ARS ELECTRONICA 2017 FESTIVAL for ART, TECHNOLOGY, and SOCIETY Aiartificial Intelligence Das Andere Ich
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Handbook of Experimental Pharmacology Volume 83
Handbook of Experimental Pharmacology Volume 83 Editorial Board G.y' R. Born, London P. Cuatrecasas, Research Triangle Park, NC H. Herken, Berlin A. Schwartz, Cincinnati, OH Calciumin Drug Actions Contributors D. M. Bers, P. 1. R. Bevis, M. P. Blaustein, R. D. Bukoski, B. Ceccarelli, R. A. Chapman, S. Cockcroft, M. Crompton, A.W. Cuthbert, S. Ebashi, C. H. Evans, H. Fleisch, M. Fosset, M. L. Garcia, T. Godfraind, B. D. Gomperts, T. R. Hinds, P. Honerjager, M. Hugues, G. 1. Kaczorowski, U. Kikkawa, V. F. King, M. Lazdunski, B.A. Levine, I. MacIntyre, K.T. MacLeod, D. A. McCarron, 1. Meldolesi, C. Milet, C. Mourre, H. Nagamoto, T. Narahashi, Y. Nishizuka, Y Ogawa, T. Pozzan, 1. F. Renaud, G. Romey, H. Schmid-Antomarchi, M. Schramm, I. Schulz, T. 1. B. Simons, R. S. Slaughter, R. Towart, D. 1. Triggle, 1. Tunstall, F. F. Vincenzi, H. 1. Vogel, R.1. P. Williams, M. Zaidi Editor P.R Baker Springer-Verlag Berlin Heidelberg New York London Paris Tokyo PETER F. BAKER, Professor Sc. D., F.R.S. (t) Department of Physiology King's College, University of London, Strand, London WC2R 2LS, Great Britain With 123 Figures ISBN-13: 978-3-642-71808-3 e-ISBN-13: 978-3-642-71806-9 DOl: 10.1007/978-3-642-71806-9 Library of Congress Cataloging-in-Publication Data. Calcium in drug actions/contributors. D. M. Bers ... let al.]: editor, P. F. Baker. p. cm. -(Handbook of experimental pharmacology: v. 83) Includes bibliographies and index. 1. Calcium-Therapeutic use-Testing. 2. Calcium channels-Effect of drugs on. -
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. -
Johan Östman CV 2020.Pdf
Johan Östman — CV — 2020 Current: • Norbergfestival, Anrikningsverket; Stockholm, 2011-present —Artistic director since 2018, program director of Norbergfestival contemporary music festival since 2012 • Up Node; Nordic festival network, Copenhagen, 2017-present —Co-founder, co-director Prior: • Ableton Loop; summit for music makers, Ableton AG, Berlin, 2017-2020 —Creative producer; event strategy, curation and production • Surefire Agency; music booking agency, Berlin, 2015-2016 —Account assistant, booking assistant • Voltfestivalen; electronic music festival, Uppsala Concert & Congress, Uppsala, 2010-2015 —Co-curator, creative producer • Samlingen; club & DJ collective, Stockholm & Uppsala, 2008-2014 —Founder, curator Freelance + curatorial: • Night clubs & festivals in Sweden and Europe; 2008-present —DJ • Up Node nights; MeetFactory, Prague, 2019 —Co-curator, showcase nights for Nordic contemporary music • Sound of Stockholm 2019; contemporary music festival, Stockholm —Co-producer • Norbergfestival x Proton; Mayhem, Copenhagen, 2019 —Guest curator, festival showcase night • CTM Festival 2019; contemporary music festival, Berlin —Co-curator, showcase for Nordic contemporary music, by Up Node • Intonal x Norbergfestival x Up Node; Inkonst, Malmö, 2018 —Curator, showcase festival for Nordic contemporary music • Resonans; Moderna Museet & ArkDes, Stockholm, 2018 —Event series for contemporary music & performing arts, curated by Anrikningsverket • Under Bron & Trädgården nightclubs; Stockholm, 2013-2017 —Guest curator, resident DJ • Sound -
ANNUAL REVIEW Contents
MAK 2018 ANNUAL REVIEW Contents Preface of the Board of Directors ............................................................................................................................................................... 3 MAK Exhibitions 2018 .................................................................................................................................................................................................... 4 MAK Events 2018 ............................................................................................................................................................................................................... 14 MAK Collection / Purchases / Donations 2018 .................................................................................................................... 15 MAK Research Projects 2018 ........................................................................................................................................................................... 17 MAK Publicatios 2018 ................................................................................................................................................................................................. 18 MAK Library and Works on Paper Collection .............................................................................................................................. 18 EU Projects 2018 .............................................................................................................................................................................................................. -
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. -
Chapter One: Postwar Resentment and the Invention of Middle America 10
MIAMI UNIVERSITY The Graduate School Certificate for Approving the Dissertation We hereby approve the Dissertation of Jeffrey Christopher Bickerstaff Doctor of Philosophy ________________________________________ Timothy Melley, Director ________________________________________ C. Barry Chabot, Reader ________________________________________ Whitney Womack Smith, Reader ________________________________________ Marguerite S. Shaffer, Graduate School Representative ABSTRACT TALES FROM THE SILENT MAJORITY: CONSERVATIVE POPULISM AND THE INVENTION OF MIDDLE AMERICA by Jeffrey Christopher Bickerstaff In this dissertation I show how the conservative movement lured the white working class out of the Democratic New Deal Coalition and into the Republican Majority. I argue that this political transformation was accomplished in part by what I call the "invention" of Middle America. Using such cultural representations as mainstream print media, literature, and film, conservatives successfully exploited what came to be known as the Social Issue and constructed "Liberalism" as effeminate, impractical, and elitist. Chapter One charts the rise of conservative populism and Middle America against the backdrop of 1960s social upheaval. I stress the importance of backlash and resentment to Richard Nixon's ascendancy to the Presidency, describe strategies employed by the conservative movement to win majority status for the GOP, and explore the conflict between this goal and the will to ideological purity. In Chapter Two I read Rabbit Redux as John Updike's attempt to model the racial education of a conservative Middle American, Harry "Rabbit" Angstrom, in "teach-in" scenes that reflect the conflict between the social conservative and Eastern Liberal within the author's psyche. I conclude that this conflict undermines the project and, despite laudable intentions, Updike perpetuates caricatures of the Left and hastens Middle America's rejection of Liberalism. -
Spring 1986 Editor: the Cover Is the Work of Lydia Sparrow
'sReview Spring 1986 Editor: The cover is the work of Lydia Sparrow. J. Walter Sterling Managing Editor: Maria Coughlin Poetry Editor: Richard Freis Editorial Board: Eva Brann S. Richard Freis, Alumni representative Joe Sachs Cary Stickney Curtis A. Wilson Unsolicited articles, stories, and poems are welcome, but should be accom panied by a stamped, self-addressed envelope in each instance. Reasoned comments are also welcome. The St. John's Review (formerly The Col lege) is published by the Office of the Dean. St. John's College, Annapolis, Maryland 21404. William Dyal, Presi dent, Thomas Slakey, Dean. Published thrice yearly, in the winter, spring, and summer. For those not on the distribu tion list, subscriptions: $12.00 yearly, $24.00 for two years, or $36.00 for three years, paya,ble in advance. Address all correspondence to The St. John's Review, St. John's College, Annapolis, Maryland 21404. Volume XXXVII, Number 2 and 3 Spring 1986 ©1987 St. John's College; All rights reserved. Reproduction in whole or in part without permission is prohibited. ISSN 0277-4720 Composition: Best Impressions, Inc. Printing: The John D. Lucas Printing Company Contents PART I WRITINGS PUBLISHED IN MEMORY OF WILLIAM O'GRADY 1 The Return of Odysseus Mary Hannah Jones 11 God of Abraham, Isaac, and Jacob Joe Sachs 21 On Beginning to Read Dante Cary Stickney 29 Chasing the Goat From the Sky Michael Littleton 37 The Miraculous Moonlight: Flannery O'Connor's The Artificial Nigger Robert S. Bart 49 The Shattering of the Natural Order E. A. Goerner 57 Through Phantasia to Philosophy Eva Brann 65 A Toast to the Republic Curtis Wilson 67 The Human Condition Geoffrey Harris PART II 71 The Homeric Simile and the Beginning of Philosophy Kurt Riezler 81 The Origin of Philosophy Jon Lenkowski 93 A Hero and a Statesman Douglas Allanbrook Part I Writings Published in Memory of William O'Grady THE ST. -
Onassis Stegi You and AI: Through the Algorithmic Lens
Onassis Stegi You and AI: Through the Algorithmic Lens Curated by Irini Mirena Papadimitriou, Creative Director, FutureEverything Commissioned and Produced by Onassis Stegi 24 June - 25 July, 2021 Pedion Areos - Athens Throughout history, humans have imagined how artificial intelligence might transform society. How intelligent machines could make us more efficient, productive and predictable. What began as a dream has today become a reality. AI is everywhere. From personal and home devices and rapidly expanding into public space. But as AI starts to shape our everyday lives, who shapes AI? And how are we affected by machine decision making we might not even be aware of? You and AI invites you to explore work that challenges our fantasies of AI and opens up critical discussions about the increasing implementation of these systems and their impact on human subjectivity in the social, working and democratic contexts. Unfolding through three thematic areas, it is investigating ideas around AI, civic space and participation, how we perceive the world and are being seen through algorithms, and questioning the meaning of intelligence within AI. Thematic Area 1 - AI, CIVIC SPACE, PARTICIPATION & DEMOCRACY In a world dominated by algorithms and where AI is always watching – is everyone included? Or does the machine decide who should be seen and heard? The first thematic area, AI, civic space, participation and democracy, presents works that show worlds through artificial, invisible systems and new digital bureaucracies. Worlds that are increasingly quantified and categorised by algorithmic systems, and where everything is redefined, accepted or excluded based on machine decision making systems and automation. -
On Hybrid Creativity
arts Article On Hybrid Creativity Andy Lomas ID Department of Computing, Goldsmiths College, University of London, London SE14 6NW, UK; [email protected] Received: 2 May 2018; Accepted: 5 July 2018; Published: 9 July 2018 Abstract: This article reviews the development of the author’s computational art practice, where the computer is used both as a device that provides the medium for generation of art (‘computer as art’) as well as acting actively as an assistant in the process of creating art (‘computer as artist’s assistant’), helping explore the space of possibilities afforded by generative systems. Drawing analogies with Kasparov’s Advanced Chess and the deliberate development of unstable aircraft using fly-by-wire technology, the article argues for a collaborative relationship with the computer that can free the artist to more fearlessly engage with the challenges of working with emergent systems that exhibit complex unpredictable behavior. The article also describes ‘Species Explorer’, the system the author has created in response to these challenges to assist exploration of the possibilities afforded by parametrically driven generative systems. This system provides a framework to allow the user to use a number of different techniques to explore new parameter combinations, including genetic algorithms, and machine learning methods. As the system learns the artist’s preferences the relationship with the computer can be considered to change from one of assistance to collaboration. Keywords: art; computer; evolutionary design; machine learning; computationally assisted design 1. Introduction How are we to work creatively with generative systems that computationally create results? In particular, how should we work with systems deliberately designed to encourage emergence: complex systems where results are intrinsically difficult to predict? There is a strong analogy with plant breeding, where we are working with a medium that is naturally rich. -
Alternate African Reality. Electronic, Electroacoustic and Experimental Music from Africa and the Diaspora
Alternate African Reality, cover for the digital release by Cedrik Fermont, 2020. Alternate African Reality. Electronic, electroacoustic and experimental music from Africa and the diaspora. Introduction and critique. "Always use the word ‘Africa’ or ‘Darkness’ or ‘Safari’ in your title. Subtitles may include the words ‘Zanzibar’, ‘Masai’, ‘Zulu’, ‘Zambezi’, ‘Congo’, ‘Nile’, ‘Big’, ‘Sky’, ‘Shadow’, ‘Drum’, ‘Sun’ or ‘Bygone’. Also useful are words such as ‘Guerrillas’, ‘Timeless’, ‘Primordial’ and ‘Tribal’. Note that ‘People’ means Africans who are not black, while ‘The People’ means black Africans. Never have a picture of a well-adjusted African on the cover of your book, or in it, unless that African has won the Nobel Prize. An AK-47, prominent ribs, naked breasts: use these. If you must include an African, make sure you get one in Masai or Zulu or Dogon dress." – Binyavanga Wainaina (1971-2019). © Binyavanga Wainaina, 2005. Originally published in Granta 92, 2005. Photo taken in the streets of Maputo, Mozambique by Cedrik Fermont, 2018. "Africa – the dark continent of the tyrants, the beautiful girls, the bizarre rituals, the tropical fruits, the pygmies, the guns, the mercenaries, the tribal wars, the unusual diseases, the abject poverty, the sumptuous riches, the widespread executions, the praetorian colonialists, the exotic wildlife - and the music." (extract from the booklet of Extreme Music from Africa (Susan Lawly, 1997). Whether intended as prank, provocation or patronisation or, who knows, all of these at once, producer William Bennett's fake African compilation Extreme Music from Africa perfectly fits the African clichés that Binyavanga Wainaina described in his essay How To Write About Africa : the concept, the cover, the lame references, the stereotypical drawing made by Trevor Brown.. -
For Inquiries, Contact Jenni Baier at 610.827.7040 Or [email protected]
ECHOES UNDERWRITING AUTUMN 2019 SPECIAL ENHANCE THE IMPACT OF YOUR BUSINESS Did you know you can promote your business on the airwaves of Echoes? Each week, Echoes infuses its over 150,000 listeners with a world of music and information, while providing our sponsors unrivaled access to this influential, well positioned, and highly educated public radio audience. About Echoes: Echoes is a two hour soundscape that airs on 110 stations including New York City, Philadelphia, Cincinnati, Atlanta, St. Louis, Detroit, Baltimore, Charlotte, and Hawaii. Echoes is also heard online 24/7 and through Echoes Podcasts. Echoes is an oasis of chill from ambient music to atmospheric singer-songwriters; electronic spacescapes to acoustic landscapes. We interview leading figures in modern music like Brian Eno, Moby, Sigur Ros, Laurie Anderson, and the highly-regarded ECHOES Living Room Concerts with Tori Amos, Yo-Yo Ma, Lisa Gerrard, Pat Metheny, and Loreena McKennitt. Put Echoes to Work for you: Reach an Exclusive Audience Advantages of Underwriting: Reach a nationwide audience – Echoes is a nationally syndicated radio program and airs on 110 public radio stations nationwide and is available 24/7 through Echoes Online and Echoes Podcasts. Minimum clutter – Echoes airs a limited number of announcements each hour, ensuring maximum listener attention. Longer time spent listening – public radio station listeners on average listen to the radio for longer periods of time, increasing the likelihood of your announcement reaching a wide range of listeners. Multi-Platform Impact – on-air announcements are available to online streaming listeners several months beyond air date and announcements tied to our weekly podcast are available to listeners indefinitely – nearly 1,000,000 downloads/streams in 2016 alone! Cost Effective & Tax Deductible – Echoes underwriting is reasonably priced and completely tax deductible. -
A NIME Reader Fifteen Years of New Interfaces for Musical Expression
CURRENT RESEARCH IN SYSTEMATIC MUSICOLOGY Alexander Refsum Jensenius Michael J. Lyons Editors A NIME Reader Fifteen Years of New Interfaces for Musical Expression 123 Current Research in Systematic Musicology Volume 3 Series editors Rolf Bader, Musikwissenschaftliches Institut, Universität Hamburg, Hamburg, Germany Marc Leman, University of Ghent, Ghent, Belgium Rolf Inge Godoy, Blindern, University of Oslo, Oslo, Norway [email protected] More information about this series at http://www.springer.com/series/11684 [email protected] Alexander Refsum Jensenius Michael J. Lyons Editors ANIMEReader Fifteen Years of New Interfaces for Musical Expression 123 [email protected] Editors Alexander Refsum Jensenius Michael J. Lyons Department of Musicology Department of Image Arts and Sciences University of Oslo Ritsumeikan University Oslo Kyoto Norway Japan ISSN 2196-6966 ISSN 2196-6974 (electronic) Current Research in Systematic Musicology ISBN 978-3-319-47213-3 ISBN 978-3-319-47214-0 (eBook) DOI 10.1007/978-3-319-47214-0 Library of Congress Control Number: 2016953639 © Springer International Publishing AG 2017 This work is subject to copyright. All rights are reserved by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use.