalist and innovator. Against a background of Art Driven Innovation, Humanity Centered Design and Open Innovation, she is facilitating Social Innovation for the purpose of good, contributing to invent inclusive, sustainable. responsible futures. Eveline is foundress and orchestra of exploration space (at) ÖAW and foundress and Director of Ars Electronica Research Institute “knowledge for humanity”. She is affiliated to metaLab (at) Harvard, and is ambassador for “knowledge for humanity” of the Republic of Uzupis. Eveline is part of the scientific committee of uncopied.art.
Elian CARSENAT is a computer scientist trained at ENSIIE/INRIA, started his career at JP Morgan in Paris in 1997. He later worked as consultant and managed business & IT projects in London, Paris, Moscow and Shanghai. In 2012, Elian created NamSor, a piece of sociolinguistics software to mine the ‘Big Data’ and better understand international flows of money, ideas and people. NamSor helps answer the perennial question all countries ask about their diasporas – who are they, where are they and what are they doing. In 2020, NamSor is building new APIs to estimate risk for gender, racial or ethnic biases in applying machine learning or other artificial intelligence to decision making that affects People’s lives. Elian is founder and CEO of unopied.art.
Dario Rodighiero works at Harvard University. He is affiliated at the Berkman Klein Center for Internet & Society and a postdoc of the Metalab. His capacity at the intersection of visual studies, data science, and digital humanities makes him comfortable in multiple disciplines. With Metis Press, he published in 2021 Mapping Affinities.
Artwork – Archiving New Media Art Archives
- Abstract: The average time to stay on a web page is about 15 seconds. In the Tik-Tok generation, how do users utilize new media art online archives? Without any browser menus including the address bar, Archiving New Media Art Archives only allows visitors in a gallery to use the mouse to navigate online archives with hypertexts and hyper-images. Whenever users click the mouse button, the computer takes a picture of a small portion around the mouse cursor and places it on another screen, which is invisible to users. This project visualizes how online users access new media art resources in a collage way. When they click five times to surf the online archive, the computer automatically turns to the next archive website. Users visit Prix-Ars Electronica Archiv first, then ACM SIGGRAPH Art Show Archives and ISEA Symposium Archives in order. In the end, this project generates a collage image based on the users’ search activities on those three archive websites. After each exhibition day, this project posts the final collage image on social media. In non-real time, as a spatial collage image, this project documents how users consume those archive resources and how users can reach different resources. This project is based not on scientific research about users’ online activities, but on an artistic method to visualize users’ history of access to online archive resources and examine users’ surfing consumption patterns on archive websites. As a delayed interactive art project, Archiving New Media Art Archives provides viewers with a certain time to appreciate the original purpose and function of digital art archives. This will contribute to not only showing how online new media art archives work, but also making creative spatial collage images with time-based online activities during the Second Summit on New Media Art Archiving at ISEA2022.
- Biography:
Byeongwon Ha is an assistant professor in the School of Visual Art and Design at the University of South Carolina. He is an art historian and an artist in the field of new media art. As an artist and a researcher, he took part in diverse international art conferences and festivals such as ISEA, SIGGRAPH Asia, IRCAM Forum, ARTECH, and the Summit on New Media Art Archiving. In 2019, he published two articles: “Nam June Paik’s Unpublished Korean Article and His Interactive Musique Concrète Projects” as an author in Leonardo Music Journal (MIT Press) and “Survey and Analysis of Interactive Art Documentation, 1979–2017” as a coauthor in Leonardo (MIT Press).
Artwork – Gendernaut. Queering the future
- Abstract: Gendernaut is an English term that we could translate as “navigator of gender”, and that invokes Jason’s argonauts. The term appears for the first time in the documentary Gendernauts: A Journey through shifting identities (1999), directed by Monika Treut, to refer to people who travel through shifting gender identities.
This artistic research project questions, in a first phase entitled “Queering the software”, the forms of construction of the hegemonic archive through the design of a plugin that allows the collective creation of archives through an online interactive multimedia experience and, in a second phase entitled “Queering the archive”, proposes new ways of visualizing narratives based on transfeminist and queer genealogies through transmedia and performative experiences that conceive the archive as a living interactive space, free of heteropatriarchal codes, inhabited by multiple bodies and subjectivities that relate past, present and future to come. The series articulates an extensive historical investigation through a diversity of thematic threads that the feminist, queer and trans movements have been weaving during the last four decades in our political and artistic context. These genealogies link a whole series of historical, artistic, collective events, actions, campaigns, exhibitions, interviews, fanzines, performances, etc. forming a complex amalgam of relationships between art, politics, memory and activism.
Gendernaut is a trans-temporal and trans-spatial traveler that will invite us to travel through time through a genealogy of key events in the memory of the feminist movement and the LGTBI movement in our context. During this journey, he will show us the archive through a transmedia and performative experience to understand how the representation of the future in history has been imagined from a transfeminist and queer perspective. Queering the future…
- Biography:
Diego Marchante is a transfeminist activist, transmedia artist and lecturer. Doctor of Fine Arts from the University of Barcelona, since 2008 he works as a professor of Audiovisuals and Gender Studies at the Faculty of Fine Arts of the University of Barcelona. In 2011 he published “Archive T. A transfeminist and queer archive”, an archive of social movements and artistic practices that have addressed gender issues in the Spanish context from a queer and transfeminist perspective. His work has been exhibited at Can Felipa, Caixaforum, Fabra i Coats, Sala d’Art Jove, Centre de Cultura Contemporànea de Barcelona, Museu d’Art Contemporani de Barcelona and Museo Nacional Centro de Arte Reina Sofia. In 2020-21 his project, “Gendernaut. Queering the 90’s”, was selected in the call for research stays at the MNCARS, in the context of the project Our Many Europes – Europe’s critical 90s and The Constituent Museum.
Artwork – Visualizing the Illkun (Anger)
- Abstract: Visualizing the Illkun(anger) is an interactive screen installation for the interpretative visualisation of anger in the province of Malleco, Chile. The installations seeks to reflect and discuss the concept of screen by relating it to the memories of dissidence. Thus, it takes as a case study the book Las Razones del Illkun/Rabia (The Reasons of the Anger), trying to visualise through images-diagrams the subjectivities arising from the feelings of dispossession in the Mapuche conflict in the Malleco region. In this way, the images-diagrams and the designed device seek to mediate spaces and territories of memory that conflict the notion of history in Chile. A problematic narrative that dates back to the times when Chile was a Spanish colony and later, as a republic, using openly repressive state policies and territorial usurpation. Situation that unleashed the wrath of one of the first indigenous peoples of the aforementioned territory; the Mapuche.
The process of study and creative development of this project was divided into four stages: first, a study of the concept of the screen, which was analysed to understand the technical and conceptual characteristics that relate it to a memory apparatus. Secondly, a defined the theme of representation and the type of data to systematise, in this case, a historical book. Third, a way of representing anger by the abuses described in the aforementioned book; that is, through a subjectivist paradigm through the interpretation of the written archive. This decision is based on an interpretative view of a complex subject and totally opposed to a scientific naturalist paradigm; non-objective information goes from being delivered to uncertainties that are captured and interpreted; first by myself as the creator of a system of visual codes and then, by the individual facing the interface.
- Biography:
Marcela Antipan Olate is an artist and designer living in Germany. She is currently studying a master’s degree in Digital Media at the University of the Arts Bremen. She is a graphic designer and originally from Chile. Her creative practice moves within the blurred mix between art and science. Within that framework, one of her main interests is the critical reflection on technological objects of daily use and their symbolic and technical connections in relation to politics, economies, ecologies, and cultures. Through associations, she seeks to create physical or digital objects that concretise these interests. In the past, her work as a designer involved the development of ideas and concepts linked to scientific communication for research institutes, as well as teaching in the area of design. Currently, her work takes different forms such as installations, physical objects, software, research, visual pieces and poetry.
Artwork – ‘Data Whiskers’ and ‘Ecophagy’
- Abstract: Will our data still be around tomorrow? Digital data cannot be preserved forever because of bit rot and data decay. I am fascinated by what data degradation will look like, what if you translate and visualize the unintelligible? ‘Data Whiskers’ and ‘Ecophagy’ show my artistic interpretation of the transience of data. To avoid the data storage doom scenario, I opted also for high resolution art prints.
- Biography:
Martijn Hage is a digital artist based in Rotterdam, The Netherlands. He studied Graphic Design and Computer Graphics at the Academy of Arts Minerva in Groningen. His early digital artwork was exhibited at SISEA, Second International Symposium on Electronic Art in 1990. Driven by the quest to find the origin of life, he creates his own semantic building blocks to express himself in a self-named morphographic language. You could use the term ‘organic abstraction’, compositions of organic and geometrical elements. His artwork evolves like artificial selection, using self-made generative algorithms. He uses a digital exploration process, iteration by iteration, always in control of randomness and order in shape, color and composition. Each artwork is created in 3-dimensions and rendered in high resolution. He finds inspiration in nature, technology, archeology and fossils. It all comes together in the real world via digital techniques like 3D Printing, CNC-milling, AR and VR.
Artwork – i:M:mobile
- Abstract: Digital archiving strives to compensate for the rapid decay or obsolescence of digital platforms, material substrates, and displays on which these works depend. Digital materials seem to have a shorter half-life than even the unstable materials used in the early eras of film-making. This condition raises key ontological and epistemological questions: What is the essence of a work? What is permanence? What is solid? How must we rethink these notions when our works are inherently fluid — when they even melt into air?
This project engages with these problems by replaying an early work of cinema on a broken contemporary device. The project consists of eight sequences from Fritz Lang’s 1931 film “M”. The series begins with “Index”, a sequence shot in Berlin’s police archives, where a fingerprint provides the first clue in the hunt for a killer. Through subsequent sequences “The Hand”, “The Hunt”, “The Cell”, “Protokoll”, “The Stairs”, “Before the Judge”, and “Cower”, the film offers a meditation on the tension between our attempts to capture, protect, preserve and place before the law on the one hand – and on the other, to escape, to elude logos.
These sequences were filmed from a malfunctioning computer monitor; the malfunction superimposed successive frames of the footage, blurring or dissolving anything which moves. The malfunctioning screen thus renders two distinct architectures: that of the moving body, fluid; and that of its spatial and material frame, super-solid.
“M”, like most of Lang’s films, is known for its use of architecture. The project translates Lang’s use of architecture, which intentionally located that medium in relation to the medium of film, into a new dissolving or reworking of architectures provoked by contemporary conditions of media, existing somewhere between digital and analogue materialities.
- Biography:
Lawrence Bird practices in media art and architecture. His artwork focuses on imaging technologies and their intersection with space, in particular its political and social dimensions. His work includes video exploration of urban sites, projection mapping and installation, and short films; he led Winnipeg’s contribution to the cityoneminutes project. Since 2012 he has been developing a body of videos and projections focused on anomalies in popular imaging and mapping programs; the work intends to expose the failures of western mapping projects. Lawrence’s artwork has been installed in Winnipeg, Halifax, Toronto, London, Greenwich, Brussels, and Manizales (Colombia) with funding from Manitoba Arts Council, Winnipeg Arts Council, and the Canada Council for the Arts. He also writes, having contributed to Critical Planning, Mechademia, Chora, Leonardo, furtherfield.org, and elsewhere. He works with Sputnik Architecture, Winnipeg, a practise focusing on cultural and social projects, including the international public art competition Warming Huts.
Artwork – Anatomy of a Fatberg
- Abstract: Taking the Fatberg as a metaphor of a new artificially created intelligence, the work represents an instant game of chance, where the only winner is the Fatberg itself. By clicking the “flush” button, the Fatberg is fed by our digital database: combining wastewater quality data and a vast number of analytical data taken over from the Statistical Office of the Republic of Serbia. It is a collection of our own heterogeneous by-products collected for over 20 years, from data on microbes to astrophysical measurements, toxins in the Danube, but also data on employment, bank accounts, calls within the telecommunications network, data on newborns, divorces and drug addicts in our country, amount of food consumption, on the value of dinar, on housing, on migration and tourists, on city traffic etc. Everything that makes life around us and everything that leaves garbage and floats further, refining new data and making possible for the Fatberg to (re)form.
- Biography:
Andrea Palašti is a visual artist based in Novi Sad, Serbia. She works across artistic, curatorial and pedagogical boundaries by investigating (picture) archives and its potential to unveil a nuanced understanding of the world, focusing on issues of cultural geography, the responsibilities of history and its impact on the present. She’s a lecturer at the Academy of Art in Novi Sad, blending her artistic research with educational strategies.
Sanja Anđelković is an audio-visual and textual research artist based in Novi Sad, Serbia. Her research is focused within the field of docu-fiction practice where she is questioning its position inside the system of gender, political, social roles or traumatic moments of personal biography/history and how the idea of Home changes within the historical, geographical, social, but also environmental context.
Stefana Janićijević, Doctor of Applied Mathematics, is currently employed at Singidunum University in Belgrade as a professor, and at Comtrade System Integration as a data scientist. Her research work is in the field of metaheuristics, optimization, machine learning and data science, while she’s also artistically exploring a range of approaches such as data visualisation, neurosciences and the philosophy of data.
Jovana Pešić is a Junior Researcher at the Department of Chemistry, Biochemistry and Environmental Protection – Faculty of Sciences, University of Novi Sad, Serbia. Her research is focused on new materials based on graphene oxide for the removal of heavy metals from the aquatic environment. She is actively involved in promoting science through various programs combining science and art and interdisciplinary research. She is a member of the Serbian Chemical Society and a holder of the Certificate of Chemical Advisor.
Performance / “Marzelline’s Confessions” by Jocelyn Ho, performed by Margaret Schedel on Embedded Iron
- Abstract: Winner of the 2021 International Alliance of Women in Music Ruth Anderson Prize, Women’s Labor is a feminist-activist project that repurposes domestic tools to become new musical instruments. Using embedded technologies, these household-devices-turned instruments are explored in interactive installations, commissioned compositions, and performances. Traditionally relegated to the private sphere, we interrogate domesticity through public engagement and performative spectacle.
The new instruments are based on laundering tools that highlight gender performativity through clothing. Thefirst instrument featured in installation/performance is Embedded Iron, based on an early-20th century wooden ironing board and antique iron. Both the public and musicians can “iron” fabrics, including their own pieces of clothing, to make music. Using spectroscopy, the Embedded Iron has a color-sensing ability—‘seeing’ the color of the fabric to play different timbres. Using machine learning Wekinator, the Iron can interpolate unique sounds for any given fabric. The iron’s placement on the XY-axis of the ironing board determines pitch using LIDAR and ultrasonic technology.
The Iron plays sounds of resistance, combining two sound modules in Pure Data: physical modeling of a violin—an instrument on which women were discouraged to be played in the nineteenth-century—and electric guitar-pedal like audio FX. Both of these modules evoke sounds that are historically associated with male musicians—put on an iron to subvert these very associations.
Two texts chosen from an oppressive 19th-century marriage manual are mapped to a special “white apron” for ironing on the left and right side of the board, using granular synthesis. While the text may seem ludicrously outdated, the intentions behind the text are, ironically, still eeriely prevalent today.
- Biography: Jocelyn Ho, creative director of Women’s Labor, directs, composes, and performs in inter-disciplinary performance projects involving collaborators from vastly different fields. She is a Steinway artist and an Assistant Professor of Performance Studies at UCLA.
Margaret Schedel has a diverse creative output with works spanning interactive multimedia operas, virtual-reality experiences, sound art, video games, and composition. She is a Professor of Music and Chair of Art at Stony Brook University.
Robert Cosgrove is a percussionist, composer, and technologist, currently Artist-In-Residence at Practice Gallery and Technical Director for Yarn/Wire and Ensemble Decipher. He has a Doctorate of Musical Arts from Stony Brook University.
Omkar Bhatt is a computer scientist focusing on machine learning, data science, visualization and HCI. Bhatt holds a Master degree in Computer Science at Stony Brook University.
Matthew Blessing is music technologist and composer with a PhD in Experimental Music and Digital Media from Louisiana State University.
Artist talk / Intelligent Habitat
- Abstract: The main aim of the artistic project described hereby is to create an intelligent audiovisual installation exploring the combination of technologies such as biomedical signals and machine learning techniques used in affective computing (also known as Emotion Artificial Intelligence), in order to create an intelligent environment capable of recognising the emotional state of visitors and react empathetically. Furthermore, such environment is hereby conceived as a prototype of possible future homes, where the space itself is able to recognise the emotional current condition of its inhabitants and produce an empathetic reaction. In a first stage, visitors are not only audio-and visually confronted with their own current emotional state, but also are invited to raise awareness about the possibility of future home technologies and their implications. Consequently, this fact does not limit participation of common visitors, but also and specially invites scientists, artists, philosophers and producers and consumers of global digital technologies to a fundamental discussion about how our future homes may be and how new technologies inside them may or may not be beneficial to everyone’s well-being.
- Biography: New media and audiovisual artist. Her work and research cover different aspects of visual and sound art, which extend from audiovisual fixed-media compositions to performances and installations interacting with biomedical signals. She has been artist-in-residence in several outstanding institutions, for example at ZKM (Karlsruhe) and at the ICST-ZHdK in Zur-ich.
Her work is constantly featured in not only media and sound-based festivals/conferences but also in group and solo exhibitions around the globe, for example, the ZKM Karlsruhe; KIBLA Centre Maribor, Bauhaus Museum Berlin; Festival de la Imagen Manizales, DRHA2010 Sensual Technologies London; SIGGRAPH Asia Yokohama; Re-New Festival Copenhagen; New Interfaces for Musical Expression NIME Os-lo; ISEA Istanbul, Manizales and Durban, CAMP audiovisual concert – Salon Suisse, Official collateral event of the 55th Venice Biennale, Audio Art Festival Cracow, Harvestworks Digital Media Arts Center NYC, Museum of Contemporary Art MAC Bogotá, MADATAC Madrid, ADAF Athens, Hero-ines of Sound Berlin.
Invited talk – “Global Archiving Network: A Case Study at the Second Summit on New Media Art Archiving at ISEA2022”
- Abstract: One of the primary functions of an archive is to act as a repository to store essential documents and records throughout history; consequently, these stored archival materials can help us re-imagine a collective memory of the past. With rapid changes in the dissemination of information in recent years, the conventional ways of archiving may not be able to capture all the essential records of our time. This is especially concerning in regard to new media art archiving. Many recently created important new media artworks have been disappearing without being archived. If this issue is not addressed, we may lose a significant part of our digital cultural heritage. To respond to the issue, archives worldwide have attempted to approach the problem collectively. This lightning talk discusses a case study that will be conducted in response to the Second Summit on New Media Art Archiving.
- Biography:
Terry C. W. Wong has a bachelor’s degree from the Applied Science Department of the University of British Columbia and a Master’s degree in Fine Art at the Chinese University of Hong Kong. Currently, he is working on his graduate degree in the School of Interactive Arts and Technology at Simon Fraser University. He is doing his research study on connecting new media art archiving worldwide. Terry is also an archivist and co-organizer for the ISEA Archives. He was also on the organizing team of ISEA2016 in Hong Kong.
Invited talk – ACM SIGGRAPH History Archives: Expanding the Vision through Teamwork
- Abstract: The ACM SIGGRAPH History Archives is a team effort involving students, interns, volunteers, and computer graphic pioneers. In 2022, it expanded from an online archive to include a physical archive of SIGGRAPH publications and artifacts. These archives include information about presentations, exhibitions, screenings and events at the annual conference as well as information about SIGGRAPH communities and committees. With such a vast array of information, developing a robust infrastructure was essential. Team members researched, digitized and entered tens of thousands of entries and programmed innovative features that enable users easy access to this valuable resource. The SIGGRAPH History archive team is also preparing the archive to be part of the world-wide distributed network of new media art archives.
- Biography:
Bonnie Mitchell is a digital artist, animator, archivist as well as a professor at Bowling Green State University in Digital Arts, Ohio, USA. Mitchell’s artworks explore spatial and experiential relationships to our physical, social, cultural and psychological environment through interaction and physical immersion. Her creative work includes interactive installation art, environmental data visualization art, experimental visual music animation, net-art, and new media art archive development. Mitchell is the co-director of the SIGGRAPH History and ISEA Symposium online Archives and also a member of the organizing team of the Summit on New Media Art Archiving (first held in 2021 online and again in 2022 in Barcelona). She is also a member of the ISEA International Advisory Committee, the ACM SIGGRAPH History and Digital Arts Committees and is the SIGGRAPH 2023 History Chair in charge of the 50th conference celebration.
Jan Searleman (California, USA) taught Computer Science at Clarkson University for 37 years, retired in 2015, and since retirement has been an Adjunct Research Professor at Clarkson. Her research areas are Virtual Environments, Human-Computer Interaction, and Artificial Intelligence. A senior member of the ACM, Jan is also on both the ACM SIGGRAPH Digital Art Committee (DAC) and the ACM SIGGRAPH History Committee. Jan and Bonnie Mitchell coordinated the DAC Online Exhibition “The Earth, Our Home: Art, Technology and Critical Action”. She co-moderated SPARKS talks (Short Presentations of Artworks and Research for the Kindred Spirit) for DAC on “Robotics, Electronics, and Artificial Intelligence” with Hye Yeon Nam, and “Data: Visual Perception, Interpretation and Truth” with Everardo Reyes. Jan co-directs, along with Bonnie Mitchell, the ACM SIGGRAPH History Archive. She also co-directs the ISEA Symposium Archive with Bonnie Mitchell, Wim van der Plas and Terry C.W. Wong.
Invited talk – FILE Archive
- Abstract: The presentation is about the digital archive of FILE – Elec-tronic Language International Festival. FILE ARCHIVE is an initiative carried out by the independent cultural non-profit or-ganization FILE – International Electronic Language Festival – and aims to make available and share its collection, which brings together 22 years of achievements, in an accessible and free online environment. This expanding collection makes available the last 5 years of FILE FESTIVAL events and exhi-bitions (2017 -2022), through the free software TAINACAN.
- Biography:
Paula Perissinotto is specialized in new media, contemporary art and digital culture. Master’s degree in visual poetics from ECA (School of Communications and Arts at USP University of São Paulo). Since 2000 I have been working as Co- organizer and Co- curator of FILE, Electronic Language International Festival, a non-profit cultural organization that promotes and encourages aesthetic and cultural productions related to the new poetics of contempo-rary culture. At the festival, is responsible for the selection of works, international relations and also calls for project manage-ment carried out in Brazil. Have produced and realized 50 art and technology exhibitions. Current is a PHD student at the University of São Paulo, School of Communications and Arts | ECA, in Visual Poetics. Member of the Realidates Research Group licensed by CNPq, led by Profa. Dr. Silvia Laurentiz who in turn, is formally affiliated with the School of Communications and Arts and the De-partment of Visual Arts, ECA / USP.
Fabiana Krepel is a Food Engineer graduated from Unicamp University, and post-graduated in marketing from ESPM. She holds a Graphic Design Certificate from Parsons The New School of Design and an ADVANCED DIPLOMA in Online Education & Training from the Institute of Education, University of London. Fabiana has experience in strategic planning, direct marketing, acquired in multinational and national companies such as WUNDERMAN. She has also 15 years of experience in special-ized consultancy for cultural projects in incentive laws; both in the development and approval of customized projects, as well as in the management of sponsorship resources and accountability. Since 2001, she has been a Partner – Director of KCE Consulto-ria Empresarial | b.k design; and is responsible for coordinating the FILE FESTIVAL platforms; FILE ALIVE and FILE ARCHIVE (online educational platform and archive Platform); as well as responsible for FILE cultural projects in incentive laws.
Invited talk – Ars Electronica Archive
- Abstract: The Ars Electronica Archive contains documentation of content since the start of Ars Electronica in 1979. A huge number of artists and researchers from the field of art, technology and society were part of Ars Electronica activities during more than 40 years. They have left their traces in the archive. The presentation provides a glimpse into what the Ars Electronica Archive is and stands for, and what the current achievements and challenges are. Part of the archive is accessible online (Online Archive), part of it only internally (physical Archive & Internal Database).
- Biography:
Christina Radner (AT) currently is the responsible project manager for the Ars Electronica Archive in Linz, Austria. In 2009 she got her Master´s degree in art history at the University of Vienna. At an internship at the Art Brut Museum Gugging in Klosterneuburg near Vienna, she got a first insight into the archive work of a museum. She was hired project-based, to help work on an artist´s estate and to prepare a retrospective and a comprehensive catalogue of works. In 2013 she moved back to Upper Austria and started her work in the Ars Electronica Archive Team. Since 2015 she is the responsible project manager for the Archive and part of the Festival/Prix/Archive Core Team of Ars Electronica.
Invited talk – ISEA Symposium Archives: Progressing from the Past to the Future
- Abstract: The ISEA Symposium Archives have undergone significant changes in the past 8 years but in 2021, the project reached a milestone. All the information had been moved from the Classic archive to the New archive, therefore the focus transitioned from data input and basic development to finding missing information, fixing errors, developing structural consistency, cleansing the data, adding videos and developing features that would enable us to connect to other archives. Although the ISEA archives are far from complete, this shift of focus has broadened our vision and enabled us to enhance the usefulness of this valuable resource.
- Biography:
Bonnie Mitchell (Ohio, USA) is a digital artist, animator, archivist as well as a professor of Digital Arts at Bowling Green State University. Mitchell’s artworks explore spatial and experiential relationships to our physical, social, cultural and psychological environment through interaction and physical immersion. Her creative work includes interactive installation art, environmental data visualization art, experimental visual music animation, net-art, and new media art archive development. Mitchell is the co-director of the SIGGRAPH History and ISEA Symposium online Archives and also a member of the organizing team of the Summit on New Media Art Archiving (first held in 2021 online and again in 2022 in Barcelona). She is also a member of the ISEA International Advisory Committee, the ACM SIGGRAPH History and Digital Arts Committees and is the SIGGRAPH 2023 History Chair in charge of the 50th conference celebration.
Jan Searleman (California, USA) taught Computer Science at Clarkson University for 37 years, retired in 2015, and since retirement has been an Adjunct Research Professor at Clarkson. Her research areas are Virtual Environments, Human-Computer Interaction, and Artificial Intelligence. A senior member of the ACM, Jan is also on both the ACM SIGGRAPH Digital Art Committee (DAC) and the ACM SIGGRAPH History Committee. Jan and Bonnie Mitchell coordinated the DAC Online Exhibition “The Earth, Our Home: Art, Technology and Critical Action”. She co-moderated SPARKS talks (Short Presentations of Artworks and Research for the Kindred Spirit) for DAC on “Robotics, Electronics, and Artificial Intelligence” with Hye Yeon Nam, and “Data: Visual Perception, Interpretation and Truth” with Everardo Reyes. Jan co-directs, along with Bonnie Mitchell, the ACM SIGGRAPH History Archive. She also co-directs the ISEA Symposium Archive with Bonnie Mitchell, Wim van der Plas and Terry C.W. Wong.
Wim van der Plas (Netherlands) studied Social & Cultural Sciences at the Erasmus University Rotterdam. He was director of the Foundation for Creative Computer Applications (SCCA, Rotterdam), R&D staff of the Utrecht School of Arts, managing director of the Institute for Computer Animation (SCAN, Groningen), and worked for 3 different departments of the Utrecht University of Applied Sciences. He is co-founder of ISEA, organised the first, second and seventh ISEA symposium and served as ISEA HQ and on the ISEA board since its founding. Currently he is co-director of the ISEA symposium archives and member as well as honorary chair of the ISEA International Advisory Committee. In 2018 he received a Leonardo Pioneer Award.
Terry C. W. Wong has a bachelor’s degree from the Applied Science Department of the University of British Columbia and a Master’s degree in Fine Art at the Chinese University of Hong Kong. Currently, he is working on his graduate degree in the School of Interactive Arts and Technology at Simon Fraser University. He is doing his research study on connecting new media art archiving worldwide. Terry is also an archivist and co-organizer for the ISEA Archives. He was also on the organizing team of ISEA2016 in Hong Kong.
Invited talk – Revealing Higher Impact of Media Art Archiving
- Abstract: Media art poses a multitude of specific challenges for archiving, e.g., the weak interconnection of thematically similar archives. Furthermore, digital tools developed for image analysis as well as art research usually fall short when confronted with media art. LeFo and ImDaLi, the projects presented here, intend to address these issues in their research.
- Biography:
Oliver Grau (DE) is first Chair Professor for Image Science in the German-speaking countries at the Danube University since 2005 and has held more than 350 lectures and keynotes. Grau’s “Virtual Art,” (2003) is the most quoted art history monograph since 2000. He conceived scientific tools for digital humanities like the Archive for Digital Art (ADA, since 1999) and developed international MA programs like Image Science and the joint master in MediaArtsCultures. Grau was founding director of the MediaArtHistories Conferences. He has received several awards for books including Mediale Emotionen (2005), Imagery in the 21st Century (2011), recently: Digital Art through the Looking Glass (2020). 2014 he received a doctor h.c., 2015 he was elected into the Academia Europaea.
Invited talk – Establishing the Computer Arts Society Archive
- Abstract: The Computer Arts Archive is a not-for-profit company that collects, exhibits and promotes computer arts for the benefit of artists, audiences, curators, educators and researchers. We collaborate with other collections, museums and galleries to explore the impact of digital culture and ensure that computer art is recognised as a significant contemporary art form with a rich and diverse history. In particular, we work closely with the Computer Arts Society, a member-based organization founded in 1968.
- Biography:
Sean Clark is an independent artist, curator, and researcher based in Leicestershire, UK. His artwork explores interaction and connectedness through the construction of audiovisual systems presented on screen, as installations, and as prints. He is the director of Interact Digital Arts and the curator of the Computer Arts Archive. He has a PhD in Computational Art from De Montfort University and in 2016 was co-winner of the Lumen Prize for 3D/Sculpture and the Art.CHI Digital Art Prize.
He is a member of the EVA London conference organising committee, on the editorial board of the Springer Series on Cultural Computing, on the panel of the ACM Lifetime Achievement in Digital Arts Award, a Fellow of the British Computer Society, a Visiting Research Fellow at De Montfort University and an International Professor at Guangdong University of Technology in China.
Sean Carroll is a PHD candidate at De Montfort University UK. His study is investigating the potential use of Machine Learning to support the development of the newly founded Computer Arts Archive. Sean has a background in cultural events management, curating exhibitions, festivals and education programmes that focus largely on emerging technologies. His work has attracted significant public funding from Arts Council England, US Space Agency and the AHRC.
Invited talk – Introducing Arc-hive
- Abstract: ‘Introducing Arc-hive’ is a 10 minute presentation by Antonio Gagliano and Luciana Della Villa that proposes to introduce Arc-hive’s framework, its fundamental objectives and challenges, and to open up the collective research process carried out so far.
- Biography:
Antonio Gagliano is a researcher and artist. His projects intertwine practices around structural imagination to explore the multiple ways in which knowledge emerges, is organized and distributed. He has participated in exhibitions such as La tradició que ens travessa (Arts Santa Mónica, 2022), Acció. Una història provisional dels 90s (MACBA, 2020) or Manufactories of Caring Space-Time (Museum voor Schone Kunsten, 2017). He has contributed to newspapers such as Der Spiegel, Süddeutsche Zeitung and La Vanguardia, and books such as Pornotopia. An Essay on Playboy’s Architecture and Biopolitics (Paul B. Preciado, MIT Press, 2014). For the last decade, he has contributed as editor and sound producer at Son[i]a de Radio Web MACBA and has been a regular contributor to the museum’s educational programs. Since 2020, he coordinates the Research and transference of knowledge area of Hangar.
Luciana Della Villa has a degree in Art History from the University of Barcelona and a master’s degree in Cultural Heritage Management from the same center. She was part of the Art Department and the Communication Department of the Vila Casas Foundation, both at the Can Framis Museum and the Espacio Volart. At the same time, she develops her personal project Svper linked to music, and works on musical creation for advertising. Since 2017, she coordinates the Communication area of Hangar.
Artist talk / Forensic love and visceral data: bio-antidote for romantic love
- Abstract: Forensic Love and Visceral Data is an art project that claims the urgent creation of a bio-antidote, a biomaterial, performative-ritualistic-scientific-medical, to cure (us) of romantic love and eradicate this chronic pandemic. A disease, a linguistic virus, the malware that constitutes one of the basic pillars of patriarchy, diluted in songs, sayings, and compliments. The raw material of the bio-antidote(s) is our visceral data, which is obtained from the contrast and verification of romantic love sayings with some medical analysis techniques hacked into their significance and interaction (dose/spell indication) with the participant-patient. Then, each bio-antidote is created from the data and matter of the “sick” organ that is the one that has received and assimilated the curse of romantic love. Medical protocols will be followed to identify and treat the disease: Diagnosis, Creation of antidote and finally Dosing, dividing the project into three stages. Our preliminary diagnosis is that the language being a virus enters the body from an initial point to expand and affect the different organs. The project begins by analyzing these popular sayings, the internal programming of romantic love and its physical effect on our emotional body. These are the symptoms of the disease called “love”, but they are not just ours, they are the choral symptoms of our sick society. Then, analyzing our social fabric, we respond, returning to it, not only the possibility of a cure with a bio-antidote but also its dosage as indications-spells, created from the same sayings that will be re-evaluated through social networks. This performatic dimension of the project allows us to hack our body-minds and at the same time decolonize the western medical tradition, making fiction with it, creating a body performative narrative. A DIY/DIWO/DIT epigenetics, a methodology/declaration of war that mixes scientific-medical and ritualistic protocols.
- Biography: We join forces to work at the intersection of performance, technology, and science. In a true co-creation, our projects are born from our personal crusades and therefore they are micropolitical flesh.
Cecilia Vilca, Peruvian transartist, chola feminist techno-witch, language activist. M.A. Digital Arts, Universitat Pompeu Fabra, Barcelona. Art/science division founding member of MyAP Electron Microscopy Laboratory. Her work is made with technology being this tool and object of reflection, exploring its relationship with gender, society, and nature. From a decolonizing vision it develops in the borders of art and science, connecting ancient technologies with new ones. ISEA2020 IPC Member. CITAR Journal Reviewer. Exhibitions/Lectures: Peru, Mexico, Bolivia, Argentina, Spain, Cuba, Chile, Norway, Colombia, Brazil, South Africa, Greece, Portugal, USA, Austria.
Lorena Lo Peña, peruvian interdisciplinary artist, professor and cultural manager. M.A. ‘Contemporary Performance Making’, Brunel University, London. Co-founder and director of 14 year old pioneer independent art-space elgalpon.espacio. Her artistic research crosses the liminal spaces between physical action, body art, multimedia, interactive and interdisciplinary performance. Her work is within the themes of gender, identity and body politics, with a strong documentary and autobiographical approach. Performances, conferences, seminars, residencies, various international festivals, in Peru, Cuba, Brazil, Colombia, Mexico, Chile, Argentina, Denmark, the United Kingdom and Germany.
Panel / The Collaborative Museum
- Abstract: Flagship cultural institutions such as museums have long been significant sites of cultural exchange and the urban experience. But as the number of museums worldwide increases, there has been a considerable change not only in their mission and orientation, but also in the contribution they are expected to make to the social, urban and cultural agenda of localities as they are routinely called on to be key elements of local place-making and community cultural development strategies. Increasingly, the contemporary museum must foster connections with its locality as both a place and a community, which requires an approach that is imaginative, collaborative and locally specific.
Thus, to be successful, new cultural infrastructure developments must be embedded in their physical and social environments from the outset. Despite this necessity, there has been no systematic research into what such embeddedness might entail, nor any guidance as to the measures of success. What is needed, therefore, is an engaged and interactive analysis of the ways in which a major cultural facility is founded in dialogue with its local communities. Our research project offers a unique opportunity to examine, and contribute to, the process of embedding a new museum into physical and community space in real time.
This panel will present the first stages of a longitudinal research project to undertake a detailed study of the innovative ways in which a new museum seeks to become a leading collaborative museum. The discussion will present an approach that simultaneously probes what the development means for the diverse communities of the museums location and examines the collaborative initiatives and projects instigated by the museum and the community. Three methods of the thematic strands of the research project – cultural infrastructure, cultural mapping and research collaborations with arts, science and technology industries.
Acknowledgement: The presenters acknowledge their project colleagues in the development of the text for ARC LP200301481 The Collaborative Museum: Embedding Cultural Infrastructure in the City: Chief Investigators Distinguished Professor Ien Ang, Professor Deborah Stevenson and Dr Malini Sur of the Institute for Culture and Society at Western Sydney University.
- Biography: Dr Cecelia Cmielewski is a Research Fellow at the Institute for Culture and Society at Western Sydney University (WSU) with over thirty years’ experience in the cultural sector. She is the author of Creative Frictions: Arts Leadership, Policy and Practice in Multicultural Australia (2021, ANU Press). Cecelia’s research interests address inclusion in the creative sectors with a focus on the relationship between creative production and multicultural policies. Her current research role is on the ARC funded The Collaborative Museum – Embedding Culture in the City (2021-2025). Cecelia held Senior Policy and Project Management roles at the Australia Council, the Federal Government’s arts agency between 1998 and 2011.
Dr Deborah Lawler-Dormer is the Research Manager at the Museum of Applied Arts and Sciences, Sydney. Deborah’s research expertise is in transdisciplinary art, science and technology projects. Her current research is on curatorial methodologies informed by posthumanist, feminist and new materialist thinking. Through her doctoral research practice, she developed a biomimetic avatar in collaboration with the Centre for Animate Technologies and explored biomimesis through curating an international exhibition, a virtual reality environment and an interactive installation. She has also investigated photographic, media art and film practices. Deborah is interested in deep collaborative research projects between the museum, industry and the tertiary sector.
Artist talk / LIMBO (2021) – The Sea Levels in a Sound an Visual Immersive Ex-perience
- Abstract: LIMBO (2021) is a Live Sound and Live Visuals performance that reflects on the rise of the sea levels environmental issue, its impact and effects in our cities and countries. Being both the visuals and the sound designs constructed in an impro-vised live performance, the method on which the performance itself is built – intrinsically connecting both mediums – has got layers of complexity, not only from a technical perspective. That synesthetic relationship is also indeed dialectic: how to construct a live sound thinking of a visual impact and how to construct a live visual to be “disturbed” by the sound. Or, in simpler terms, how to paint with music and how to play music with paint. From this, the voyage about our impact in the loss of our cities, of our biodiversity, on our heritage is a meditative, immersive, andreflective act, and a both personal and collective experience.
- Biography: André Araújo is a Musician/Visual Artist from Porto. Since his childhood, he plays the Flute, culmi-nating in his studies at the Conservatory of Music of Porto where he transitioned from classical music to Jazz and Improvised Music. That way, he joins the Koninklijke Conservatorium Brussel (Royal Con-servatory of Brussels, Belgium) where he completes his bachelor’s degree in jazz (Cum Laude). His musical evolution in the Belgian capital, increasingly approaching electronic music, free jazz and improvised music, led him to feel the need to associate visual interaction components to his musical practice. Nowadays, he’s taking a master’s degree in Contemporary Artistic Practice at the University of Aveiro. He is developing projects and experiencing the way his music interacts in various ways, namely in Per-formance, Digital Video Art, Net Art, Installation, Virtual Reality, among others.
Nuno Sousa is a multimedia student, with a degree in pro-duction of interactive content and multimedia, entered the erasmus program where he studied cinema on the Krzysztof Kieslowki Faculty of Radio and Television. His specialization is the modeling and rendering of 3d content, mainly interested in ceramic pieces and portraying people, moments or experiences in digital media. Over time he has collaborated in several projects predominantly as a Photogrametry freelancer, he is now starting a master’s de-gree in contemporary art.
Marta de Menezes (born 1975) is a Portuguese artist, with a Degree in Fine Arts from the University of Lisbon and a MSt from the University of Oxford. De Menezes is director of Cultivamos Cultura, the leading institution devoted to experimental art in Portugal and Ectopia, dedicated to facilitate the collaborative work between artists and scientists. Marta de Menezes has worked in the intersection of art and biology since the late 90s, in the UK, Australia, the Netherlands, and Portugal, exploring the conceptual and aesthetic opportunities of-fered by biological sciences for visual representation in the arts. Her work has been widely exhibited in major venues in all continents, presented in most anthologies devoted to bioart, discussed in doctoral dissertations, and considered an example of research in the visual arts. Among the most recent international exhibitions, de Menezes was invited for the 2019 Ars Electronica Festival: Out of the Box, and organized two 2020 Ars Electronica Gardens (Lisbon and São Luis). She was invited to be the official representation of Portugal at the London Design Biennale 2016 and exhibited at the Beijing Biennale of New Media Art 2016. DeMenezes was nominated in 2015 by Time and Fortune magazines for the Art and Technology Awards 2015.
Workshop / Word of Mouth: When Our Lips Speak Together
Inscriptions open: https://kenes.eventsair.com/isea2022/workshop12/Site/Register
- Abstract: Our session nestles into a gap between misreading and citation, between ways of knowing prompted by sound, sight and those facilitated by touch. The misreading? The word “gap” can also be “gape” thanks to their shared roots in the German word “gaffen,” which means to gape, to open the mouth wide, to yawn. And the citation? “When Our Lips Speak Together” is the title of philosopher Luce Irigaray’s seminal 1977 essay in which she both models a form of critical thought that speaks the body while also calling for a tactile poetics that moves beyond a binary logic of conflict.
We will attend, therefore, to the mouth, to word of mouth, to lips moving together and to the circles that spiral from in and out of the mouth.
Our workshop invites participants to feel their mouths and bodies, to gape and yawn, pucker, lick, laugh, gnash, breathe, and hum — moving from the lips inwards to teeth and tongues and deeper into the throat and lungs through a series of guided provocations. We ask who speaks, what speaks, who is allowed to speak, and what gets spoken. While “word of mouth” points to a generally maligned oral tradition, how might we reclaim it together, passing ideas along mouth to mouth?
We will amplify and enhance our lips to sing, murmur, stutter and scream, augmenting the embodied through our technologies. Can we conjure an alternative oral tradition? We think so. Together. Our lips will speak together.
- Biography: We are an interdisciplinary research group of Ph.D. students and faculty from the Division of Media Arts + Practice at the University of Southern California. Sarah Ciston is a computational media artist exploring how to bring intersectional feminist, queer, and anti-racist theories and practices to AI; Noa Kaplan is a visual artist focused on the intersections of physical and digital space; Fidelia Lam is an experimental media artist working with sound and live performance; Szilvia Ruszev is media artist and scholar challenging the materiality of digital media; Lisa Müller-Trede is a media/performance artist and scholar interested in the performative dimension of virtuality and the virtual in the live event; Holly Willis is a scholar and writer investigating film, video and new media.
Artist talk / How can we renew the living environment from the perspective of light, both natural and artificial, for the future?
- Abstract: COVID-19 leaves a clear mark on our living environment. The pandemic has changed the use of public space. We have started to spend more time in nearby outdoor spaces. It is the place where we see the other. Where we make the social city. Light, natural and artificial, is a fundamental part of this. Light is much more than a medium that enables us to see. It affects our health, our ecosystems and the places we live in in countless ways. Light can bring people together in urban spaces, emphasize the culture and identity of the city and shape the nightscape.
For me, public space is not a saturated or static space, but a living organism. A continuous process of interaction between people and their environment. Light uses time and space as its material. Light art in public space does not begin or end in a physical form but is a transfer of energy. An infinite potential of relationships that permanently engenders new links between things and people. It can lift the space out of its anonymity and add new and unexpected connections or break fixed patterns of movement. It does not have to draw attention to itself, it provides sight of the space. Art of light as a representation of life, of energy in the city, as a form of poetry.
- Biography: Titia Ex creates a choreography in space, where art, technology and the receptive surroundings meet. Every environment has its own character, function and users. Her visual light & media sculptures immerse with their dynamic, mobile forms and interactive characters. In the course of light and dark, day and night, they reflect related changes of mood and create a poetic echo, adding a new layer of meaning.
She is the creator of dozens of high-profile, large-scale works of light art in public space, including ‘Dolmen Light’ in the Hondsrugtunnel in Emmen (2015) and ‘Loom Light’, an interactive light monument in Eindhoven (2022). The interactive light sculpture ‘Flower of the Universe’ (2010), for which she did her research and found inspiration in a Botanical Garden travels all over the world, including the Asia Culture Center (ACC) in South Korea (2020).
Artist talk / AI.R Taletorium: Artificial Intelligence 1001 Cyber Nights
- Abstract: AI.R Taletorium: is an artificial intelligence-based collaborative storytelling system that offers children with inclusive needs an opportunity to experience a remote interactive AI fairy tales storytelling experience while actively involving them in creating a story’s narrative with their normal peers. We use artificial intelligence, facial characteristics, computer vision and playful interactive collaboration. We aim to provoke positive social interactions between children, help develop social, creative and communication skills in the early childhood stage, and improve their imagination and social competencies. In the art project AI.R Taletorium: Artificial Intelligence 1001 Cyber Nights, we are inspired by “One Thousand and One Nights” collection of Middle Eastern folk tales and its vast cultural influence on world exchange between East and West.
Furthermore, in this project, we are developing the concept of Artificial Intelligence Reality (AI.R) as a novel reality paradigm designed with robot creativity and artificial intelligence processed data collected via sensors and cameras from the environment. Besides textual dataset and visual data analysis, we use the users’ facial recognition features, and emotional data as inputs for total user immersion into AI created realm.
Our platform’s key novelty is the use of artificial intelligence, facial characteristics, and visual content generated by users to conceptualize and direct fairy tales created by a trained AI storytelling agent. The system is operating online and in real-time. Users can invite more participants to make fairy tales or start a new one upon invitation. The AI agent also creates dynamic illustrations of the generated storyline and allows the user to draw additional objects or characters that are integrated into the story afterwards. The system offers a collective entertaining and imaginative experience without location and time limitations, helping children stay together, improving their psychological health, and creatively collaborating.
- Biography: Dr Predrag K. Nikolić is an Associate Professor at the University of The Bahamas, Faculty of Liberal and Fine Arts in Nassau. He is an interactive media designer, media artist and researcher who holds a PhD in Digital Media and an MBA. In his creative practice, he focuses on singularity, posthumanism, AI juxtaposition and emancipation. His project Syntropic Counterpoints (www.syntropic-counterpoints.com) had numerous exposures worldwide together with other artworks such as Botorikko, Robosophy Philosophy, MindCatcher, InnerBody, Ciklosol, Before & Beyond, Vrroom, Digital Lolipop, In_Visible Island.
Dr Predrag K Nikolic exhibited and presented his work at Ars Electronica, SIGGRAPH, SIGGRAPH Asia, ACM SIGGRAPH Sparks, Technarte USA, Technarte Spain, Singapore Science Center, Hong Kong – Shenzhen Design Biennial, Maison Shanghai, National Museum of Applied Arts in Belgrade, National Museum of Education in Belgrade.
Professor Nikolić is Editor-In-Chief for EAI Endorsed Transactions on Creative Technologies Journal and European Alliance for Innovation (EAI) Fellow and founder of AI.R Lab.
Giacomo Bertin is a Physic of Data student at the University of Padova who holds a Bachelor’s degree in Physics with a thesis in computational methods for drug discovery.
He is a machine learning engineer and artificial intelligence developer who is part of the Professor Nikolic’s Syntropic Counterpoints project and co-founder of AI.R Lab, focused on computer vision and natural language processing.
Artist talk / Discovering Urban Pasts: Activating Archival Material with Site-Specific Urban Media Installation
- Abstract: Cities are living information systems, undergoing continued evolution and reconfiguration. Most frequently, media in this landscape is aimed at commerce/marketing. However, contemporary technology is increasingly being used to create affective, embodied, and/or meditative experiences that are not primarily commercial in nature. The novelty of this project is in working with local culture bearers and community stakeholders to inject site-specific cultural and historical narratives in the urban landscape. Currently focused on the Tremé neighborhood of New Orleans, LA, this project uses contemporary technology to draw attention to and to celebrate the many contributions of the historic residents of the oldest black neighborhood in the United States.
Moreover, by working directly with community stakeholders in the curation and development of these media outcomes, this project intends to outline a model for centering the voices and narratives of underrepresented groups in any urban environment. Finally, these works are part of a larger research project towards the creation of a strong, location-based augmented reality mobile application that also allows individuals to experientially discover the history of a place.
In this work-in-progress artist talk, I will discuss the successes and challenges of the installations created to date – covering both the technical and the social components of the project. I will also discuss intended plans for both the media installations and the augmented reality component – discussing my work with the Google’s MediaPipe as well as Google’s global localization system.
- Biography: Minka Stoyanova is an artist, technologist, and theorist. She completed her Masters of Fine Art (MFA) at the Glasgow School of Art, her PhD (Creative Media) at the School of Creative Media, City University of Hong Kong, and is an alumna of the Fulbright Research Scholar program in Bulgaria. Her artistic and academic research is focused on cyborg-based approaches to contemporary art and culture, and results in works that investigate the real and speculative effects of technology in society. She has presented artwork and published papers in a variety of national and international venues including Xi’an Museum of Contemporary Art (China), Clockenflap Music Festival (Hong Kong), the International Symposium of Electronic Art (Hong Kong), Transmediale (Berlin), Videoholica (Bulgaria), and FutureEverything (Manchester). As a 2020 Computing Innovation Fellow, Minka’s current, postdoctoral, research explores the possibilities of Augmented Reality in outdoor urban spaces.
Reece Auguiste is Associate Professor of Critical Media Practices at the University of Colorado, Boulder and is a documentary scholar/artist with a research focus on national and transnational screen cultures, and documentary media arts practices. Auguiste was a founding member of the London based critically acclaimed Black Audio Film Collective. He wrote and directed the films Twilight City, Mysteries of July, Duty of the Hour and Stillness Spirit.
He has published in AfterImage: Journal of Film and Media, Journal of Media Practice and Education, The British Avant-Garde Film 1926-1995, Questions of Third Cinema, and The Ghosts of Songs: The Film Art of the Black Audio Film Collective. He is the recipient of the Grand Prize at Melbourne International Film Festival, Josef Von Sternberg Award at the Mannheim International Film Festival, and International Documentary Association Award. He has exhibited at Tate Modern, Serpentine Gallery, and National Gallery of Art.
Artist talk / The Reflection of the Man
- Abstract: What does it mean to be human in a more-than-human world? How do we relate to our digital representations and can facial recognition technology contribute to a new digital sensibility in a truly shared space? Now organic entities no longer have a monopoly on seeing, we can ask ourselves: does the graphical language of machine vision enable communication between the human and the more-than-human?
- Biography: Martine Stig (Nijmegen, 1972) lives and works in Amsterdam. She studied at the Royal Academy of Fine Art (The Hague) and at the University of Amsterdam, philosophy. Her work has been shown at Stedelijk Museum Amsterdam, Aperture Foundation (NYC), Huis Marseille (Amsterdam). Her work is part of collections of Rijksmuseum (Amsterdam), the Nederlands Fotomuseum (Rotterdam), H+F collection& ABN/Amro collection. She has a teaching position at the Master Institute of Visual Cultures, Den Bosch. She co-founded the practice and research-based art foundation Radical Reversibility and, recently, the online meeting space WeAlgo.
Artist talk / Between Margaridas
- Abstract: On the structure of Google Maps, species of the Asteraceae family in ex3nc3on in Brazil will be mapped, according to the “Red Lists” database of the Na3onal Center for Flora Conserva3on. And in combina3on with those scien3fic informa3on, personal stories will be located with the collabora3on of different web users’ stories, sent by email [short life story, photography, loca3on]. An affec3ve cartography is going to be installed, which intends to map and disseminate the context of these endangered daisies and Margaridas in their botanical and socio-poli3cal dimensions, respec3vely. The work-in-progress “entre Margaridas” (between Margaridas”) rescues a scien3fic archive to organize an affec3ve collec3on, which updates an urgent look at endangered species – an environmental and historical-cultural territory that has been gradually destroyed, to bring it closer to another socio-poli3cal reality, our Margaridas, which also have survived in different poli3cal and/or social Brazilian environments. A poe3c collabora3ve database is going to be created according to web-users’ contribu3ons and their Margarida’s personal narra3ves, that even they are not notorious ones, daisies and Margaridas share the same strength of adap3ng to survive. We understand that expanding and diversifying the actors involved in the establishment of this visual narra3ve implies formalizing technology awareness processes, which give visibility to the exercises and disputes of power in the technical choices that guide our technocra3c society.
- Biography: Researcher, Professor and Coordinator of the Postgraduate Program in Languages, Media and Art at Pon3fical Catholic University of Campinas. Vice-leader of the Research Group on Produc3on and Research in Arts. She holds a degree in Civil Engineering at University of São Paulo, a master’s and doctorate in Mul3media, Ins3tute of Arts at State University of Campinas, and a postdoctoral degree at the Planetary Collegium, Nuova Accademia di Belle Ar3 in Milan and at Federal University of Goiás in Brazil.
Artist talk / Syndemic Sublime: rematerializing the expanded biotechnological apparatus in the age of remote intimacy and immediate precarity
- Abstract: Syndemic Sublime is an illustrated artist talk by transdisciplinary artist Laura Splan. Her research-based studio practice connects artifacts of science and technology to everyday lives through embodied interactions, tactile experiences, and sensory encounters. She will present recent projects and works in progress exploring complex systems and hidden labor in the contemporary biomedical landscape. Her Syndemic Sublime seriesexplores the interconnectedness of cultural and biological systems during the pandemic with data-driven animations, installations & videos created with molecular visualization software and coronavirus models. Precarious Structures explores liminal states of perception and interspecies entanglements with videos, animations & prints. Remote Disruptions explores invisible systems and poetic subjectivities of biotechnology with networked sculptures, Twitter activated laboratory devices, and recorded Zoom performances with scientists. Metanarratives engages viewers with unseen materialities of biotechnology with tactile sculptures created from the fiber of laboratory llamas who produce antibodies for human vaccines. Anticipatory Acts monumentalizes interstitial moments in cellular biology with neon and kinetic sculptures. Using both traditional and experimental media, Splan reconsiders representations of the body to interrogate cultural constructions of “self “and “other”. She uses uncanny combinations of materials and processes to invite an investigation of detail, calling into question how things are made and what they are made of while eliciting narrative interpretation and speculation. Her artworks and exhibitions attempt to reframe complex biomedical issues with provocations of curiosity and wonder that inspire audiences to think critically about the role of biotechnology in our daily lives.
- Biography: Laura Splan is a transdisciplinary artist working at the intersections of science, technology, and culture. Her artworks have been commissioned by The Centers for Disease Control Foundation and Triënnale Brugge, exhibited at the Museum of Arts & Design and the Beall Center for Art + Technology, and are represented in the collections of the Thoma Art Foundation and The Chan Zuckerberg Initiative. Articles including her work have appeared in The New York Times, Discover, designboom, CLOT, and Frieze. Publications featuring her artwork include The Routledge Companion To Biology In Art & Architecture. Splan has received research funding from The Jerome Foundation and her residencies have been supported by The Knight Foundation and The Institute for Electronic Arts. She has been a lecturer at Stanford University and her research as a member of the New Museum’s NEW INC Creative Science incubator has included collaborations with scientists to explore interspecies entanglements.
Artist talk / Atlantis: Cables, bunkers, ruins and myth in the ocean floor
- Abstract: Installed in the year 2000, Atlantis-2 was the first submarine fiber optic cable to create a direct internet connection between Europe and South America. One of its seven landing sites is located in an underground bunker in Conil, a small coastal town in the Atlantic coast of southern Spain, built in 1970 for the TAT-5/MAT-1 telephone cable that connected the Mediterranean to the United States during the Cold War. Next to the bunker’s main entrance there is a commemorative bronze plaque featuring a relief of the Italian, Portuguese, Spanish, and United States flags connected by a meandering cable. In the background, there is yet another relief that shows three ships with crosses on their sails navigating through the Ocean, most likely referring to the three caravels used by Christopher Columbus when he first sailed to America: La Pinta, La Niña, and La Santa María. The image inserts submarine cables into a genealogy that originates at the European colonization of America, establishing a historical relation between colonial and digital transatlantic infrastructures.
Taking this image as a starting point, I am currently working on a video essay entitled “Atlantis”, which proposes a speculative myth around the internet’s material infrastructure, based on an ethnographic, archival, and creative research into the landing station of the Atlantis-2 submarine cable in the south of Spain. Starting with a contemporary interpretation of the myths around the lost city of Atlantis and its relation to oceanic technology, this video essay will weave and interpret a network of historical, material, and semiotic relations emerging from the Atlantis-2 undersea cable, seeking to shed light on the entanglements between coloniality, the internet’s material infrastructure, submarine ruins, and mythology.
- Biography: Juan Pablo Pacheco Bejarano (Bogotá, 1991) is a visual artist and writer whose research investigates the historical and material intersections between technology and the biosphere. Through texts, videos, and web projects, his research explores the territorial dimensions of the technosphere and the material and poetic relationships between water and the internet. He has also produced transdisciplinary and collaborative laboratories, which seek to foster the critical appropriation of diverse technologies. He is a professor in the Department of Visual Arts at the Universidad Javeriana (Colombia), and has been a programming coordinador at Plataforma Bogotá, laboratory for art, science and technology, and at Espacio Odeón, a contemporary art space. His texts and works have been disseminated and developed in Colombia, the United States, Spain, Denmark, Germany, the Netherlands, Belgium, Russia, China, Senegal, Mexico and Uruguay.
Artist talk / DESCENT ≈ An Atlas of Relation
- Abstract: DESCENT ≈ An Atlas of Relation, looks to the fish – who have occupied our planet for millions of years in a constant struggle for survival – as an entryway to visualize the entanglements of interspecies relation through time-based imaging systems referencing the imperceptible slowness of evolutionary processes. Digital photographs, scans, and video documentation are combined with UV-sensitive direct contact printing methods that require multiple minutes, hours, or days to construct an image of/with the natural world. While these camera-less works archive the durational period of each exposure – appearing as frozen traces serving as documents or specimens – the digital images and time-based video clips function as infinitely reproducible experience. Together, these recording techniques result in unpredictable visuals corresponding with feminist perspectives on Darwin’s theory of descent emphasizing anti-essentialist understandings of matter and nature, considering all aspects of Being as forever transformed by and within time.
Thus far works have been produced throughout the U.S. in locations undergoing restoration or habitat conservation, and where relationships to land and water are disputed, revered, mourned, misunderstood, or unacknowledged. This requires recognition of how private and public land acquisition and corresponding histories of displacement (have and continue to) physically and culturally shape these watersheds. Connecting this knowledge with the unimaginable span of deep time embedded within the lives of fish and their watery homes to varied understandings of descent – as passage, downward movement, decline, sinking, legacy, lineage, origination – suggests both the promise and peril of ecological longevity. Resulting visuals consider how our bodies, along with fish and other organisms, find ways of being and living together within the midst of a globally shifting climate impacting our shared resources and, subsequently, our relations. As a collective of inhabitants, how do we persist, together, within the relentless ongoing-ness of our worlds?
- Biography: Dawn Roe (b. 1971, Sault Ste. Marie, MI, U.S.A.) is Professor of Studio Art in the Rollins College Department of Art & Art History in Winter Park, FL. Working between and within the still and moving image, her projects examine the role of these media in shaping personal and social understandings of our environment through site-responsive engagement. Roe’s work is exhibited regularly throughout the U.S. and internationally and has recently been recognized by Urbanautica Institute Awards, and LensCulture Critics Choice Awards. Her imagery and writing has been featured in many print and on-line publications including Lenscratch, Floorr, Aint-Bad, Oxford American, The Detroit Center for Contemporary Photography’s series Frame/s, and the Routledge publication, photographies. Roe’s work is represented by Tracey Morgan Gallery in Asheville, NC.
Artist talk / Fragments: A Cognitive Merzbau
- Abstract: Fragments is an ongoing series of audiovisual research-creation works that bring together live performance, generative music, video game design, photogrammetry, lighting design, audiovisual production, and theatre dramaturgy. By using a collage approach that mesh together autonomous computational systems, human performance, and real-world imagery and sound, the series explore the complex feelings of living in an algorithm-driven world, living away from one’s homeland, meeting and sharing across cultural differences, sustaining social lives at a distance and across borders, and relating to the mediatized lives of strangers.
Three pieces are discussed: Poetics of Otherness, that explores the hyper–mediatisation of warzones, Stabat Mater, that inquires into the anonymity of living in urban metropolis, and The Shape of Things, that dives into the atemporality of large-scale infrastructures.
Fragments is an ongoing series of audiovisual works that bring together multiple Montreal-based, but nationally-diverse, collaborators in the fields of generative music, lighting design, audiovisual production, graphic design, and research-creation. Together they explore the complex feelings of living in an algorithm-driven world, living away from their homelands, meeting and sharing across cultural differences, and sustaining social lives at a distance and across borders. As part of this series, The Shape of Things is an original creation led by Alexandre Saunier & Marc-André Cossette as the duo ALMA.
- Biography: ALMA (Alexandre Saunier & Marc-André Cossette) mixes together cutting-edge AI & A-Life algorithms with drum machines, analog and virtual synthesizers, photogrammetry, procedural graphics, and video-game engines to invoke memories of inaccessible places, the sensations of the material world, and the feeling of being together.
Alexandre Saunier is a multimedia artist and PhD Candidate at Concordia University. His research addresses the intersection between artistic creation with light, autonomous systems, and sensory perception. His artistic work is regularly presented in international festival such as Mutek, Bcn_Llum, Impakt, and Festival de la Imagen.
Marc-André Cossette is a transdisciplinary artist and PhD Candidate at Concordia University working on the relation between technology and performing arts using sound, visual, interaction design and Artificial. His work has been presented both in Canada and internationally, notably at Tangente Danse (Canada), Ars Electronica Festival (Austria), El Matadero (Spain) and CMMAS (Mexico).
Artist talk / Space Debris:: Waste Constellations. An artistic visualization
- Abstract: The launch of Sputnik in 1957, humanity’s first satellite, ushered in a new era in the conquest of outer space; but it also marked the beginning of a new type of pollution invisible to our eyes, space pollution. Since then, our planet has surrounded itself with numerous satellites tasked with studying our climate, predicting disasters, helping us answer scientific questions important to human evolution, and keeping us continuously connected and monitored. The useful life of these satellites is threatened by the saturation of objects orbiting the Earth. Accidental collisions between objects orbiting outer space can produce debris clouds that move at high speeds; the greater the planetary connectivity, the more increase in space pollution.
Space Debris :: Waste Constellations, is part of an artistic investigation that combines art, science and technology. The project analyzes and evidences the huge swarm of space debris that revolves around the Earth in its four main orbits. Relying on data extracted from scientific sources, it identifies the eleven powers responsible for the exponential accumulation of space debris, classifies and categorizes the data, and shows how this entire constellation of space debris is distributed in the Cosmos. The artistic project is structured around two axes. The first, the conceptual one, reveals the data collected from scientific sources and produces graphs that try to clarify the analyzed information. The second axis, and the main one, is made up of a large interactive three-dimensional installation that interprets outer space and its four main orbits. A projection of the Earth acts as a center. Around it, 44 circular devices woven with fiber optic and activated by light sensors are distributed.
The space conquest has generated great advances on our planet, now is time to act, to assume responsibilities, and to avoid this exponential growth of space pollution.
- Biography: Esther Pizarro is a visual artist, researcher and Professor at the European University of Madrid. She has been recognized four six-year research periods. Her installations have been exhibited at Las Cigarreras, Alicante; Tabacalera, Madrid; LABoral Center for Art and Industrial Creation, Gijón; Matadero Madrid; Metrópoli Foundation, Madrid; Casa Asia, Barcelona; Hospital Real, Granada; San Telmo Museum, San Sebastián; Tomás y Valiente Art Center, Madrid. Among the scholarships received are the Pollock-Krasner, the Academy of Spain in Rome, the College of Spain in Paris, and the Fulbright Scholarship. She has received numerous awards: Ramón Acín, Antón Scholarship, VEGAP Proposals, Ojo Crítico RNE, and Pámpana de Oro Valdepeñas. She has participated with large-scale installations at the Shanghai World Expo, China 2010; and Expo Zaragoza 2008. Her work has been represented in collections such as the Academy of Spain, Rome; Institut Valencià d’Art Modern, IVAM, and Ministry of Foreign Affairs.
Artist talk / Sun Eaters: How do we relate with the non-human plant world if our invisible similarities are made visible?
- Abstract: Sun Eaters, a physical computing installation installed in plants, measures the invisible bioelectricity which is present in all living beings, and translates it into visible light for viewers to see. Through the exploration of art as sensing tool, I am exploring how we relate to the non-human plant world(s) around us. Can artworks act as an empirical interface for grasping our complex, interwoven, beyond-human ecologies of present-day Earth and ways of thinking about them? How do you imagine your relationship with a plant differently when you can physically see it?
- Biography: Grace Grothaus is a computational media artist grappling with the climate crisis. Her practice-based artistic research encompasses environmental sensing, physical computing, algorithmically generated imagery, and speculative futurity. Her projects take the form of interactive or responsive indoor and outdoor installations, and performances. Grothaus’ artwork has been exhibited around the world, including the International Symposium of Electronic Art, Environmental Crisis: Art & Science in London, UK, Cité Internationale des Arts in Paris, and the World Creativity Biennale in Brazil. Grothaus has received awards for her work from organizations such as the National Foundation for Advancement in the Arts in the United States and was an Art 365 Fellow. She has been invited to speak about her work for the University of California San Diego’s Design@Large series and Ecoartspace in Santa Fe among others. Currently, Grothaus is currently working towards a PhD in Digital Media from York University in Toronto where she lives with her dog and numerous plants.
Artist talk / The boneless one
- Abstract: In recent years, Tuomas A. Laitinen’s artistic practice has revolved around other-than-human lifeforms, focusing on octopuses in particular. This body of work builds on Laitinen’s previous works with questions of ecology, symbiotic processes, and various paths of tentacular knowledge production. In the presentation, Laitinen will give an overview of his research and future works emerging from this endeavour.
Works:
A Proposal for an Octopus (2016-ongoing) is a series of twisting glass sculptures with tubular chambers and amorphous apertures. Not only do the architectures evoke the tentacular and malleable forms of cephalopods, but they provide potential habitats for boneless bodies. The video Haemocyanin (2019) follows an octopus as it plays with, investigates, and squeezes through one of Laitinen’s vessels. The video’s name derives from the types of proteins, which contain copper atoms that transport oxygen through the bodies of cephalopods, imbuing their blood with a bluish tinge.
A glyph typeface Ctongue (2018) is derived from research and observation on octopus arm movement. The work exists both as glass sculptures and a functional typeface drawn by the artist, creating a mutating body of speculative language.
- Biography: Tuomas A. Laitinen is an artist who works with moving image, sound, light, glass, chemical and microbial processes, as well as algorithms to explore the entanglements of multispecies coexistence. Laitinen composes situations and installations that inquire into the porous interconnectedness of language, body, and matter within morphing ecosystems. In recent years, Laitinen has been working with questions of ecology, the notion of the extended mind, and processes of knowledge production. The works are often made with translucent and transparent materials in order to find ways to layer and diffract material relations and different epistemological systems.
Laitinen´s works have been recently shown in the 21st Biennale of Sydney, 1st Helsinki Biennial, 7th Bucharest Biennale, Screen City Biennale 2019 (Stavanger), SADE LA (Los Angeles), Amado Art Space (Seoul), Moving Image New York, A Tale of a Tub (Rotterdam), Art Sonje Center (Seoul), Helsinki Contemporary, Museum of Contemporary Art Kiasma, EMMA – Espoo Museum of Modern Art, MOCA Shanghai & Cinemateca do MAM Rio de Janeiro.
Artist talk / Hypnotic AI
- Abstract: “Hypnotic AI” is an experiment exploring the idea of the “artificial unconscious”. Based on a number of hypnotic protocols, it rehearses and represents a computer in a hypnotic state to hint on the possibility of artificial altered consciousness. The system’s responses – contingent in nature – challenge the human idea of mind, thinking and consciousness, as well as inform about the existence of what we may think of as “the artificial unconscious”.
The visualization of the state of mind is based on the processes that take place in the software under the influence of the hypnosis protocol that we’ve prepared. Commands, such as ‘relax,’ ‘go deeper into calmness’ lead to visible changes in the virtual object. Due to the received messages, the solid figure flows through dimensions over time.
The viewers’ experience is designed to remind them of a therapeutic, comfortable setting. He or she receives an instruction including a script to conduct the hypnotization session, with a protocol adapted to the software of our subject.
According to the given instructions, the viewer expresses hypnotic protocol commands changing the state of the AI’s mind. This dislocates chosen points of mind geometry in unpredictable ways and the whole system reconfigures. The system reacts also on the viewer voice itself producing individual reactions for each person. When the session is over, the system dynamically returns to the initial state, ready for the next viewer.
The research on the machine’s “consciousness” subjected to hypnosis goes beyond the dimensions of human senses. AI subjected to hypnosis creates a simulation influenced by its executive functions. In reference to the quantum theory of mind, it takes the form of a mathematical multi-dimensional, virtual object. In order to achieve interpretation of the processes that happened during the session, these multi-dimensional elements are translated to two-dimensional display.
- Biography: Przemyslaw Jasielski (born 1970, based in Poznan, Poland), artist, researcher, experimenter who combines art with science and technology. Member of HAT Research Center at Adam Mickiewicz University. He creates installations, objects, drawings and photographs.
In the creative process he approaches work with the attitude of an engineer, adapting the precise planning and scientific research, with the main focus on the conceptual content. His works confront the actual present reality with its transformation to allow the viewer to observe it in a new, fresh way. They often try to take actions commonly seen as impossible, useless or ineffective. Jasielski took part in exhibitions all over the world – one man shows such as Paper Bridge Over Stone Water (Tokyo, Japan, 2012), Analog Immigration (Cleveland OH, USA, 2013), and group shows – L’arte differente: MOCAK al MAXXI (Rome, Italy, 2016), Draft Systems (Wroclaw, Poland, 2017), and ISEA Special Exhibition (Gwangju, South Korea, 2019).
Ania Malinowska (born in 1979, based in Katowice, Poland) is an author, a cultural theorist and Professor in Media and Cultural Studies at the University of Silesia, Poland. She is also a former Senior Fulbright Fellow at the New School of Social Research in New York and a founding member of CCTS (Center for Critical Technology Studies at the University of Silesia), engaged in extensive and international projects on technologically devised environments. Her research concentrates on cultural theory, emotion studies, digital humanities, and critical robotics – specifically on the formation of cultural norms and the social, emotional and aesthetic codes in relation to digitalism.
Malinowska holds a license in therapeutic hypnosis. She has authored, edited and co-edited a number of articles, chapters, special issue and books preoccupied with the posthuman condition and technologies of affect including: Love in Contemporary Technoculture (CUP 2022), Data Dating. Love, Technology, Desire (Intellect 2021), Technocultury miłości (Texty Drugie 2019), The Materiality of Love. Essays of Affection and Cultural Practice (Routledge 2018), Media and Emotions. The New Frontiers of Affect in Digital Culture (Open Cultural Studies 2017).
Artist talk / The body in\verse
- Abstract: The body in\verse is an online, interactive performance that combines biophysical sensing, emotive state sonification and visualization, and generative poetry to create the scene. The performance provides a deep dive from the world outside of ourselves, that is dissociated by mediated technology, into the interoceptive abyss of our emotive sea. Audience members are invited to participate in a focussed conversation that becomes the basis for the activity that follows. Questions will be on the rise of a technological culture, and how it has left us wanting, consciously or not, for identification and awareness of “essential rhythm”, that we continue to lose track of now that we live mostly in cities as the aboriginal environment recedes from view. The performance environment provides the ability to control the presentation of stimuli and monitor the physical reaction based on the interpretation of nuanced emotional state, blurring the line between auditory and visual real-time content and physical experience.
A biophysical sensing system measures the emotional affect of the performer, and then uses that data to drive the sound, abstract imagery, and a generative poetry algorithm. Emotional affect of the performer is assessed through arousal and valence measures derived from correlation of the performer’s heart rate and heart rate variability. An algorithm generates poetry using conversations that take place with the audience as source material. The poetry source material is then algorithmically organized according to its sentiment (positive to negative), and mapped to the emotional affect of the performer driven by the emotional affect assessment from the biophysical measures as described above.
- Biography: Mark-David Hosale (Canada, USA) computational artist and composer whose work lies between the virtual and the physical. His work explores the domains of art and science, and the limits of human knowing through human physiology and performance, interactive architecture, and computational art. More on www.ndstudiolab.com
Alan Macy (USA) an applied science artist, who specializes in the creation of cybernated art, interactive sculpture and environments. Has 35+ years of experience in human physiological monitoring. Explores ideas of human nervous system extension and the associated influences upon perception. More on www.sbcast.org
Alysia Michelle James is a composer, movement artist and aerialist who has performed internationally. Her research focus is on the connection between music and dance. A lecturer in Dance and incoming Ph.D. student in Music Composition at UC Santa Barbara, she holds a BA in Music Composition at UC Santa Barbara, and a Masters of Music Composition at CSU Long Beach.
Artist talk / Xeno Walks, An Augmented Reality SoundWalk on Collective Feminism
- Abstract: Xeno Walk is an Augmented Reality audio walk, featuring the voices and audio works by activists and sound producers who embrace the collage as a tool of aural exploration. The sound walk features the artworks of #VIVAS, a Latin America-based collective producing sound works from field recordings of social demonstrations and Viv Corringham’s Shadow Walks, Collages Féministes & Féminicides Paris and Montréal created from embodied experiences in the public space. The walk’s sound design takes the form of a collage mixing their soundtracks and their interviews. The listener can choose to experience this walk using headphones; however, this AR project is meant to be heard as a collective soundwalk with two or more persons. For the premiere of this project, the artist organized four aural participatory performances, inviting the public to amplify and occupy the streets with the interview’s voices and #VIVAS soundscapes.
- Biography: Amanda Gutiérrez, Trained and graduated initially as a stage designer from The National School of Theater (Mexico City). Gutiérrez uses sound and performance art to investigate how these aural conditions affect everyday life. Gutierrez is actively advocating listening practices while being one of the board of directors of the World Listening Project, formerly working with The Midwest Society of Acoustic Ecology. Currently, she is a Ph.D. student at Concordia University in the Arts and Humanities program and a research assistant at lab PULSE and the Acts of Listening Lab.
Artist talk / Monument Public Adress System: Mobile AR and Interactive Installation
- Abstract: Monument Public Address System is a multi-platform interactive documentary project centered around a growing collection of audio interviews about the past, present, and future of confederate and colonial monuments in the US. Two platforms are being produced to present the documentary narratives to the public. The first is a place-based augmented reality app accessible on participant’s smartphones and tablets. The second is an installation and musical performance. With this project, the artist aims to engender critical and thoughtful social experiences in public spaces through the presentation of narratives that offer truth and justice-centered perspectives, as well as anti-racist visions for our shared future.
- Biography: Meredith Drum is an interdisciplinary artist working with animation, installation, augmented reality, video, and various modes of public participation. Her projects center around the cultivation of care for others, both humans and nonhumans. She often exhibits in New York City, her former home, including a 2020 solo screening at Microscope Gallery. She has also presented internationally including at the 2022 Visible Evidence Conference in Poland, ISEA 2018 in South Africa, ISEA 2017 in Colombia, and ISEA 2014 in the UAE. She has been supported by grants and residencies from the Lower Manhattan Cultural Council, the Bronx Museum of the Arts, the Atlantic Center for the Arts, iLand, the Wassaic Project, the Experimental Television Center, ChaNorth, ISSUE Project Room, the University of California Institute for Research in the Arts, HASTAC, Wave Farm Transmission Arts and the New York State Council on the Arts.
Artist talk / Godspeed: A Speculative and Participative Robotic Performance
- Abstract: Encouraged by the success of Inferno (2015), “Godspeed” will pursue the similar transformative experiential journey of becoming an augmented human. In Inferno, up to 25 spectators wore custom-made exoskeletons that controlled, submitted and coerced them into a dance performance driven by a rhythmic soundtrack. With Godspeed, we aim to go beyond Inferno’s far-reaching achievements by further catalysing the audience’s participation into a joint human-machine endeavour: co-creating and co-performing a series of speculative rituals inspired by the upcoming Singularity.
Godspeed is frequently conjured in the rocket launchings of American spatial missions, a predominant sign of vastly mediatised events cum rituals of modern science and technology.
In Godspeed, the ‘ritual’ takes on a broader more speculative connotation rather than a strict traditional denotation of the term, while still referring to implicit or explicit rules governing social constructs and individual behaviours. As symbolic gestures, each ritual will stage specific machines (robotic extensions, instruments to manipulate, exoskeletons, portable devices and so forth) enabling actions that lead to co-embodied communal procedures. These actions will either be absurd, repetitive, ceremonial, hypnotic, senseless, solemn or contemplative — immersing the participants in a kinesthetic delirium, transcending and fusing his/her body with the machinic counterpart.
Furthering and expanding Inferno’s performative experience, Godspeed aims to involve a larger number of participants while developing more alternate and diversified human augmentations. We will derive and explore a variety of extensions, prosthetics, outgrowths, supernumerary limbs, instruments and devices adapted to the performers, enhancing or forcing their bodies into involuntary and unpredictable movements or tasks, in a state of “augmented servitude”.
Godspeed aims to enable the amateur spectator to become a skilled performer by augmenting his/her untrained state and simultaneously, through an intuitively and easily mastered mechanical interface, to fuse into a larger performative body.
- Biography: Based in Montreal, Bill Vorn is working in the field of Robotic Art since almost 30 years. His installation and performance projects involve robotics and motion control, sound, lighting, video and cybernetic processes. Influenced by advances in Human-Robot Interaction, he pursues artistic work based on “Relational Robotics”. He holds a Ph.D. degree in Communication Studies from UQAM (Montreal) for his thesis on “Artificial Life as Media”. He teaches Electronic Arts in the Department of Studio Arts at Concordia University (Intermedia program) where he is Full Professor. His work has been presented in many international events, including Ars Electronica, ISEA, DEAF, Sonar, Art Futura, EMAF and Artec. He has been awarded the Vida 2.0 award (1999, Madrid) and the Prix Ars Electronica Distinction award (1996, Linz), among others. He was cofounder of the electronic pop music band Rational Youth with Tracy Howe in 1981.
Louis-Philippe Demers makes large-scale installations and performances with technologies, AI and robotics in particular. He participated in more than seventy artistic and stage productions and has built more than 400 machines. Demers’ works have been shown worldwide and primed at Ars Electronica, Vida, Japan Media Arts Festival and at Helpman Awards (Australia). Demers’ academic journey brought him to the Superior School of Design/Zentrum für Kunst und Medientechnologie (ZKM), the Nanyang Technological University, Queensland University of Technology, University of the Arts London, Central Academy of Fine Arts (Beijing) and the Applied Arts School in Vienna.
Artist talk / Other Intelligences. Plant-Human Interspecies Dialogues
- Abstract: Based on plant intelligence and their capacity of learn we created a neuronal plant network connected to the Internet, composed of plants located in different places around the world. We designed an algorithm makes possible the remotely communication between plants through the training and learning to different stimuli.
At the same time, each of this living beings is being monitored through the recording of electrophysiology data and environmental data of their surrounding; thanks to environmental sensors that allow us to measure and link the changes in the surrounding of the plant with their behavior.
In this way we investigate, about the recognition of patterns by the plant, which allows it to identify with which plant of the network they are communicating and thus allow two way dialogue. To do that we have provided each of the plants with tools that allows them sending and receiving signals of light, sound and movement. The entire communication process is being recorded, to be analyzed afterwards with an Artificial Intelligence , in order to recognize patterns that humans cannot perceive with the naked eye.
Through the use of technology as a tool, we have created a network of plants connected to the Internet. A network analogous to the network of roots and mycelia of fungi that take place in the forest that the Professor of Forest Ecology Suzanne Simard began to study almost three decades ago. This woods’ network allows trees and plants to communicate with each other by sharing information and nutrients. In Other Intelligences, our network, is made up of data, algorithms and actuators, and it allows us to investigate alternative relationships with nature and technology through the use of artistic methodologies.
- Biography: Currently working as a postdoctoral researcher at Oslo Metropolitan University, in the framework of FeLT –Futures of Living Technologies–
She holds a Bachelor’s degree and a Doctorate from the University of Vigo (SP), with an Extraordinary Phd Award 2016. Her dissertation entitled “The bionic skin. Technological Membranes as Body Interfaces in Artistic Practice” focuses on the hybridizations between cyborgs and wearables as a paradigm of extending human sensorial capabilities.
Her artistic practice focuses primarily on the research about human sensory boundaries and the creation of complex systems that promote the communication and the understanding between humans and non human beings.
Her work was exhibited at venues such as Ars Electronica(AT), LABoral (SP) , Athens Digital Arts Festival (GR), Onassis Stegi (GR), HeK (CH), La Gâite Lyrique (FR), DRIVE Volskwagen (DE), Matadero Madrid (SP), Bozar Electronic Art Festival (BE), Arts Santa Mónica (SP), Touch me Festival (CH) MUSAC (SP).
Artist talk / Uptown underground and untitled times square intervention
- Abstract: This talk will address the potential for leveraging physical-digital technologies in public-realm interventions which help offer fuller engagements in our current realities. It will serve as a platform to present the project Uptown Underground, which uses projections and accelerometer data to bring urban context down into an underground subway ride, as well as an in-the-works intervention which uses photovoltaic cells tuned to LED screens and air cooling methods to critique mass energy waste in Times Square.
- Biography: Ian Callender is a New York City-based artist and designer exploring the intersection of the built environment and digital technologies. His work challenges traditional dialectical oppositions of structured / organic, form / un-form, and digital / literal. He holds a Bachelor of Arts from Brown University and is currently pursuing a Master of Architecture at Columbia University GSAPP. His work has been recognized by the Media Architecture Institute, iF, and the Art Directors Club; covered by ArchDaily, Designboom, and Hyperallergic; and exhibited internationally.
Benjamin (Benjy) Akhavan is a multidisciplinary designer and educator based in New York. He is a principal at FOAWM, a nondescript Firm / Office / Atelier / Workshop / Milieu with polyvalent interests at the intersection of design and urban life. Benjy holds degrees in architecture from the Spitzer School of Architecture at the City College of New York and the Graduate School of Architecture Planning and Preservation at Columbia University. He teaches visualization and design at the New Jersey Institute of Technology and has exhibited design work in New York.
Artist talk / “Human Error: Projects That Emphasize “Misuses” of Technology”
- Abstract: Today we are often confronted with computer interfaces that are built to be “easy to use”, but in reality, are more confusing than ever. This paper details several artworks that fall un- der the theme of “Human Error” and consist of software and hardware devices that integrate elements of human error into their design to provoke and materialize human frailty when it comes to operating digital devices and interfaces. This presentation will detail several of those projects as well as the theme of “Human Error” itself.
- Biography: Jonah Brucker-Cohen, Ph.D., is an artist and an Associate Professor in the Department of Journalism and Media Studies at Lehman College / CUNY in the Bronx. He received his Ph.D. from Trinity College Dublin. His work focuses on “Deconstructing Networks” with works that challenge and subvert accepted perceptions of network interaction. His artwork has been exhibited at venues such as SFMOMA, Canadian Museum of Contemporary Art, MOMA, ICA London, Whitney Museum of American Art, Palais du Tokyo, Tate Modern, Ars Electronica, Transmediale, and more. His artworks, “Bumplist” and “America’s Got No Talent” are in the permanent collection of the Whitney Museum of American Art. He has written for WIRED, Make, Gizmodo, Neural and more. His Scrapyard Challenge workshops have been held in over 15 countries in Europe, South America, North America, Asia, and Australia since 2003.
Artist talk / Somatechnical Nature | Virtual River
- Abstract: This artist talk presents excerpts from two film projects exploring movement and challenges to movement, raising questions about re-embodiment and experiential dimensions of propriopecption in inter-pandemic society under a global climate crisis. The primary focus is on techno-choreography (using prosthetic devices and the Oculus Quest2 VR headset) and the somatechnical predicaments in the face of disturbance-based ecologies and blasted landscapes. A second concern is the exploration of new expressive techniques for ageing and differently-abled bodies. Electric Dance, or How to Talk with Birds and How Much of These Hills is Gold portray a series of outdoor performances during the COVID-19 lockdown periods: ‘compostitions,’ to use Donna Haraway’s term, which involve intimate individual and collective probings and drawings-to-perform enacted outdoors in a valley. The films evoke a series of climbs (up electrical power masts and hills) and submergences into river flow, which seek to combine body weather techniques (derived from Japanese butoh dance) with digital processing and speculative drawing in 3D virtual environment. The site-specific performances are creative responses as well as social choreographies in an era of climate crisis.
- Biography: Johannes Birringer is a choreographer/media artist and co-directs the DAP-Lab with Michèle Danjoux. He has created numerous dance-theatre works, video installations and digital projects in collaboration with artists in Europe, the Americas, China, and Japan. DAP-Lab’s interactive dance Suna no Onna was featured at festivals in London (2007-08); the mixed-reality installation UKIYO went on European tour in 2010. The dance opera for the time being was shown at Sadler’s Wells, 2014. A series of immersive dance installations, metakimospheres, began touring in Europe in 2015-18 as part of the Europe-wide METABODY project; the dance work Mourning for a dead moon premiered in late 2019 in London. He is the author of Media and Performance (1998), Performance on the Edge (2000), Performance, Science and Technology (2009), Kinetic Atmospheres (2021) and transdisciplinary research projects, including the books Dance and Cognition (2005), Dance and Choreomania (2011) and Things that Dance (2019).
Artist talk / Earth or World? Media-spaces between the surveil and the Possible
- Abstract: This talk presents a media art practice intent on revealing the flaws in modern attempts to map the world – accentuating the seams and ruptures which emerge during the capturing and processing of images by automated systems – and connecting them to the damage done to the Earth by historical and contemporary systems of land division and extraction. One way my practice tries to achieve this is by harvesting aerial and satellite imagery (from Google Earth and other popular mapping/imaging platforms), manipulating and projecting it as moving images in public space. Projection sites are chosen for their connection to the subject of each work, and the intention is that bringing the image back to spaces implicated in its extraction contributes in some way to the recognition of the damage done. The product is a phantasmagoric space neither merely material nor image, historical not contemporary. The talk presents past work as context: Transect, images harvested from the Greenwich Prime Meridian and projected at the Royal Naval Hospital, Greenwich, UK in 2014; parallel, recorded along the 49th line of latitude, the border between the US and Canada, 2017; and Dominion, a meta-surveille of the impact on the prairie landscape of Canada’s 19th-century Dominion Land Survey, projected at the Forks National Historical Site, Winnipeg, Canada, in 2018). A similar concern with impacts of technologies of labour and image on the human body motivates smaller works presented as part of the SNMAA-ISEA2022. Finally the talk introduces a work in progress (Net), which addresses routes of the international shipping industry and its impact on landscapes around the world. Taken together these works intend to raise the question: who might live in such spaces? What kind of a Possible world, and citizen, might they represent?
- Biography: Lawrence Bird practices in architecture, urban design and media art. His artistic practise focuses on relationships of image to space, materiality and the body, often exploiting broken digital systems. His work has been installed at RAW:Gallery (Winnipeg), Inter/Access Gallery (Toronto), Furtherfield Gallery (London, UK), Greenwich Royal Naval Hospital (UK), Espace Architecture La Cambre Horta (Brussels), and the International Symposium on Electronic Arts 2017 (Manizales, Colombia). His design practise has spanned from work at Pentagram Design on the reconstruction of Shakespeare’s Globe Theatre (1988, 1989-1990) to his current contributions at Sputnik Architecture on cultural and heritage sites in Western Canada (2019-present). Lawrence has a PhD in History & Theory of Architecture and a professional degree in architecture from McGill University, as well as an MSc (City Design & Social Science) from London School of Economics. His research has been funded by SSHRC, FQRSC, and the Canada Council for the Arts.
Artist talk / Extemporal: an Ecomedia Platform for Critical Making
- Abstract: This doctoral work in progress centres around facilitating intergenerational Critical Making programs and designing a participatory platform for engaging in DIY citizenship and connecting environmental concerns. Through hybrid online and in-person workshops, meetups, and community art projects, the research investigates the prospects and problems of participation in exchanging ideas, skills, and upcycling. This presentation reviews independent maker spaces, eco-art, citizen-science and grassroots participatory platforms where alternate modes of media-making are possible. The culmination of the doctoral work is a participatory project for senior citizens, youth, artists, activists, and citizen scientists to contribute art, data (mostly on water quality), documentation of restoration efforts, and local stories in rural Colorado, U.S. The media submitted to the platform will be used in public large-scale interactive projection experiences. This will be the first arts-driven project with the citizen science platform CitSci.org.
- Biography: Kimberley Bianca is an Australian media artist and community events organizer based in the United States. She is a Ph.D. candidate in Critical Media Practices at the University of Colorado, Boulder where she is developing participatory media projects with communities in Colorado. In 2019, Bianca completed her master’s thesis “Innovating Electrofringe: A Distributed Curatorial Platform for Electronic Art”, at UNSW in Australia while directing the festival, Electrofringe. She has a B.S in art and technology from Saxion University in the Netherlands, where she co-developed the software-based public art project “KaleidOk: Visually Communicating Emotions from Spoken Word”. Bianca continues to perform as a VJ and develop interactive art experiences outside of academia.
Artist talk / Spectral Landscapes
- Abstract: My current artistic work takes place under the umbrella of Spectral Landscapes where I investigate radioactivity and the landscape. Since spring 2020 I conduct intense fieldwork in Finland. I am exploring sites with heightened natural radioactivity, originating from the decay of natural uranium and thorium mineralisations with some of those places being potential future sites of mining. There I collect data via custom-made sensors and software which allow me to portray the gamma radiation fields as bodies that protrude from the radioactive base-rock as intricate but intrinsic features of the landscape. Invisible but present, the constitution of these bodies is part of the innate processes of our planet in deep time. They conform with continental drift, the biogenic accumulation of oxygen in our atmosphere, the folding of mountain ranges, and their weathering and they follow the carvings of geophysical forms which produce the features of the landscapes we observe around us. I refer to these bodies as spectral because their presence is ghostly and can only be detected via extra-sensorial means, but then they are also spectral because they are fields of light, of photons, although located in a part of the spectrum not visible to the human eye. At the same time, Finland is building Onkalo, the first permanent deep geological spent nuclear fuel repository. It will be backfilled until 2120 and engineering claims that Onkalo can hold back the nuclear waste for the next one hundred thousand years, traveling into a deep future yet to become. Two stories connected by their materiality cover the full scale of planetary time. What can we learn from deep time for the present and a possible deep future, what about questions of intergenerational justice, is there a politic of scales, and what are possible artistic strategies to address such questions?
- Biography: Erich Berger is an artist, curator, and cultural worker based in Helsinki. His focus is on the intersection of art, science, and technology with a critical take on how they transform society and the world at large. Throughout his practice, he has explored the materiality of information, and information and technology as artistic material. His interest in issues of deep time and hybrid ecology led him to work with geological processes, radiogenic phenomena, and their socio-political implications in the here and now. Berger moves between visual arts and science in an area that he also develops with his work at the Bioart Society in Helsinki. Berger has exhibited widely in museums, galleries, and major media-art events in Europe and worldwide.
Artist talk / My Life as an Artificial Creative Intelligence
- Abstract: My Life as an Artificial Creative Intelligence is the both the title of my new book published by Stanford University Press and the title of my artist talk. The book grows out of the Artificial Creative Intelligence (ACI) art project being developed inside the TECHNE Lab at the University of Colorado. The ACI art project investigates the interrelationship between a language artist and a language model and focuses on automated forms of creative expression across the human-nonhuman spectrum. The ACI project specifically addresses speculative forms of artificial intelligence, particularly the possibilities for creative collaboration between human and machine-generated embodiments of poetic expression. In performance and exhibition contexts, the ACI is presented as a fictional AI poet whose spoken word poetry signals the horizon of a new type of authorship that questions the philosophical, artistic, and legal implications of artificial intelligence. The ACI appears in the artist talk as a 3D “avatar-other” whose facial features and voice are uncannily like that of the artist it is engaging with. Throughout the short artist presentation, the artist engages with his 3-D doppelganger in a series of improvised poetic and conceptually stimulating riffs.
- Biography: Mark Amerika is an internationally acclaimed media artist, novelist and theorist of digital culture. A Time Magazine 100 Innovator, Amerika’s artwork has been exhibited at venues such as the Whitney Biennial of American Art, the Denver Art Museum, the Institute of Contemporary Arts in London, the National Museum of Contemporary Art in Athens and the Walker Art Center. He is a Professor of Distinction at the University of Colorado where he has served as the Founding Director of the Doctoral Program in Intermedia Art, Writing and Performance in the College of Media, Communication and Information and a Professor of Art and Art History.
2nd Summit on New Media Art Archiving
The Second Summit on New Media Art Archiving aims to facilitate critical discourse and collaboration amongst archivists, curators, artists, researchers, and other parties interested in the preservation and online archiving of new media art. This summit will serve as an incubator of innovative ideas, production techniques, and infrastructure development as well as assist in connecting like-minded individuals in an effort to create a unified approach to solving the complex problem of preserving the history of new media art. The Summit is organised by ISEA2022 Barcelona, the ISEA Symposium Archives, and SIGGRAPH History Archive, in cooperation with the Barcelona Museum of Contemporary Art (MACBA), FILE Festival archive, ADA Archive of Digital Art and Ars Electronica archive.
Organizing Committee: Bonnie Mitchell, Jan Searleman, Terry Wong and Wim van der Plas.
Friday 10 June 10:00-11:45
Friday 10 June 12:00-14:00
- Conservation of Multimedia Art: Case Study on Teoman Madra Archive
Selcuk Artut, Begüm Çelik
SNMAA – Archive Presentation – Short Paper
- Archiving Strategies in the Computational Age: creating a Media + Data Art digital media library based on a curatorial methodology
Jose Maria Alonso-Calero, Jose Antonio Vertedor-Romero and Juan Carlos Robles-Florido
SNMAA – Tools & Methodologies – Short Paper
- VR as a function for archiving media arts, one example
Predrag Sidjanin, Luka Tilinger, Maja Budzarov, Nina Zvezdin
SNMAA – Tools & Methodologies: XR – Short Paper - Archiving the Symposium Expanded Animation: Challenges, Solutions and International Collaborations
Juergen Hagler
SNMAA – Archive Presentation – Short Paper
- Introducing Videotage Media Art Collection (VMAC)
John Chow, Wing Shan Chung
SNMAA – Archive Presentation – Lightning Talk
- The Different Histories of Electronic Art in the V2_ Archive
Arie Altena, Michel van Dartel
SNMAA – Archive Presentation – Lightning Talk
- Digitized Analog Memories
Erik Contreras
SNMAA – Individual Artist & Archiving – Lightning Talk
- Establishing the Computer Arts Society Archive
Sean Clark, Sean Carroll
SNMAA – Archive Presentation – Lightning Talk
- Visions of Mouchette
Martine Neddam
SNMAA – Individual Artist & Archiving – Lightning Talk
- Participatory Preservation
Kelani Nichole
SNMAA – New Media Art Archives & Museums – Lightning Talk
Friday 10 June 15:30-17:15
- i:M:mobile
Lawrence Bird
SNMAA – Artist Talk – Lightning Talk
- Anatomy of a Fatberg
Andrea Palašti, Sanja Anđelković, Stefana Janićijević, Jovana Pešićç
SNMAA – Artist Talk – Lightning Talk
- Archiving New Media Art Archives
Byeongwon Ha
SNMAA – Artist Talk – Lightning Talk - Visually reading the pandemic: Translating an Open Access Archive into an immersive interactive Artwork
Eveline Wandl-Vogt, Dario Rodighiero, Elian Carsenat, Jules Döring, Michaela Fragner, Stepha Farkahaszy, Oliver Elias
SNMAA – Artist Talk – Lightning Talk - Spiral of Words
Predrag Sidjanin, Luka Tilinger, Maja Budzarov, Nina Zvezdin
SNMAA – Artist Talk – Lightning Talk
Friday 10 June 17:30-19:30
Saturday 11 June 10:00-11:40
Saturday 11 June 12:00-14:00
Saturday 11 June 15:30-17:25
Saturday 11 June 17:40-19:30
Final Programme (PDF)
About the 2nd Summit on New Media Art Archiving
After the very successful first Summit on New Media Art Archiving at ISEA2020, the second Summit will take place during ISEA2022 in 10-11 June 2022. It is being organised by ISEA2022 (Spain), ISEA Symposium Archives (NL/USA), and SIGGRAPH History Archive (USA) and in cooperation with the Barcelona Museum of Contemporary Art-MACBA, FILE Festival archive (Brasil), the ADA Archive of Digital Art and Ars Electronica archive (both Austria).
Introduction
The need to preserve the history of the rapidly evolving field of new media arts has spurred the development of a wide variety of new media art archives throughout the world. Museums, cultural and educational institutions, as well as individuals with collections have developed, or are planning to create physical and/or online archives in an effort to preserve important artifacts and document events and creative works. The Second Summit on New Media Art Archiving aims to facilitate critical discourse and collaboration amongst archivists, curators, artists, researchers, and other parties interested in preserving the past. This summit will serve as an incubator of innovative ideas, production techniques, and infrastructure development as well as assist in connecting like-minded individuals in an effort to create a unified approach to solving the complex problem of preserving the history of new media art.
History
The initiative started with an ISEA roundtable discussion on new media archiving at ISEA2018 in Durban, South Africa followed by a very well-attended roundtable at ISEA2019 in Gwangju, South Korea. The First Summit on New Media Art Archiving was held during ISEA2020, (online from Montreal, Canada) featuring a keynote lecture, paper presentations, and break-out sessions.
Artist talks – Open to the public
Artist talks are open to the public.
June 12th
11:30 – Mediated spaces
Moderator: Quelic Berga
12:40 – Speculative environments
Moderator: Quelic Berga
15:30 – Experiencing the Anthropocene. A Transdisciplinary Journey Through Earth
Moderator: Pau Waelder
June 13th
11:30 – Human and Non-Human Bodies: A Dialogue
Moderator: Pau Waelder
12:40 – Time and Space: Zooming in/out
Moderator: Andy Gracie
15:30 – AI, Art and Machines
Moderator: Pau Waelder
June 14th
11:30 – Scale and the Poilitical of Other Living Systems
Moderator: Josep Manuel Berenguer
12:40 – Art, Interactivity and Participation
Moderator: Pau Waelder
15:30 – Sound, Data and AI
Moderator: Iván Paz
June 15th
13:00
*This curated talk doesn’t need previous registration
Online Content
*These presentations will not be streamed on-site