DOCSLIB.ORG

2003 Luigi Russolo Composers Competition Ars Electronica 2003

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
2003 Luigi Russolo Composers Competition Ars Electronica 2003 News 2003 Luigi Russolo Composers In Category B: electroacoustic mu- on 9 September. Five juries of ex- Competition sic with voice or instruments, first perts selected the best works in a to- prize was awarded to Ken Ueno tal of six categories (digital musics, (USA) for Zansetsu; second prize to computer animation/visual effects, To honor the memory of the futurist Ryszard Osada (Poland) for E-motion; interactive art, u19 freestyle comput- composer Luigi Russolo (1885–1947), and third prize to Mathew Adkins ing and, as a double category, net vi- the Russolo-Pratella Foundation of (UK) for Still Time. Honorable Men- sion/net excellence). The jury for the Varese, Italy organized the 25th edi- tions were awarded to Martin Stig Digital Musics category consisted of tion of the international electro- Andersen (Denmark) for Essential Alain Mongeau (Canada), Markus acoustic, analog, and digital music Tree Work, and to Ka-ho Cheung Schmickler (Germany), Antye Greie competition. The competition was (China) for Ice & Fire Dance. Other Fuchs (Germany), Naut Humon open to Italian and foreign compos- finalists included Cristopher Ariza (USA), and David Toop (UK). ers up to the age of 35. The catego- (USA), Samuel Pluta (USA), Rodrigo The Golden Nica for Digital Mu- ries were: (A) analog or digital Sigal (Mexico), and Dai Fujikura electroacoustic music and (B) electro- sics was awarded to Ami Yoshida, (Japan). Sachiko M, and Utah Kawasaki/ acoustic music with instruments or A compact disc will be produced F.M.N. Sound Factory (Japan) for As- voice. with pieces by Nacho de Paz, Guil- tro Twins/Cosmos. White noise, From 22–27 September 2003, the lermo Senn, Erdem Helvacioglu, Ken tuning pitches, and a voice more International Jury, presided over by Ueno, Ryszard Osada, and Mathew reminiscent of a howl than of sing- Frank Gian Maffina of the Russolo- Adkins. Pratella Foundation and including ing: these are the ingredients from Michele Bisasutti (Italy), Philippe which the Astro Twins Ami Yoshida Blanchard (France), Jurau Duris (Slo- and Utah Kawasaki mix their perfor- vak Republic), Carlo Ferrario (Italy), Ars Electronica 2003 mances. Ami Yoshida, however, is and Rossana May (Italy), reviewed 93 not only one half of the Astro Twins. compositions from Argentina, Aus- Ars Electronica was held in Linz Under the name of ‘‘Cosmos,’’ she tria, Australia, Brazil, Canada, Chile, Austria on 6–11 September 2003. also appears on the musical stage to- China, Korea, France, Denmark, En- The subject of this year’s festival was gether with Sachiko M. Ami Yoshida gland, Greece, Mexico, Malaysia, ‘‘Code, The Language of Our Time.’’ won the Golden Nica for the Astro ס Norway, New Zealand, Czech Re- Three thematic domains, Code Twins and Cosmos double album. ,Life ס Art, Code ס Law, Code public, Slovak Republic, Russia, An Award of Distinction in Digi- provided a framework for the issues Spain, Sweden, Turkey, and United tal Musics was awarded to Florian on which this year’s festival of art, States. Hecker/Mego (Germany/Austria) for technology, and society focused: In Category A: electroacoustic mu- Sun Panda¨ monium. Florian Hecker How strong is the socially regulative sic, the first prize was awarded to is a core member of the ‘‘mego’’ label Nacho de Paz (Spain) for Ion; second and normative power of the struc- that won a Distinction in 1999. prize to Guillermo Senn (Argentina) tures and rules of the game that Since 1996, he has left his mark on for . .Hasta el aire se rompe; and computer programs and their stan- the style of this artists’ group. He fo- third prize to Erdem Helvacioglu dards implement and enforce? What cuses on live performances and on (Turkey) for Below the cold ocean. possibilities exist to get around the development of artistic uses for Honorable Mentions were awarded them? How do software and digital to Mario Bajardi (Italy) for Bjm Piano codes impact the essence and iden- new production formats like MP3. Studio; to Fabrizio Carlone (Italy) for tity of media art as art created out of His CD Sun Panda¨ monium shows Berceuse pour le feu; and to Stefan code, that is, as a generative and pro- the large scope of what is summed Klaverdal (Sweden) for Samtal/ cessual artform that has developed up under the ‘‘noise’’ heading in digi- Conversations. Other finalists in- from and consists of algorithmic and tal jargon. cluded Lazzarini Victor (Ireland), computational processes? To what An Award of Distinction in Digi- Konrad Korabiewski (Poland), Bar- extent can this be captured and rep- tal Musics was also awarded to bara Ellison (Ireland), Pietro Mussino resented by means of conventional, Maja Ratkje (Norway) for voice, co- (Italy), Michael Klinbeil (USA), Pippa art immanent criteria? produced by Jazzkammer (John Hegre Murphy (UK), Jesper Nordin (Swe- The awards for the Prix Ars Elec- and Lasse Marhaug). The Norwegian den), and Nicolas Bernier (Canada). tronica competition were announced experimental artist Maja Ratkje News 7 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/014892604322970607 by guest on 27 September 2021 operates exclusively with her voice, a colloquium on ‘‘Past, Present and The program on Sunday, 19 Octo- hence ‘‘voice’’ is the title of her first Future of Technology in Music’’ on ber, included Agostino Di Scipio: solo album. Improvised and com- 18–19 October 2003. The colloquium ‘‘Sound Interfaces—Composing by posed parts are fused into an entity was held at the Ghent University Ecosystemic Interactions’’; Trevor that may be confusing for the lis- conference center ‘‘Het Pand’’ with Wishart: ‘‘Electronic Transforma- tener. The vocalist tackles the task organization by IPEM-Department of tions’’; Jean-Claude Risset: ‘‘Music is of fathoming the human voice in Musicology, Ghent University, and Meant to be Heard: Musical Psy- combination with electronic media support of the Flemish Fund for Sci- choacoustics is Central to Electronic by taking them to the limits of feasi- entific Research (FWO). and Computer Music’’; and Michel bility and, sometimes, endurance. The colloquium was intended as a Waisvisz: ‘‘Composing the Now—a Honorary Mentions in Digital Mu- sequel to the colloquium on ‘‘Elec- Lecture on Engagement with Sonic sics were awarded to Oren Ambarchi tronic Media in Music’’ organized in Time through Sensors, Electronica, (Australia) for TRISTE; Gert-Jan 1964 at the foundation of the IPEM. Loudspeakers and Ears.’’ Prins (Netherlands) for risk; Mark The speakers then included Iannis See www.ipem.ugent.be and click Wastell, Tetuzi Akiyama, Toshimaru Xenakis, Pierre Schaeffer, Godfried- on ‘‘IPEM40!’’ for more information. Nakamura, and Taku Sugimoto (UK, Michael Koenig, and Ton de Leeuw. Japan) for foldings; Whitehouse– Forty years later, the organizers Susan Lawly (UK) for Bird Seed; Phill again invited a number of prominent Niblock (Australia) for The Move- figures to share their vision of the Mu´sica Viva 2003 ment of People Working; Kevin development and importance of new Electroacoustic Composition Drumm (USA) for Sheer Hellish Mi- technologies in music and multi- asma; Rechenzentrum (Germany) for media. Competition Winners Director’s Cut; Toshiya Tsunoda (Ja- The scientific event was coupled The Mu´ sica Viva 2003 Electroacous- pan) for pieces of air; Yuko Nexus6– with performances of music from tic Composition Competition has Sonore Records (Japan) for Journal the last 40 years. The musical pro- announced the 2003 winners. Prizes de Tokyo; Rudolf Eb.er (Japan) for gram took place at ‘Vooruit’ (www. were awarded to Thomas Cahill- HUMPA.ZERKO¨ RPERT; Noriko vooruit.be) on 17–18 October. It in- Jones (UK) for Bounce eye (study in Tsujiko (France) for Hard ni sasete cluded a concert with music by the Marbles) and to Andrea Agostini (make me hard); and Aaron Funk invited speakers, sound installations, (Italy) for Funus. Mentions were (Venetian Snares) and Rachael Kozak a musical exhibit on 40 years IPEM, given to Jorge Prendas (Portugal) for (Hecate) (Canada) for nymphoma- a remix project with music produced Uma leitura possivel para um triarch. at IPEM, and several other contem- poema de Euge´nio De Andrade,to Organization of Ars Electronica porary music concerts. Santiago Toma´s Dı´ez (Argentina) for 2003 was done by the Ars Electron- The program on Saturday, 18 Oc- Krystalis Krystalis, and to Se´bastien ica Center Linz and ORF (Austrian tober, included Marc Leman: ‘‘Musi- Beranger (France) for Schizo a` 12.0. Broadcasting Corporation), Upper cal Content Processing for Artistic The jury consisted of Eduardo Reck Austrian Regional Studio, with co- and Scientific Applications’’; Perry Miranda, Agostino Di Scipio, and organizers Brucknerhaus Linz, Cen- Cook: ‘‘Perceiving our Instruments: Miguel Azguime. ter for Contemporary Art. Psychoacoustics Meets Aesthetics in More information on Ars Electron- the Design of New Performance In- ica 2003 can be found at terfaces’’; Todor Todoroff: ‘‘The In- www.aec.at/code. fluence of Gesture Controlled Instruments in Contemporary Elec- The Electric Rainbow Coalition: troacoustic Music’’; Eduardo Reck A Festival of Electro-Acoustic Miranda: ‘‘Musical Applications of Music IPEM40! in Ghent Evolutionary Computing: From Sound Design to Evolutionary Musi- The Electric Rainbow Coalition: A The Institute of Psychoacoustics and cology’’; and Antonio Camurri: Festival of Electro-Acoustic Music Electronic Music (IPEM) at Ghent ‘‘Multimodal Interactive Systems for was held at Dartmouth College on University in Ghent, Belgium, com- Performing Art and Cultural Appli- 22–23 August 2003. The
Load more

Recommended publications
  • December 2 & 3 2020 Online
    INTERNATIONAL SYMPOSIUM December 2 & 3 2020 Masaryk University, Faculty of Arts Brno, Czech Republic online Speakers: Amy Alexander Hans Bernhard Sarah Cook & Roddy Hunter Wendy Coones & Oliver Grau Jana Horáková Michal Klodner Barbora Kundračíková Alessandro Ludovico Alex McLean Organized by: PhD study programme Digital Culture and Creative Industries Team: Svatava Doubková, Jana Horáková, Ivan Koutný Contact: [email protected] INTERNATIONAL SYMPOSIUM DIGITAL CURATOR Wednesday, December 2 10:00–10:10 Symposium opening, day 1 10:10–10:50 Wendy Coones & Oliver Grau: Digital Curation in a Living Archive - History and Future of the Archive of Digital Art 10:50–11:30 Alessandro Ludovico: Curating Media Art in Physical Spaces, Online, and on Printed Pages 11:30–13:00 Lunch break 13:00–13:40 Alex McLean: Archiving Live Code 13:50–14:30 Hans Bernhard, UBERMORGEN: The Next Biennial Should be Curated by a Machine 14:30 Symposium closing, day 1 Thursday, December 3 09:00–09:10 Symposium opening, day 2 09:10–09:50 Amy Alexander: “Always Only Once.” The Paradox of Preservation: From Expanded Cinema to Performative Algorithms 10:00–10:40 This contribution was unfortunatelly canceled. 10:50–11:30 Sarah Cook & Roddy Hunter: Networked Art Practice after Digital Preservation 11:30 - 13:20 Lunch break 13:20–14:00 CZ archives: Jana Horáková: Do neural networks dream of videoart? Media Art Live Archive for Vašulka Kitchen Brno Barbora Kundračíková: CEAD New Media Archive state funded institutions and new media storage Michal Klodner: National Film Archive Prague 14:00–15:00 Discussion 15:00 Symposium closing, day 2 Full Program Wednesday, December 2 10:00–10:10 Symposium opening, day 1 10:10–10:50 Wendy Coones & Oliver Grau: Digital Curation in a Living Archive - History and Future of the Archive of Digital Art In the past five decades, Media Art has evolved into a critical field at the intersection of art, science and technology.
    [Show full text]
  • Cyberarts 2021 Since Its Inception in 1987, the Prix Ars Electronica Has Been Honoring Creativity and Inno- Vativeness in the Use of Digital Media
    Documentation of the Prix Ars Electronica 2021 Lavishly illustrated and containing texts by the prize-winning artists and statements by the juries that singled them out for recognition, this catalog showcases the works honored by the Prix Ars Electronica 2021. The Prix Ars Electronica is the world’s most time-honored media arts competition. Winners are awarded the coveted Golden Nica statuette. Ever CyberArts 2021 since its inception in 1987, the Prix Ars Electronica has been honoring creativity and inno- vativeness in the use of digital media. This year, experts from all over the world evaluated Prix Ars Electronica S+T+ARTS 3,158 submissions from 86 countries in four categories: Computer Animation, Artificial Intelligence & Life Art, Digital Musics & Sound Art, and the u19–create your world com - Prize ’21 petition for young people. The volume also provides insights into the achievements of the winners of the Isao Tomita Special Prize and the Ars Electronica Award for Digital Humanity. ars.electronica.art/prix STARTS Prize ’21 STARTS (= Science + Technology + Arts) is an initiative of the European Commission to foster alliances of technology and artistic practice. As part of this initiative, the STARTS Prize awards the most pioneering collaborations and results in the field of creativity 21 ’ and innovation at the intersection of science and technology with the arts. The STARTS Prize ‘21 of the European Commission was launched by Ars Electronica, BOZAR, Waag, INOVA+, T6 Ecosystems, French Tech Grande Provence, and the Frankfurt Book Fair. This Prize catalog presents the winners of the European Commission’s two Grand Prizes, which honor Innovation in Technology, Industry and Society stimulated by the Arts, and more of the STARTS Prize ‘21 highlights.
    [Show full text]
  • Federico Luisetti, “A Futurist Art of the Past”, Ameriquests 12.1 (2015)
    Federico Luisetti, “A Futurist Art of the Past”, AmeriQuests 12.1 (2015) A Futurist Art of the Past: Anton Giulio Bragaglia’s Photodynamism Anton Giulio Bragaglia, Un gesto del capo1 Un gesto del capo (A gesture of the head) is a rare 1911 “Photodynamic” picture by Anton Giulio Bragaglia (1890-1960), the Rome-based photographer, director of experimental films, gallerist, theater director, and essayist who played a key role in the development of the Italian Avant- gardes. Initially postcard photographs mailed out to friends, Futurist Photodynamics consist of twenty or so medium size pictures of small gestures (greeting, nodding, bowing), acts of leisure, work, or movements (typing, smoking, a slap in the face), a small corpus that preceded and influenced the experimentations of European Avant-garde photography, such as Christian Schad’s Schadographs, Man Ray’s Rayographs, and Lazlo Moholy-Nagy’s Photograms. Thanks to historians of photography, in particular Giovanni Lista and Marta Braun, we are familiar with the circumstances that led to the birth of Photodynamism, which took on and transformed the principles proclaimed in the April 11, 1910 Manifesto tecnico della pittura futurista (Technical Manifesto of Futurist Painting) by Umberto Boccioni, Carlo Carrà, Luigi Russolo, Giacomo Balla, and Gino Severini, where the primacy of movement and the nature of “dynamic sensation” challenge the conventions of traditional visual arts: “The gesture which we would reproduce on canvas shall no longer be a fixed moment in universal dynamism. It shall simply be 1 (A Gesture of the Head), 1911. Gelatin silver print, 17.8 x 12.7 cm, Gilman Collection, The Metropolitan Museum of Art, New York].
    [Show full text]
  • Scarica Qui Il Numero Del Journal in Formato
    DIGICULT Digital Art, Design & Culture Fondatore e Direttore: Marco Mancuso Comitato consultivo: Marco Mancuso, Lucrezia Cippitelli, Claudia D'Alonzo Editore: Associazione Culturale Digicult Largo Murani 4, 20133 Milan (Italy) http://www.digicult.it Testata Editoriale registrata presso il Tribunale di Milano, numero N°240 of 10/04/06. ISSN Code: 2037-2256 Licenze: Creative Commons Attribuzione-NonCommerciale-NoDerivati - Creative Commons 2.5 Italy (CC BY-NC-ND 2.5) Stampato e distribuito tramite Peecho Sviluppo ePub e Pdf: Loretta Borrelli Cover design: Eva Scaini INDICE Loredana Menghi Plug’n’play Festival, Audiovisual Club Salento ........................................................ 3 Marco Mancuso Il Cinema Verita’ Di Pierre Bastien ............................................................................. 6 Bertram Niessen Atom: Floating Audiovisual Design .......................................................................... 14 Monica Ponzini Rafael Lozano-Hemmer: Relational Architecture ................................................. 19 Alessandro Massobrio Silenzio, Le Declinazioni Della Sound Art .............................................................. 29 Claudia Moriniello Ankersmit, Side By Side ............................................................................................ 32 Eleonora Oreggia Sostenibile Non-proprieta’, La Risposta Di Estudio Livre ................................... 40 Francesca Valsecchi Hackmeeting 2007: Ten Years Nerdcore ..............................................................
    [Show full text]
  • JUL 2 3 2003 Archives LIBRARIES Table of Contents
    Experiments in Corporate Collaboration: The Case of the Ars Electronica FutureLab by Stephanie Davenport B.A. French Studies (1994) University of Pennsylvania Submitted to the Department of Comparative Media Studies in Partial Fulfillment of the Requirements for the Degree of Master of Science in Comparative Media Studies at the Massachusetts Institute of Technology May 2003 © Massachusetts Institute of Technology All rights reserved Signature of A uthor................................................ .... ..... ............. Department of Compafative Media Studies May 9, 2003 Certified by..........................................................................Wang Professor, Chinese Cultural Studies Affiliated Faculty, Comparative Media Studies Thesis Supervj or Accepted -by................................................. j . .. .. .. .. .. .. .. .. .. .. .. .. William Uricchio Professor & Acting Director, Comparative Media Studies MASSACHUSETTS INSTITUTE OF TECHNOLOGY JUL 2 3 2003 ARCHivEs LIBRARIES Table of Contents A bstract ............................. ................. ................... ........................................ ..... 3 A ckn ow ledgemnents ....................................................................................................................... 4 List of F ig u res ....................................................................................................................... 5 In tro du ction ................. ...................................................................................................
    [Show full text]
  • Ars Electronica Archiv
    Timetable with Program Highlights AIArtificial Intelligence The Other I ARS ELECTRONICA Festival for Art, Technology and Society POSTCITY Linz, September 7–11, 2017 www.aec.at/ai Future Festival of the Next Generation 20171 ORGANIZER Ars Electronica Linz GmbH & Co KG is a company of the city of Linz COOPERATION PARTNERS ACM Siggraph Kepler Salon—Verein zur Förderung von Wissensvermittlung Anton Bruckner Privatuniversität Kinematics GmbH BFI Oberösterreich Kitchen Budapest BORG Bad Leonfelden Klimabündnis Österreich Gmbh— BOZAR Centre for Fine Arts Brussels Regionalstelle Oberösterreich bugnplay.ch Krmpf Krmpf Studios C3 KNOWLEDGE CAPITAL Campus Genius Award Kunstuniversität Linz–Universität für künstlerische Central Linz und industrielle Gestaltung Centre for the Promotion of Science LABoral –Centro de Arte y Creación Industrial Crossing Europe Landesgartenschau Kremsmünster 2017 CUBUS Landesmusikschule Steyr DIG gallery le lieu unique DISK Berlin / CTM Festival Lehramt Bildnerische Erziehung–Kunstuniversität Linz Education Group LENTOS Kunstmuseum Linz ETH Zürich Mariendom Linz Etopia mb21 European Media Art Network MIT Media Lab European Theatre Lab: Drama goes digital Moviemento Europe for Festivals, Festivals for Europe EFFE OÖ Familienbund European Southern Observatory (ESO) QUT Queensland University of Technology European Space Agency (ESA) Resonate eutema Salon 2000 Experience Workshop Science Gallery Dublin FAB Verein zur Förderung von Arbeit und Beschäftigung Stadtbibliothek Linz FACES Stadtwerkstatt Fachhochschule Oberösterreich—Campus
    [Show full text]
  • THE ORCHESTRA of FUTURIST NOISE INTONERS Luciano Chessa, Director
    Intonarumori, ArtBasel Miami Beach, 2011, photo by Javier Sanchez THE ORCHESTRA OF FUTURIST NOISE INTONERS Luciano Chessa, Director A Performa 09 Commission These eccentric hurdy-gurdy instruments first created in 1913 still sounded musically radical after all these years. Roberta Smith for The New York Times The Orchestra of Futurist Noise Intoners is the only complete replica of futurist composer/sound artist Luigi Russolo’s legendary intonarumori orchestra. The orchestra tours worldwide, presenting concerts that feature historical and new works commissioned from an all-star cast of experimental composers, some performing live alongside this orchestra of raucous mechanical synthesizers. The orchestra’s composers include Sonic Youth’s founding guitarist Lee Ranaldo, seminal composer/vocalist Joan La Barbara, Einstürzende Neubauten frontman and Nick Cave collaborator Blixa Bargeld, avant-garde saxophonist John Butcher, Deep Listening pioneer Pauline Oliveros, Faith No More and Mr. Bungle vocalist Mike Patton, avant-garde musician Elliott Sharp, and composer/vocalist Jennifer Walshe collaborating with late composer and film/video artist Tony Conrad, among others. For further details and touring information contact Esa Nickle at Performa on +1 212 366 5700, or email [email protected] HISTORY As part of its celebration of the 100th anniversary of Italian Futurism, the Performa 09 biennial, in collaboration with the Experimental Media and Performing Arts Center (EMPAC) and the San Francisco Museum of Modern Art (SFMOMA), invited Luciano Chessa to reconstruct Russolo’s intonarumori. Supervising Bay Area craftsman Keith Carey, Chessa succeeded in recreating for the first time Russolo’s earliest intonarumori orchestra, originally unveiled in Milan in the Summer of 1913 (16 instruments—8 noise families of 1-3 instruments each, in various registers).
    [Show full text]
  • 25 Years of Ars Electronica
    Literature: Winners in the film section – Computer Animation – Visual Effects Literature: Literature : Literature: Literature (2) : Literature: Literature (2) : Blick, Stimme und (k)ein Körper – Der Einsatz 1987: John Lasseter, Mario Canali, Rolf Herken Cyber Society – Mythos und Realität der Maschinen, Medien, Performances – Theater an Future cinema !! / Jeffrey Shaw, Peter Weibel Ed. Gary Hill / Selected Works Soundcultures – Über elektronische und digitale Kunst als Sendung – Von der Telegrafie zum der elektronischen Medien im Theater und in 1988: John Lasseter, Peter Weibel, Mario Canali and Honorary Mentions (right) Informationsgesellschaft / Achim Bühl der Schnittstelle zu digitalen Welten / Kunst und Video / Bettina Gruber, Maria Vedder Intermedialität – Das System Peter Greenaway Musik / Ed. Marcus S. Kleiner, A. Szepanski 25 years of ars electronica Internet / Dieter Daniels VideoKunst / Gerda Lampalzer interaktiven Installationen / Mona Sarkis Tausend Welten – Die Auflösung der Gesellschaft Martina Leeker (Ed.) Yvonne Spielmann Resonanzen – Aspekte der Klangkunst / 1989: Joan Staveley, Amkraut & Girard, Simon Wachsmuth, Zdzislaw Pokutycki, Flavia Alman, Mario Canali, Interferenzen IV (on radio art) Liveness / Philip Auslander im digitalen Zeitalter / Uwe Jean Heuser Perform or else – from discipline to performance Videokunst in Deutschland 1963 – 1982 Arquitecturanimación / F. Massad, A.G. Yeste Ed. Bernd Schulz John Lasseter, Peter Conn, Eihachiro Nakamae, Edward Zajec, Franc Curk, Jasdan Joerges, Xavier Nicolas, TRANSIT #2
    [Show full text]
  • Ars Electronica Ars Electronica Has Been Analyzing and Commenting on the Digital Revolution Since 1979
    Ars Electronica Ars Electronica has been analyzing and commenting on the Digital Revolution since 1979. Our focus is always on current developments and possible future scenarios at the nexus of art, technology and society. The visions, ideas and projects that Ars Electronica advances in collaboration with artists, scientists, technologists, engineers, entrepreneurs and social activists from all over the world are innovative, radical and offbeat in the best sense of these terms. Ever since its inception, Ars Electronica has continually broadened the spectrum of its activities and thereby developed a comprehensive approach to dealing with techno-cultural phenomena that is unique in the world today. Ars Electronica is a culture venue, educational institution and research facility. It is based in Linz, Austria and has earned an international reputation. ars.electronica.art Ars Electronica Center Museum of the Future, School of the Future Blending art, science and technology is the Ars Electronica Center’s approach to its role as a Museum of the Future and School of the Future. Here, biotechnology and genetic engineering, the neurosciences, robotics, prosthetics and media art constitute interactive experimental arrays that convey an impression of how our world and our everyday life could be in the near future. All of our exhibitions and presentations are oriented on this question, open up manifold perspectives on our nature and how we see ourselves, and show their potential future manifestations in tangible forms to effectively convey them to the general public. As a School of the Future, we also blaze new trails in science education and offer an extensive curriculum of pedagogical programs for all types of schools and grade levels.
    [Show full text]
  • Ars Electronica Lands in Barcelona
    ARS ELECTRONICA LANDS IN BARCELONA Barcelona has become one of the de-localised venues of the Ars Electronica Festival, the most important event in the world dedicated to the interconnections between art, technology and society. The 41st edition will take place in Linz (Austria) and 120 other cities around the world from 9 to 13 September. Barcelona’s participation will take the form of a programme that highlights the diversity, richness and dynamism of the creative scene in Barcelona and Catalonia, born from the convergence between art and technology. The initiative has been promoted by the Institut Ramon Llull, NewArtFoundation / BEEP Collection, Hangar (Barcelona Centre of Visual Arts Production and Research), Universitat Oberta de Catalunya (UOC/ISEA Barcelona) and OFFF Barcelona, with collaboration from Sónar + D, Arts Santa Mònica and the Catalan Institute of Cultural Companies (ICEC). Following two years of participation in Ars Electronica through the BEEP Collection, the internationally renowned Catalan collection dedicated to electronic and digital art, in this edition, Barcelona is taking part with a proposal that exposes and highlights the multi-faceted, heterogeneous, interconnected nature of its community. The proposal for the Ars Electronica Garden Barcelona revolves around the Garden Barcelona Show, an exhibition at Arts Santa Mònica, which will bring together the latest productions by and additions to the BEEP Collection and pieces produced at Hangar, thanks to grants awarded to Mónica Rikić for New Home of Mind, Roc Parés for Doble Consciència and Santi Vilanova for Forms – Screen Ensemble. All three projects were selected through a public application process for production and exhibition grants organised by the Institut Ramon Llull, NewArtFoundation and Hangar, in collaboration with the BEEP Collection.
    [Show full text]
  • Catalogue and Musik” (Degenerate Music) Opened in Documentation of Sound) Should Düsseldorf
    zagreb | 2018. XVIII. SVJETSKI KONGRES SAKSOFONISTA ODRŽAVA SE POD POKROVITELJSTVOM MILANA BANDIĆA, GRADONAČELNIKA GRADA ZAGREBA | THE XVIII WSC IS HELD UNDER THE PATRONAGE OF MR MILAN BANDIĆ, MAYOR OF THE CITY OF ZAGREB gradonačelnik grada zagreba Poštovani sudionici, dragi gosti, Zagreb prvi put ugošćuje renomirani Svjetski kongres saksofonista. Domaćin ovogodišnjega 18. kongresa je naša Muzička akademija koja je u svijetu poznata po izvrsnosti svoje Zagrebačke saksofonističke škole koju je utemeljio profesor Josip Nochta. Tijekom 5 dana, na više od 400 događanja, na brojnim mjestima u gradu će se predstaviti i susresti vrhunski glazbeni profesionalci, studenti i amateri. Bit će to, uvjeren sam, praznik glazbe, prigoda za promociju različitih stilova i izričaja te za razmjenu ideja. Svojom otvorenosti za publiku Kongres će obogatiti Zagrebačko kulturno ljeto te će doprinijeti boljem pozicioniranju Zagreba i Hrvatske na svjetskoj karti kulturnog turizma. Zahvaljujem organizatorima na uspješnoj realizaciji Kongresa, osobito red. prof. art. Draganu Sremcu, umjetničkomu ravnatelju Kongresa i prodekanu za umjetnost i poslovanje Muzičke akademije Sveučilišta u Zagrebu. Svim sudionicima želim uspješno sudjelovanje i ugodan boravak u našem gradu! Gradonačelnik Grada Zagreba Milan Bandić Major of the City of Zagreb Esteemed participants, dear guests, Zagreb is hosting the renowned World Saxophone Congress for the irst time. The host of this 18th Congress is our Academy of Music, world- famous for the excellence of its Zagreb School of Saxophone, established by professor Josip Nochta. In the course of 5 days, in more than 400 events at various locations in the city, top music professionals, students and amateurs will present themselves and meet each other. I am sure that it will be a celebration of music, an opportunity to promote various styles and expressions and to exchange ideas.
    [Show full text]
  • Ars Electronica: a Unique Platform for Digital Art and Media Culture © Ars Electronica
    Ars Electronica: A unique platform for digital art and media culture © Ars Electronica • Innovation • Attractiveness of the territory • Internationalisation • Urban regeneration • Education • Cross-sectorial collaboration Context Linz is the third-largest city of Austria and the capital of the state of Upper Austria. The population of the city is 193,814, and that of the Greater Linz conurbation is about 271,000. Steel and industrial chemistry have made Linz one of Austria’s most important economic centres. But today, Linz also offers a broad spectrum of cultural events and a great number of cultural institutions. In 2009, together with Vilnius (Lithuania) Linz was European Capital of Culture (ECOC). More than 2.5 million people visited the city that year. Several newly constructed cultural venues reinforced Linz’s image as a dynamic city of culture and industry. To ensure that Linz maintains its success after the ECOC year (“Linz 2009”), the city decided to evaluate and to redesign the Cultural Development Plan elaborated in 2000. The new Culture Development Plan underpins the necessity of a continuous cultural development after Linz 2009. In addition to setting up new cultural infrastructures, the city decided to expand subsidy programmes in the spirit of a very inclusive concept of culture, and developing formats that offer the general public low-threshold access to art and culture. Challenges In the 1970s, Linz was an industrial and provincial city whose economy was based on the industry. The decline of the industry and the poor image of the region, associated with a poor cultural offer, made Linz look for alternatives.
    [Show full text]