Catalogue of the 23Rd International Symposium on Electronic Arts

ISEA2017 MAnIzAlES BIO-CREATIOn AnD PEACE 16th InTERnATIOnAl IMAgE fESTIvAl

Catalogue of the 23rd International Symposium on Electronic Arts.

Editors: Felipe César Londoño & G. Mauricio Mejía.

Copy-editing: Grafos Soluciones.

Editorial Coordinators: María Camila Hurtado Arciniegas & Mariana Valencia Giraldo.

Image Design ISEA2017: Alexander Cano.

Cover Design: Luis Miguel Álvarez.

Design and Diagramming: Julián David Patiño Galvez, Diego Alejandro Giraldo Ospina, Santiago Benavides Osorio & Luis Esteban López Salgado.

Copyright © 2017 all rights reserved by the individual authors, Department of Visual Design, Universidad de Caldas, and ISEA International. No part of this publication may be reproduced, stored in a retrieval system,or transmitted in any form or by any means, without prior written permission of the individual authors and ISEA International. Symposium Director Felipe C. Londoño Ph.D, Universidad de Caldas

Symposium Deputy Director G. Mauricio Mejía Ph.D, Universidad de Caldas

Academic Chairs and Indigenous Program Chairs Julián Jaramillo Arango Ph.D, Universidad de Caldas Andrés Burbano Ph.D, Universidad de los Andes

Artistic Directors Walter J. Castañeda Ph.D, Universidad de Caldas Sergio Sierra Ph.D, Universidad de Caldas

Learning Chairs Liliana M. Villescas, Universidad de Caldas Héctor F. Torres , Universidad de Caldas

Indigenous Program Chair Adriana Gómez Ph.D, Universidad de Caldas Nina Czegledy, Ontario College of Art and Design University

Keynotes Coordinator G. Mauricio Mejía Ph.D, Universidad de Caldas Juan Pablo Velásquez, Universidad de Caldas ElECTROnIC ARTS AnD BIO-CulTuRES

ISEA2017 Manizales – Colombia represents a big challenge: understand the immense complexity of a Latin American region and its deeper politics, geographic and humans particularities. This event comes for the first time to a Spanish-speaking country to recognize the biocultural heritage of a megadiverse country, which occupies the first places of variety in flora and fauna of the planet (1,900 bird species, 700 amphibian species, 3,374 species vertebrates and 51,000 species of plants), which, thanks to his geographical position, his two seas, his three Andean mountain, his water richness, and the diversity of ecosystems (99 biogeographic units) form centers of endemism in the various mountain formations, six Equatorial glaciers, two humid jungles and extensive plains. In addition, Colombia occupies the first places on the diversity of cultures in the world, with 81 perfectly differentiated ethnic groups.

This awesome panorama is, at the same time, a big challenge due all the constant threats of indiscriminate exploitation of its forests, poor management of wastewater, mining, dams, agrochemicals, water and genetic resources appropriation, which, in addition to the forced displacement suffered by its population for more than 50 years of war, constitute socio-political and environmental difﬁculties that the country and its institutions must face in order to build a stable and lasting peace in its territories, where the preservation of its biocultural diversity is a great challenge.

For that reason, ISEA2017 selects the topic Bio-creation and Peace, as a central topic which invites to reﬂect on the role of art, design, science and technology, in the look for alternatives to respect this biodiversity, and paciﬁc connivance between communities and environment. About 1,000 authors from 44 countries were presented in this call, with 750 proposals, of which 370 were selected for the event’s programming.

ISEA2017 is held parallel to the International Image Festival in Manizales, a meeting of digital culture that every year convenes the Department of Visual Design from Universidad de Caldas since 1997 and in its 15 editions, has managed to establish an international network of institutions, researchers and creators who exchange experiences and knowledge, which has positioned itself as an event of international relevance and academic reference in design, art, science and technology. International Image Festival tackles avant-garde themes that integrate diverse disciplines, distributed knowledge and social and environmental problems that invite critical reﬂection of the media and communications in the contemporary world.

This year, International Image Festival has France as guest country. With the support of French Embassy and French Institute, the Crusade Season Colombia-France, brings together a French artists delegation, which introduces its creations on the France Digital panorama. Besides of this, the schedule includes Nuits Sonores from Lyon, a French festival on electronic music, recognized around the world as one of the most attractive events of the European electronic circuit, and this year comes to the city with Polar Inertia and Arnaud Rebotini concerts. This Cataloge gives an account of the more than 280 activities that take place from June 11 to 18, in a program that integrates interactive exhibitions, performances, keynotes, concerts, sound landscapes, cinema and video, forums and workshops. The program also features panel sessions with experts reﬂecting about critical perspectives of the use of technologies for peace, media art, landscape and heritage, Academic Forum / Latin American Art and Design, Indigenous Education Forum, Interdisciplinary platforms approaches to co-existence, the cultural dimension of Bio-creation and Peace, and topics related to design, art, science and technology. In short, reﬂections about physical, digital and biological worlds; New ways of understanding how technologies will transform humanity in the coming years.

In this opportunity, ISEA2017 positions the city of Manizales as a stage for the world, framed in the Paisaje Cultural Cafetero from Colombia, recognized as a World Heritage by UNESCO. Manizales is the capital city of this regional complex that, due to its natural, cultural and geomorphological condition, is conﬁgured in the bio-region of the Eje Cafetero, as City-Landscape and by the quality of its educational institutions, such as Manizales Campus Universitario.

From the Universidad de Caldas, and parallel to the realization of ISEA2017, we have undertaken actions that look for advance collaborative research on these aspects. Caldas Expedición Siglo XXI is one of them, as well as the Francisco José de Caldas Science Center, which is being built at the Rogelio Salmona University Cultural Center, and aims to create a Makerspace for social appropriation and transfer of knowledge, where open science and collaborative work allow new strategies for high- quality public education, committed to solving local problems and critical thinking in the context of globalization.

Yuval Noah Harari said in Homo Deus that: “We surely face the most momentous moment in our 150,000 years of existence. The technology of the 21st century (biotechnology, artiﬁcial intelligence, information technologies ...) opens a scenario of transformations of an unimaginable power, but at the same time can mean the extinction of the human life.” ISEA2017 invites to visualize the future and to plan our actions in such a way that we can guarantee the sustainability of the territory and our communities.

Felipe César Londoño López Rector of Universidad de Caldas Director of ISEA2017 – International Image Festival

COntents

Presentation: Electronic Arts and Bio-Cultures...... 4

KEYNOTES ...... 8

CREATIVE CALL ...... 18 Installations and Exhibitions ...... 20 Scheduled Intervention ...... 44 Design Cases...... 50 Soundscapes / Performance ...... 54 Soundbridges and Listening Room ...... 64 Media-Art Videos ...... 72 Net Art ...... 98

LEARNING CALL ...... 102 Tutorials ...... 104 Workshops ...... 106 Artist Talks...... 120 Institutional Presentations...... 164 Design + Creation Residence...... 174

SPECIAL EVENTS ...... 176

FORUMS ...... 190 XIV Academic Forum / Latin American Art and Design...... 192 IX Education Forum...... 204

MARKET OF DESIGN, ELECTRONIC ART AND TECHNOLOGY ...... 208

FRANCE DIGITAL ...... 210

FRENCH PARTICIPANTS ...... 238

On Space curveS aS a SubStrate fOr audiOviSual cOmpOSitiOn Lance Putnam

UK www.mat.ucsb.edu/~l.putnam- / www.mutatorvr.com

In this talk, I present the use of space curves as a fundamental construct for audiovisual composition. Curves provide an attractive starting point for audiovisual synthesis as they provide a natural translation between sound and graphics. Systems for producing curves for art, design, and scientiﬁc inquiry date back to at least the 18th century and we see similar constructs persisting across mechanical, electronic, and digital technologies. Digital technologies break with the past by allowing precise, interactive control of these curves that allows a much tighter perceptual- computational feedback loop. Contemporary uses of space curves will be presented through my own audiovisual compositions and collaborative projects including the recent “Mutator VR” virtual reality experience that dips the user into a multitude of procedurally-generated sci-ﬁ alien worlds.

everything bOilS dOwn tO vibratiOnS Alba Triana

Colombia www.albatriana.com/

Colombian composer/intermedia artist, Alba Triana, will discuss some of her recent musical installations, concerned with the poetic exploration of fundamental physical properties of resonating objects emitting sound and/or light. These musical pieces cross disciplinary boundaries of art, science and technology; unfolding in time and space, in order to be heard, walked around and seen. Triana will describe how she uses her creative process to penetrate intangible aspects of nature, in search of a deeper understanding of how nature’s traits and behaviors are linked to the very existence and development of music and poetic expression. (Sou Cigano, Castelo Branco). Castelo explore These projects (Sou Cigano, how soundis the City, Belfast), Brazil (SomdaMaré,RiodeJaneiro) andPortugal intheUK(Soundsof projects with recentsonicarts participatory andstrategies methodologies associatedThis talkwillintroduce www.pedrorebelo.wordpress.com UK -Portugal Pedro Rebelo aural experienceSintheeveryday SOunding cOnflict: Conflict, CrimeandSecurity Research. Conflict, the context oftwo funded by researchprojects the Partnership for inspace.Thetalkwillshareintrinsically rooted recent work in inrevealingparticipants theirown soundstorieswhichare sound sculptures, immersive audioare allstrategies whichengage everyday life. Fieldrecordings, interviews, sensoryethnography, explore these tensionsofidentity andterritoryinthecontext of asanenvironment function inwhichto politics. Thesonicarts as militaryoccupations are meanttocontrol localdiscourseand manifestterritorial conflicts themselves insoundasevents such byconditions, articulated soundmemoriesand stories.Riofavela’s Belfast’s sonichistoriesreveal segregated both andshared when incomestocontestedspace,territorialpoliticsandconflict. haveand change.Theseprojects identifiedthepower ofsound as a vehicle forsonic arts social assert intervention, documentation relayed creativity (GeorginaBorn)inform thiswork whichaimsto strategies inauthorssuchasPaulo rooted Freire andnotionsof related toideasofplace,identity andtheeveryday. Participatory

11 Keynotes scale sculptures usingMicro Machinetechnology. (1987), thestereolithographic Forbidden Fruits (1989),andhissmall from data using3Dprinting,asinhisCNC-routed Love Geometric the 1980s,before hisinterests shiftedtocreating 3Dsculptures in Japanaswell asabroad. HisCGwork was muchcelebrated in Masaki Fujihata renowned isoneofthepioneernew mediaart, [email protected] Japan maSaki fujihata Guest professor at Kunst University Linz,Austria. Education Award for FineArts. in 2013,andSimultaneousEchoesreceived the 2010Ministryof Voices ofAliveness won Award anArsElectronica ofDistinction NIKAAward, #2wonGlobal InteriorProject the1996Golden space. bicyclists invirtual Aliveness, created inNante,France andassemblingtheshoutsof Ireland. Fujihata’s latest signature pieceisthe2012Voices of musical Alsace compiledinterviews about The2009 international borders. future,” or“theshapeofmediatocome.” His2003Field-work@ creationscyber-spacial called“thecinemaofthe that canonlybe making for ameticulouslycomposedandunexampled seriesof 1992 takes arather uncommontechnicaltackingathering data, In particular, hisexperiments in withGPStechnologybeginning the ways we space. mightcommunicate invirtual problematizes everything from how we interact withinterfaces to networking (1995-).Hiswork technologiesGlobalInteriorProject installation Beyond Pages (1995-1997)andtheexploration of would called“interactive later art,” be includingthemultimedia In themid-90s,Fujihata canonicalpiecesofwhat produced

pieceSimultaneousEchoeswas created inNorthern International development. pedagogy, macroeconomics, sciences, Social degrees: University Chapter). (EU Rome of Club and Journal, Kosmos of ambassador Global (RSA), Arts of Society Royal UK the of Connector Brussels fellow, Salzburg Afﬁliations: techniques. intelligence collective of practitioner active an am I making purpose,alsodealingwithcultural matters. Secretary oftheEUExternalService,tasked General tothinkoutofthebox for strategic andpolicy approach, intuitionandimprovisation. Ispent thelastyears of my career asaSenioradviser tothe systems, puttingemphasisonnon-linearity, interconnectivity, rapidity ofchange,uncertainty, holistic In variouscountries,Itaughtat localuniversities. Inrecent years, Iworked withcomplex adaptive information andpoliticalaffairs. Morocco, Bangladesh,Argentina andNicaragua,inchargeofdevelopment, being trade, economic, EU Representative inHaiti andDominicanRepublic,thenpostedfor theEUinseveral delegations: Neuve (Belgium).Afterworking withtheEC (Rwanda) andtheWorld Bank(Senegal),Iwas appointed back touniversity asaresearchassistantat theInstitutefor inLouvain-la- Developing Countries my professionalI started career inPeru andGuatemala withtheInternational Labour Ofﬁce. Icame www.kosmosjournal.org/contributor/alain-ruche/ Belgium ruche alain

13 Keynotes world. Thenotionof“nonhuman creation” proposed inthistalk and human vision.Itcanalsoliterally show ustheendof image-making isincreasingly decoupledfrom human agency Today, in theageofdrone media,satellite photography andCCTV, UK Joanna Zylinska imageS frOmtheendOfwOrld nOnhuman creatiOn: forms ofBio-creation andPeace. parochialism –andtotake somestepstowards envisaging new allow ushumans to“unsee” ourselves from ourown narcissistic suggest that experimental, posthumanist image-makingcan In linewiththethemeofthisISEAsymposium,shewillalso through matter theparticulate init. reflected visibletousthroughAnthropocene altered becomes light,and some from herown practice, JoannaZylinska willarguethat the and thesun.Byexamining including ofvisualprojects, anumber image-making processes withchemistry, minerals, fossil fuels agent, willframe theanalysis tohighlighttheinterweaving of crisis inwhichthehuman issaidtohave ageological become asaglobalecological-economic The Anthropocene, understood time impression-making processes suchasfossilization. through todeep- cameras, Earth, spacephotography andGoogle contemporary high-techexamples provided by traffic control imaging practices from whichthehuman isabsent: from the will expand thehuman-centric ideaofimage-makingtoembrace this comingcentury’schallenges? brittle techno-optimisticsolutions,how precisely dowe navigate Beyond behind? glassandother look thedelusions ofthegoogle have we found? Has ourinexorable forward looking forced usto brows, brains fracked toreveal neuronal mysteries -what exactly algorithmshangingoffbio-peace andprecarious equilibrium, our As we return limpingfrom thebigdata ofsome sets,insearch UK Bronac Ferran frOm theOiltOSOil the futureiSextracted: listening experience. in order to create the ultimate virtual acoustics to be explored immersive sound recording and techniques allow innovative century high-definition audio and applied. In the 21 st solutions have been proposed the last 130 years, different of recording technologies over Throughout the development performances of classical music. of large ensembles and concert picturing the ambient sound particular challenges when music producers face Recording engineers and Colombia deFrancisco Martha in virtualacOuSticS acOuStic SpaceS and recOrding in muSic – the artOfimaging

15 Keynotes Germany University ofCopenhagen Jens Hauser frOm wetware arttOgreenneSSStudieS agency, andideology. semantic construct unique role ofgreenness inhuman self-understandingascolour, medium, material percept, biological studies, scienceandtechnology andnatural sciencesbasedapproach toreinvestigate the green-washing greenhouse effects away. Thisinterdisciplinary paperpresents anovel media art, policymakers andcitizenslackacommonterminologytoaddress real world problems, meanwhile inlightofanthropogenicis urgentlyrequired effects onclimate andbiodiversity: Researchers, interdisciplinary dialoguebetweenthehumanities andthenatural sciences –adialoguewhich knowledge cultures. rather Theresultant confusionincreasingly obstructs, thanenables, an upon–andmuchabuse littlereflection There hasbeen of–‘green’ initsmigration across different historical referents. colour, ‘green’ is frequently being reduced to a mere metaphor stripped of itsto representmaterial, binaryepistemological ideas of theand other-than-human world as an idealized nature.ecologically More concept sustainable than development, while in philosophy ‘prismatic ecology’ asrebukes the alarming the useeffect of green of anthropogenic CO2 emissions. ‘Green growth’ aimstechnologies’ to reconcile as economic ecologically and benign, while climate researchers point to the ‘greening‘green’ of themarks earth’ a dramatic itself knowledge gap prone to systematic misunderstandings:cultures Engineers of knowledge, brand ‘green inherent contradictions have emerged. Far from havinga pervasive universal trope meaning, across a broad range of disciplines, and its meanings have allmigrated colours, across in its different inherent ambiguity between alleged naturalness and artificiality.hyper-compensate As ‘green’ for whathas become humans feel they have lost, will be addressed as Inthe this most media anthropocentric archaeological of talk, ‘green’, symbolically associated with the ‘natural’ and employed to time grow and indeed are technically constructed from the beginning. Aliveness and greenness are linked through ‘biofacticity’, the idea of biological artifacts that at the same artificiality on the other. We encounter a similar problem with the culturally pervasive greenness trope: – paradoxically – both their ‘aliveness’ and authenticity on the one hand, and their explicit technicity and shown that contemporary art forms which employ biotechnologies as a point of departure, emphasize the concepts ‘green’ and ‘nature’ need to be uncoupled as well. Investigations into biomediality have After the disentanglement of the terms ‘life’ and ‘nature’ – both terms putatively non-technological –

USA Sophia Brueckner Empathy BoxandEmpathy amulEt shared warmth either consciouslyorunconsciously. allowinguses asynchronous connection theusertoexperience the explores whiletheEmpathy synchronous connection, Amulet helping oneselfmeansotherpeople.TheEmpathy Box and they incorporate reciprocity intotheir design,suchthat to invest withstrangers, theirtimeandenergyinconnection encourage theiruserstomake adeliberate andgenerous choice novel withanonymous senseofconnection others.Thedevices Both devices usephysical warmth tocultivate empathy anda people through shared warmth. anonymous many connect networkedthattwo devices are Amulet isolated world. Inspired by the story, the Empathy Box and Empathy empathyand fragmentedboxes their a through in emotionally and haptically novel,connect anonymousDick’s people of In thousands – PhilipK.Dick,DoAndroids Sheep? Dream ofElectric the over all else, everyone world, allwhohadfusedat thesametime.” felt I little… a my just overcame little, it a and depression today box the of handles the of hold had “I the way youalone.” stopbeing it’s humans, other touch you way the it’s body; your of extension an It’s have. you possession personal most the is box “Anempathy message tospace. mankind´s a as sent Quixote the illustrate that books and photographs documents, of series a is installation The Mancha. the of Quixote and witty Knight-Errant Don- valorous the of history The title full the or Quixote Don of title classic the of editing” “space the about is project The commemoration. worldwide a been has It Cervantes. of death the of anniversary 400th the was year Last Mexico Juan JoséDíazInfante luna El QuijotEEnla

21 Installations and Exhibitions author turns this wire in an observation subject, in the same way thatThe actthe of scientists observation contemplate has become a scarceflower, in this fast-paced world. In Anatomía para el movimiento, the giftedwithlifeobject that twistsitselfwhenstimulated withelectricity asifitwas alittleFrankenstein. to a certain temperature. This makes that this object, called generically Muscle Wire, appears to be an being composed of two materials (Niquel and Titanium) that react differently when they are exposed Anatomía para el movimiento: línea 3 is a project where you can see wire that has the characteristic of Chile Monica BateVidal anatomía para ElmovimiEnto:línEa3 having an impact on the installation’s audiovisual environment. reproduce how the inner of the subject is influenced by the outer environment and at the same time, both the environment and the tweets, transforming this data into visual and audible signals, which measures thereafter the cerebral activity of the visitors, and analyses their emotional reactions to network (in this case, Twitter). The tweet messages are turned into audible sound, and the computer interface, which reads their brain activity. Thereby, they are confronted to messages from a social Visitors are invited to interact with the audiovisual environment (light and sound) by using an EEG (EL wires). through wires electroluminescent site-specific, where soundisdiffused insurround, andthevisualelementsconsistof lightproduced sound, brainwaves andvisualelements.Itcreates animmersive audiovisual environment, whichis WEB-MINDSCAPE isaninteractive installation suchassocialnetwork, joiningdiverse aspects, -ColombiaGermany Claudia Robles-Angel WEB-mindSCapE where Wire), (Muscle the drawing translates timeintospace(sequence). represented is what to and drawings) / (illustrations refer that representation modules the then to are 3, línea movimiento: el para Anatomía of installation the builds What that canmake that (theobservation) act tolastthrough illustrations. an animal, a part of the body or any natural phenomena; to then translate these observations to a medium Estonia Raivo Kelomees liSt ofinSultS the artwork. able tobe toexperienceroom intheexhibitionsomebody single visitorshouldengage onthewall.tubes Inthat sense, one personisnotable toreach twobe ormore thantwo, but poetry. could Theparticipants politics, and discussing art, personalitieswhoare fictional presenting dialoguesbetween on theTVs towork, start onthewall.tubes Videos in sametimeholdthemetal reach eachotherhandand Visitorsshould participation. involving collaborative ofList Insults is an artwork isanartwork each otheracross timeand ourselves into us toteleport This garmentof2030allows transcendental communication. reality; and harness it to create make up around 95% of our matter and dark energy that shroud of mystery of dark We have now penetrated the than just 5% of our reality. to find a way to see more It is 2030. We have managed UK Bushra Burge mEdia EnErGy: Soulful darK mattEr darK soulful media. media hasfinallybecome naked witheachother. Social emotionally ustobe supports garment facilitates and This by socialconstructs. anduntarnished undistorted a pure spiritualconnection by mutualconsenttocreate space todifferent degrees

Arts in2016. Arts the BerlinUniversity ofthe Createdlack ofcertainties. at existence withitsunavoidable how toconfront ourhuman andproposes and conflict, discrimination between beliefs, thought, questionstherelation transition scientific toatruly studies, represents the based onneuroscientific and thesoul.Theartwork, storyabout thescience a short bits, waves, totell andparticles mobile appandturnsitinto pulse ofapersonthrough a out ofglass,whichreads the interactive installation made ofDistiller theSelf Colombia Natalia Rivera Medina diStillEr ofthESElf is an

23 Installations and Exhibitions fundamental frequency, contour, mode, and ROVER modulates audio qualities like timbre, people. Based off of audio and emotion research, the gallery and sings emotively when it finds Robot, ROVER: the Reactive Observant Vacuous Emotive USA Hannah Wolfe vaCuouS EmotivEroBot rovEr: thErEaCtivEoBSErvant over it is reminiscent of a ribcage covered by skin. white frame with a translucent cover stretched and express emotions. Its towering 6.ft tall thin form attempting to learn how to communicate ROVER is an uncomfortably biological alien-like approached. when interact only will and stationary is it where mode passive a and with interact to people for looking space the about moves it where mode active an ROVER modes, two has agent. embodied an by produced sounds emotive to response human’saffective on research conduct to used been has and interaction, robotic human for platform experimental an is This using proximity, bump and heat sensors. mapping obstacles and people, while navigating tempo to portray emotion. It also learns the space, is an interactive sculpture that navigates the most profound rhythms with colors and in the work, with a lower core representing The viewer in the gallery sees all 1750 LEDs Processing and C++ languages. visualization is custom written by the artist in the 193cm x 160cm x 61cm. The software guiding the It is wall mounted with core dimensions of from an aluminum frame in a 3D configuration. gallery which uses the data to control LEDs hanging computer at the hive to another computer at the This information streams live from a small each bee as it forages. vision algorithms, the arrival and departure of honey reserves, and, via cameras and computer humidity, sound level, activity level, population, time with sensors monitoring the temperature, visualization. The beehive is tracked in real programmable LEDs in a creative, abstract gallery installation built of over 1750 individually Cruz mountains of coastal California with a Hivemind USA Gwyan Rhabyt h correspond tothetransits ofindividualbees. small flashes on the periphery of the piece that sound and activity levels and above this sudden etc.), this is overlaid with patterns responding to from inside the hive (temperature, population, volume responding to the slow changing data iv E mind connects an active beehive in the Santa this series, I first used a 3D paths with in the past. To create skin” of strangers I’ve crossed which I pose “under the digital composed of self-portraits in The DigitalSkinSeries Italy Emilio Vavarella SEriES thE diGital SKin intimate and unpredictable way. tridimensionality collide in an where bidimensionality and is a series of photographs additional layer. The result as if they were simply an portraits to my digital skull Finally, I applied their ofstrangers.portraits prototype to acquire HD camera- a used I Then face. tridimensional model of my scanner to obtain an accurate is Painting, visitors aspassive video systems, inFloating with real-time closed-circuit projects most interactive art the face onthewall. Unlike drawing process that illustrates Next, viewers canseethe the LEDcolorsoncanvas. simultaneously re-photographs in order, thenthewebcam three hundred milliseconds color pixel oftheimageper the LEDcanvas emitsone 18-by-32 pixilated image,and scans avisitor’sface intoan painting.Awebcam portrait long timejustasdrawing areal of drawing apaintingover a Thisvisualizes theprocess art. ininteractive model portrait visitor’s passive role asa Painting Floating USA Byeongwon Ha floatinG paintinG role ininteractive art. andtorethinkportraits, their or deadtimetoseetheirslow experience models tempsmort, explores USA Sam Blanchard SEriES GooGlEd SCulpturE western sculpture. sculpture. western of icons these to visitors by captured frequently perspectives and points focal the to speak resolution low and high of Areas presence. web of manifestations physical are figures mottled and jagged resulting The printed. 3D and rendered software, photogrammetry in together stitched are likenesses incomplete and Thinker”, flawed “Rodin and David” Milo”,“Michelangelo de “Venus for results search image Google from culled photos tourist only Using history. art western in sculptures searched popularly most the of examination through form and space translate to leveraged be can imagery of stream endless seemingly this how explores Series Sculpture Googled The alike. and Flickr Yahoo, Google, as such networks online searchable via day every shared are photos billion 1.8 that estimated is It

25 Installations and Exhibitions USA Daniel Miller Gradual Slip playback musicisbarely heardby theaudience. of two songs:Long Mao Life (1966),andYesterday Chairman (1965).Butthe It fliesonstringsat variableChina. speedssyncedwiththetempoandlevel which ran musicianMaSitsonfrom astoryoftheescapefamous Chinese A paperplanewas madeofthemagazinecover ofLIFE(June2,1967), KongHong Chi Wo Leung 1967 SilEnt muSiCplanE dialogue around climate change. exploring this boundary, opening itself up for a Gradual slip acts as a model of a natural system, function when pushed beyond this boundary. threshold, a limit where the system can no longer a system in equilibrium. In ecosystems there is a forces. The natural environment has evolved into stresses that are introduced by anthropomorphic Here, the natural element is coping with artificial in its absence. grass flourishing in the melt water or drying out dirt and seed. From this point, the seeds grow into plates heat up and the ice slides off onto a tray of down and the plates role rapidly reverses. The “glaciers”. After a time of build up the system shuts thermoelectric cooling plates (TEC) to form mini In Gradual Slip , a peristaltic pump drips water onto creative musical space with Max/MSP Jitter and and Jitter Max/MSP with space musical creative a suggests (2016) Operator study,Diligent the on Based art. interactive musical of prototype a making to contributions Paik’s articulates and concrète, musique and work Paik’s between relationship the examines paper This musique concrètecomposingexperiences. withhis Random Accesswas mainlyintertwined on awhitewall. Theinteractive approach of collages by interacting withvisualaudiotapes allowed audiencestomake theirown sound Random Access(1963)inhisfirstsoloshow. It progressive musicenvironment for audiences, Nam JunePaik (1932-2006)exhibited a USA Byeongwon Ha diliGEnt opErator Arduino. Arduino. changes in the image’s symbolic construction so visual representations that generate effects and Century. This new media meets with multiple from basic informatics have marked XXI languages that relate to different technologies An extensive visual experimentation and new Colombia and LilianaMariaVergara Zambrano Alejandro JiménezLondoño BEd ofoBlivion actual application in the artistic localscene. applicationactual intheartistic Mapping asatechnologicalresource andits experiencesartistic are created from Video Simultaneously, itsquestionsonhow these oftheviewerimportance figure. asanactive well onthespaceconceptand asreflection analyze,as ascategories tobe art, spectacle art, experiences, referring ephemeral topublicart, media anddigitalresourcestocreate artistic apply out how ContemporaryVisualArts The purposefor thisinvestigation istofind creation.contemporary artistic andhisrelationThree-dimensional objects with as VideoMappingapproximation appliedto digital culture. Ourcore topicisestablished interactivity, therefore promoting aprogressive technique and space andimageperception, audiovisual, yieldingrelevant changesin evolve indiverse contexts graphic both and Mapping exploration andconstantly toboom allowed technicalprocedures suchasVideo decades, inthenew iconographic form. Ithas digital imagehasturned,withinthesefew asanew expressionDigital art media,where transformed. that education and communication models art subsequent aggregatesubsequent of chosen paths? by thepeople weimpacted meetandtheir destination islargelyunknown andultimately of wayfinding evolve andmorphasoursenseof by society? Furthermore, how doesthenotion life, anditspotentialever-changing influences in principle analogizetothepath onechooses its four stagesinaspatial sense,how doesthis While we have all experienced wayfinding and thecompass. has been symbols and devices powerful most the of one and wayfinding, of stages four the accomplish to used been have approaches many history, Throughout recognition. destination and monitoring route decision, route orientation, process: this in stages unique four define to elaborated Lynch destination. a to navigate and oneself orient to information environmental and spatial using of process the describes which “wayfinding”, term the coined Lynch Kevin City, the of Image The work seminal his In USA Raphael Arar WayfindinG periods ofchaos andharmony.periods and societaloffshoots andthesubsequent inlife,on thepaths onechooses theindividual compassthatelectro-mechanical seekstoreflect serves asametaphoricrepresentation ofan of metamorphosis,thisresponsive installation principle ofwayfinding coupledwiththetheme By abstractly paying homage to thedesign

27 Installations and Exhibitions large-scale immersive environment toprovoke United States data Presidential Election intoa The proposed installation transforms the2016 USA and Shih-Wen Young Jiayi Young, Weidong Yang aCtivity prESidEntial ElECtiontWittEr data mappinGof2016u.S. relate toeachother. transformation oftheways inwhichwe now understanding ofthesocialfabric andtheradical significant challengessocialmediapostinour provides aphysical spacefor contemplating the media influenceonthisU.S. and election, the generative entropic propagation ofsocial of themachineworld infiltration that shifted voice. Theinstallation allows theexamination and propagate inseparably asacombined by TwitterBotsmutuallyinfluenceeachother where human true tweets andtweets generated It exposes theinnermechanismsofaworld date2016 totheelection ofNovember 8,2016. Twitter activates onthetopicfrom February fluid betweenIVbags,theinstallation recounts lights, tickingsounds,andtheexchange of nation. data Bymappingelection intoflickering and dominates theshapingoffuture ofa thought astohow socialmediaassumesform space, is made up of a combination of sounds sounds of combination a of up made is space, interstellar Reality Augmented this navigating for soundtrack the or soundscape, The images. particles’ stardust nanoscale actual from derived models animated 3D with populated soundscape a in immersed him/herself find will one mini iPad an holding extremities, its in markers reality augmented small having ceiling the from come cables transparent few a where room illuminated softly a through Walking visualized. and processed accessed, be can exploration space from derived data of amount huge the how and technologies space of dimension experiential the access to audience the invites Space-Scapes Cross-Scale Interstellar: installation. soundscape reality augmented the space, interstellar the of exploration playful and peaceful a as Conceived Brazil -USA Rocha and Herbert Clarissa Ribeiro,MickLorusso SCapES CroSS-SCalESpaCE-intErStEllar: untouchable space betweenthestars. sensorial experiences –somehow touching the data-environmentsproducing asinformational editing anddata visualization were explored, creative practice where different strategies for ofaninterventionist areprojects, part andthesonification samples ofstardustparticles application from originalnanoscaleimage representations for theAugmented Reality Both, theexercise ofdesigningthe3D projects. sonification for data raw as pixels) (its taken databases online in available scale nano in particles stardust of images from derived USA Seo Annie SungkajunandJinsilHwaryoung rainy GardEn appear andcreate asensory-richenvironment. patterns, vibrations, cricket-like sounds will the quality oftouchby avisitor, hidden visual haptic andsoundexperiences. on Depending viewer andevokes narratives through visual, stay underneath ofit,thespaceresponds tothe Once avisitorholdshandleoftheumbrella and animate creating raindrops effects. to theoutersurface oftheumbrellas slowly flowers inthefloating garden.UVLEDsattached print. Inthegallery, like umbrellas look big sensory stimulations andauniquefloral design handle creates withdistinct apersonalboundary without vulnerability. Atouchtoeachumbrella nature, anidealizedimmersion,immersion our work. arefuge Rainy of Gardenbecomes oneofcore aestheticcomponentsof becomes Naturecomfort. isanostalgicinspiration and Nature isarefuge that provides shelterand smell from agarden,etc. nature: jumpingintherain, gardening,fresh memoriesabout inspired from ourchildhood to create sensoryimmersion.Rainy Gardenis ineachumbrella compatible embedded circuitry hung from theceilingandanArduino interactions. Itiscomprisedofseven umbrellas playfulness through tangibleandimmersive creates amomentofsensoryawakening and Rainy Garden isaninteractive installation that loved ones may enhance the affective tone tone affective the enhance may ones loved the and touch, contextualized through child a with conversation her of vividness the increase can parent a Wearables, InTouch In experience withherchild. created personal basedontheleadartist’s between remote locations. was Thisproject convey emotion andhelppeoplestay connected was created toexplore how remote touchescan through garmentswithambientfeedback. This allow motherandchildshare remote touches consist ofdresses andshoulderpiecesthat InTouch Wearables USA and MeghanCook Seo,AnnieSungkajun Jinsil Hwaryoung parEnt rElationShipS amBiEnt rEmotEtouChinChild- intouCh WEaraBlES:ExplorinG embedded onthemainfabrics.embedded are garment color-changing actuating and touches human sensing for garment the of components electronic the All technology. touch remote a using communication their of isasetofwearables that

29 Installations and Exhibitions “Where have“Where youisaninstallation been?” Germany Lasse Scherffg WhErE havE youBEEn? Google andApple. Google location information insidethedatabases usedby data totheprivate from apubliccounterpart agencies andadvertisers alike –anditrelies on technique that isemployed by government on passive WiFiscanning–asimplesurveillance by awardrivingcollected community. Itisbased to geographic origins,usingWiFilocation data have youtriestolinkthesenetworks been?” networks they were tobefore. “Where connected forsearch available WiFis andby that reveal the devices enteringtheexhibition space,which This information isharvested from themobile favorite café,orthe own front yard. a usedairport, visited inthepast:afrequently oftheaudiencehave placesmembers depict StreetView.from Google Thesescenes,however, displayingprojection seeminglyrandom scenes networked mobilephones.Itconsistsofa investigating thepersonaldata leaked by The collective develops installations, objects, cartographies and Latin American geolects. concerts, soundscapes, field recordings, sound sound poetry, reviews of works, telematic art, electroacoustic music, improvisations, The main contents are: talks with artists, sound in theregion, involving andnew media. arts interprets exhibitions, festivals and other events its online experimental radio, it intervenes and American artists of diverse disciplines. Through Surófona Argentina -ChileColombia Daniel CruzandHamiltonMestizo Vecchia,Gerardo Della RaúlMinsburg, Bernardo Piñero,ClaudiaGonzález, ElECtróniCaS latinoamEriCana dEartES Surófona -radioonlinE aesthetic processes of emissions. workshops, which expand the discursive and urban interventions, performance actions and is a medium and collective of Latin Chile Daniel Cruz thE oBSErvation GEooBS /GEomEtry of transparency, tracking and trace. the concepts of invisibility , territorial gestures to relieve geopolitical relations, as also site specific action, social and through visuals strategies like build alliterations and iterations models and complex systems to the global net, confronting the contemporary context of joints, cracks and displacements The installation explore the global net. the visualrepresentation inthe systemprivacy intheactual of the blurred definitionofthe build adialoguetodefine Device, ImageandData, to the relations ofthree layers, installation whichobserve GeoObs isamixed media sample localcoffee that isGPStracked for region ofthecity, listen field-users tomove for inspecificdirections specificdistances, app that, whenthephoneisshaken, usesanalgorithmtodirect from new willuseacustomphone Colombiritmos perspectives, the intentionofbreaking from routine tore- experience Paris experimentedcode, withnumerousfor rules navigating Paris with Influenced by theSituationists who,before thetimeofcomputer coffee.of Colombian Manizales, whichispresently themaincenterfor theproduction phone application thefield-usertonavigate todirect thecity of calculateduses algorithmicfunctions inacustomGPStracking interactive, digital,kinetic,geo-location performance that project Colombiritmos USA www.maxkazemzadeh.com -www.hi-reza.com Washington University StateUniversity andGallaudet Reza SafaviandMaxKazemzadeh ColomBiritmoS -manizalESCoffEEdrip coffee for galleryvisitors. intensity” meter, whichineffect makes stronger or weaker cupsof phone application thefield-usertorespond directs toa“field- onthepassengerexperienceDepending asthey navigate, the gallery visitors. with varyingdegrees ofintensity from areas withinthat region to multiple automated kineticcoffee dispensersthat deliver coffee which are alltransmitted backtothegalleryspaceactivate of to andtransmit GPSlocated storiesacquired from thelocals, (“Colombi”: Colombia “ritmos”:Algorithms)isan (“Colombi”: Colombia

31 Installations and Exhibitions and HirooIwata Aki Yamada Takeshi Oozu, ESCapinG Chair “personality.” person considertheChair’s while alsomakingthe action, towardperception theirsitting sit onit,stimulating their to make apersonunable to By doingthis,thedevice tries nearby people. by tryingtomove away from interacts withthebystanders furniture-device. Thechair and personification ofthe the intentoftheiractions create self-awareness toward to interaction withasubject having physical anddynamic furniture-device capable of isa The EscapingChair and outputfunctions. appearance andphysical input device having afurniture A furniture-device isthe Japan Opening a space to reflect ontheinteractionOpening aspacetoreflect betweenindustrial freshwater pearl musselsare now locallyextinct. of textile contributedtohabitat and production destruction of theworld renown paisley pattern. Rapidindustrialisation Scotland, thisprocess was usedexploring thecreative possibilities of thefirstprogrammable InPaisley machinetheJacquardloom. first expression through programming, withtextile designersuse biodiversity withhuman creativity connects The project andits freshwater pearl mussel. the biologicalprocess ofshellformation inthenow endangered tointerpretin andunderstanddataresearch looking encoded CartLoom White UK Vicky IsleyandPaulSmith WhitE Cartloom surviving representative ofanendangered species.” intermsofhuman culturevalue oftheindividualboth andthelast Boredomresearch ask,“Can adigitaldata richworld advance the the designwithitsbio-inspired origins. had grown intheshellofafreshwater pearlmussel,reconnecting Indoingsotheyearth. have re-imagined thepaisley pattern asifit create auniquepearlescentpaisley form for every human alive on areboredomresearch integrating biologyandcomputation to billion humans -eachwithastrong senseofuniqueidentity - processes andsustainability inaworld populated by 7.4 has been produced inresponse toscientific produced hasbeen atom’S ElECtronintoSupErpoSitionComBininG SynthESizEr that SplitSahydroGEn-liKE mEdia CompoSitionandviSual/auralQuantum proBaB symmetries andsymmetrychanges asvisual/aural narrative. withspininahydrogen-likeelectron atom, highlightingthe resulting these variouscombinations oftwo andthree wavefunctions of an PROBABLY/POSSIBILY? patterns. spatiotemporal complex of variety a create can that constraints mathematical well-defined of set a with composer the supplies and nature of phenomena mechanical quantum fundamental the of some describes accurately hydrogen-likeatom The process. the helped has that composition musical and physical phenomena the between relationships several identify and hydrogen-likeatom the of wavefunctions elementary composing in studies our We present combinations.function of upto6spinrelationships onthex-axisalone,among thethree wave show spin-upandspin-down resulting oftheelectron, inapossibility isdisplayedelectron through different hue-color combinations that Spinonthex-axisof equation. to thetimedependentSchrodinger combining two tothree different probability wave according functions gradients ofahydrogen-like atom’s while insuperposition, electron composition/installation that tracks theprobability currents and PROBABLY /POSSIBLY? USA -ItalyUK Joann Kuchera-Morin,LucaPelitiandLancePutnam variouS orBital ShEllS ly /poSSiB isanimmersive, visual,aural, interactive, ly explores thevisual/aural appearance of ? –animmErSivEintEraCtivE

33 Installations and Exhibitions USA andTerriMatt Roberts Witek drEam GardEn of the project, both virtual and real. growable, transplantable, and in the poetic space suggests that our dreams aren’t wasted—they are even a country. As a community garden it that dreaming together may change a city and displacement. As a philosophical space it suggests space, it’s urban renewal and greening without it or wasting natural resources. As a political expand a space without wounding it, colonizing resources– like citizens’ dreams — can inhabit and The project shows how some community inthedreamgarden.com. physical location inthecity) andonlineat ina“garden”joins othersboth (adesignated into publicspace), that dream automatically dream (apoeticform moving private experience dreams. Eachtimeacity dweller texts a7-word togather,project graft acity’s andnurture Dream Garden isasite-specificaugmentedreality with fixed light sources. sources. fixed light with up lit is itself installation the and installation the containing space the state, this In logic. inherent possess they principles, dwelled don’thuman follow propositions abstract These systems. semiotic known all for deputy a as described be can system,which semiotic distinct a of characters of sequence displays a state statement The state. “interpretation” the and state “statement” the states: two between changes repeatedly installation The statement. consistent impartial an of Gradient Inspired by thetheoryofHermeneutics, Germany Andreas Lutz hypErGradiEnt the observer. original statement now interpreted by hastobe the ofperception, modification consequent physical deformation ofthesurface andthe Through theconstantchangeof light, the which are arranged around theinstallation. the surface isilluminated by four lightsources, state, thewholespacechangesintodarknessand When theinstallation reaches theinterpretation analyzes the different interpretations differentinterpretations the analyzes Hyper Hyper elsewhere inthetraditional library system intervene withoutstructurally init. “distributed libraries”, inordertointegrate relevant ofspecialised knowledge collections accumulated order tofillspecificknowledge needsduringcultural events thenpermanent, and becoming socialise even more thelibrary system, istocreate “temporary libraries”, in Two thiskindofprocess, whichwouldmeanttoopenand ofthepossibleapproaches tostart be rivalling theonlinetype of“instant”knowledge infacilitating socialandcultural exchange. socially relevant services,intoanextended, networked andshared infrastructure ofknowledge, library system. Libraries shouldevolve from theirhistoricaland“monumental”role, whichdelivers at somepoint(orinterconnecting not)tothecentralised type influenced by the spontaneouscreation ofcultural body ofdifferent types ofDIYlibraries The central role ofthelibrary asacentral cultural system istransforming intoastillundefinednew Italy Alessandro Ludovico CrEatinG nEWrESourCES tEmporary anddiStriButEdliBrariES,BrEaKinGBoundariES, with andgiftthepillflower designs.Thegrow allows function usertochallengethemselves to The Pillflower Appisagamification where oftheproject theusercangrow, gather, play with,dream sculptural work tocreate a veritable pillflower world. sculptures. Thesetwo andthree dimensionalpillflowers are thenusedtodecorate and functional both flowerlike Mandelas,aswell medicinalpills physically asactual assembledintominiature flower The Pillflower consistsofscannedimagespillsandtablets, Project digitallymanipulated into Canada Lynne Heller pillfloWEr app is simpletousewithhumble aspirations. ofpillflowerssuperimpose theircollection onreal world photosandthengiftthemtoothers.Theapp pillflowers Finally, alongwithmusicoftheuser’schoosing. loops allows thegiftfunction usersto isarelaxingThe dream mechanisminwhichameditative function Mandelaofgentlychanging expanding andcontracting theindividualdesignsaswell asmultiplyingthem. designed. Theplay optionallows ofpillflowers userstointeract withtheircollection rearranging them, recreate pillflowers. all200pluspillflowers Thegather leadstocollecting function that have been

35 Installations and Exhibitions (approx. 13mins). Ineachuniqueenactment, andsimultaneous live performanceart collaboration involving generative electronic isaninter-disciplinary Modulations Ice Core USA Bridget BairdPhDandJudithGoldman Andrea Wollensak PhD, pErformativE diGital poEtiCS iCE CorEmodulationS: reading becomes morereading extreme. becomes increasing over time,theprocessing of thepoet’s Withtheice’sand distortion. CO2content in real-time andutilizeseffects suchasreverb generation ofphrases andlive voice isprocessed gaseous andcrystalline forms. Thison-screen within thelandscapeofevolving anddissolving textual fragments appearandvisuallyinteract as atmospheric archive. Asthepoetperforms, language culledfrom scientificresearch onice visualandcomposedsonicelements,using both poetrycomponentincludes Modulations Ice Core the iceandofcracking duetoglobalwarming. representations ofCO2bubblestrapped both in driver toshiftthebehavior andappearance of levels through geologicaltimeare usedasa visualization language.Data onchangingCO2 haveModulations developed been inProcessing The visual-graphic elementsofIceCore icecore samples. from Antarctic times, collected atmosphere from ancientthrough contemporary interpreting theclimate data ontheEarth’s developed processes for exploring andcreatively and acomposerengagewithcollectively a poet,acomputerscientist, a visualartist, the future oftheCaliforniawater system examining thepastandpresent andpredicting users tolearnabout thecauses ofdrought by meaningful visualizations butalsotoallow aims notonlytoexplore new aesthetically hand motionsandcamera tracking. Thiswork digital visualization withsonification using sculptures and drought wooden usinglasercut sonifies multivariate data describingCalifornia’s data visualizesand artwork, multimodal aninteractiveCalifornia Drought Impact, awareness ofwater consumptionand ecosystem. ofthedrought andpromotecauses andimpact and we createthe todepict aninteraction tool questions andissueshave ourinspirations, been the sustainability andtheenvironment. These on ithadasignificantimpact designers because inspiration andgreat resource toartists and theecosystem, an whichhasbecome affected wáterchanges,biologicalphenomenon drought inthepastfive years. Drought has experiencingCalifornia hasbeen itsmostsevere USA Yoon ChungHanandShankarTiwari California drouGhtimpaCt visualization, andreal-time interaction. interactive interface utilizingaudiosynthesis, data representation alsoleadstoa new media which occursasaresult ofclimate changes.This water morphology(water metamorphosis), present, andfuture ofthedrought by altering educational application. thepast, Itdepicts installation andapotential anart as both . sustainability theminthecontext technology. issues,inserting oftheart scientific principles.Thepresent system inthework alsoreveals tunewithcurrent energyand proposal isbasedontheuseofasimpletechnologicalsystem,art thepoeticofbreath andprimary Sopro (TheBlow) isenergizedby theaudiencethrough theforce oftheirbreath inapropeller. This Brazil Braz andCleberGazana Milton Sogabe,CarolinaPeres,FernandoFogliano,FabioOliveira Nunes,Soraya Sopro (thEBloW) nature oftheflow. offer in, arelation betweenoriginalindigenouscultures andthenew ofscienceabout perspective the cultures, videosoftheriver, digital’sflow simulations andfractal geometryimages.Theexhibition is propose throughlanguage, arelation aperceptual betweenoriginalpiecesofthefirstindigenous The commonflow isanexhibition University, museumoftheCaldas intheArchaeological inwhich Colombia Luis Camargo thE CommonfloW the impossibleembrace. references, tocreatemake for usefulandtosearch poetryoutoffalling theuselessbecome bodies, to break aparadigm, toliberate amolecule,tohave anillusion,toexperience movement without environment ofweightlessness. Afew secondswere enoughtoexperience eternity, totellastory, and1scientistfrom Mexico theiconicIlyushin76MDK,9artists There, onboard were toan subject that have completedat theYuri been Training inStarCity, GagarinCosmonaut Centre Russia. Two years andafew ofreflection secondsinzero gravity were works theoriginsofaseriesartist Mexico Ale deLaPuenteandNahumRomero m att ErS ofGravity

37 Installations and Exhibitions bring ustogether. discussion andprofound wonder... andabove all, and universal way that ishopedtoinspire reveals what isotherwiseabstract inavisceral and multi-sensorynaturetactile ofthepiece whiletheythe artwork explore thespace.The themselves acentralparticipants componentof visualsfromthe projected above makingthe wecore connection have toeachother, with ofexistence onthebeauty reflect andthe canexperiencein whichtheparticipants and acomfortable becomes wombThe stonecircle are simultaneouslycelebrated. our individuality and collective connectedness from each person to create the final composition, into music, and sampling a single chromosome raw DNA sequence data for a set of individuals in novel, accessible ways. By transforming the modern technology to express our biological code is the technology of life, and the piece utilizes connection through shared genetic code. DNA where we can explore the nature of our universal The artwork seeks to create a peaceful space New Zealand Jo Tito, andJosiahJordan JamieBerry ronGo Ko ranGi,papa, Kaputa Ko knew theFriedrich JürgensonEVP (Electronic possibility offindingpeoplelike HildaHistwho during the1970’s,we strongly believe inthe Also, consideringthat ITC was abigsuccess keeping usfar from creating new universes. around somematerialistic goalsthat are probably existence butrather create adeepdiscussion Our intentionisnottoprove otherdimension’s from andtherefore uncertainty questioning. isdifficulttruth established, tobe afieldmade webut because understandthisasafieldwhere Transcommunication) notduetoitsexoticity goesintoITCThis project (Instrumental Brazil and SergioBonilha Luciana Ohira tranS_CommuniCationS political andeconomicstandards. people that are opentodream beyond nowadays bridge betweenoldandyoung abeautiful will be enrollingsearch, theseformer practitioners, it their findingsanymore. Ifwe succeedinthis Voice buthaven’t Phenomena) method shared digital and new media artists overseasdigital andnew mediaartists tocollaborate withyouth, women, program. withtheU.S.ofState, AAIsends Inpartnership Department Incubator (AAI), aninternationalof AmericanArts creative exchange ZERO1: &Technology TheArt Network is embarking onits4thcycle USA &TechnologyZERO1: TeArt Network Kate SpacekandNathanOber SoCial impaCt artS inCuBatorS: CroSS-SECtorCollaBoration for perspectives on art as a tool for asatool social impact. onart perspectives andhowan emphasisonhisAAIproject theAAIexperience hasshapedhis public around theideaofPeace for All.Nathan willdiscusshiswork, with as well toengagethe useddigitalandnew ashow mediaart theparticipants Nathan exchange, willshare successesandlessonslearnedintheColombia challenges. ThefocusisInclusive Peace, ofAAIinColombia andKate and incubatorsand why are arts uniquelypositionedtotackleourmostcomplex Kate willshare SpacekandNathanColombia, how Ober theprogram works Arriving toISEAfresh from facilitating the28-day AAIexchange in challenges inuniquelycreative ways. exploreof peopletocollectively andaddress socialandenvironmental forZERO1 diverse methodology groups continuestorefine itsarts-based challenges relevant ineachlocation. Across in13countries, 65AAIprojects and underserved communitiestodevelop addressing publicprojects social

39 Installations and Exhibitions the system anew every starts morning. paintings onthedigitalcanvas are archived and systems. brain-driven Thecollective ant- by theco-existence ofsuchadiversity ofbeliefs painting that portrays thewar andpeacecaused space. Thepieceisthus auser-driven collective conquer andcompetefor theprecious canvas Eventually thevariousiconographies will varies withthequality ofyour prayer. belief. Thesizeanddynamism ofthepopulation that paintsomeiconicimagesrelated tothe population ofagentswillappearonthescreen for whichyou wishtopray ormeditate. A interface, system youabelief gettochoose Equipped by amedicalgrade brainwave The PrayStation invites you topray ormeditate. Canada Philippe PasquierandJustinLove prayStation Your HearingThemisawearable technology depends onwhoisasked. like?” sound voice your does “what question: the to answer hear.The others what and it of perception own your in conflict a is there - voice the of nature duplicitous the reveals This it. hear others way the to closer much is voice your of sound”.version However, this I how not “That’s disownership. or disgust of often is recording a through back played voice one’s hearing to reaction The problematic. be can it surprisingly, but simple, seem may question This like? sound voice your does What New Zealand Blake Johnston your hEarinGthEm are shared. converse inaway inwhichtheirsubjectivities experience isdeeplyempathic, astwo peoplecan allows you toheartheirvoice asthey do.The else’s voice from theirexperience. Theheadset thatartwork presents theexperience ofsomeone impossibility oftheencounter. of thewaters that mixandsimultaneously, the notice alightcombination ofbrown andblack approximation andcoiling,itispossibleto of near-touching,at thelimitofspring’s of theflow/movement. Inthebriefmoments extends, coilstomarkthespaceandcourse The spring,at thesametimeinwhichit word “Meetings”inseveral languages. asopposedtotheflowmoon, ofaccessestothe changesinthetidesandphasesof reflect for real-time information in suchaway asto the other, brown- colored. Thesystem searches have apredominance ofblack-colored water, on of water intwo tints:Ontheonesidewe distinct a tripuptheAmazonRiver composedofflows Two mobilephonesexhibit videosfilmedduring Brazil Tatiana Travisani andValzeli Sampaio Renata LaRocca,SergioBonilha, Mauricio Taveira, NardoGermano, Luciana Ohira,LucilaMeirelles, Bueno, DanielFerreira,DarioVargas, Tomaz, ClarissaRibeiro,Claudio Prado,AgnusValente,Gilbertto Andrei EnControS and international locations. baseline data library from avariety ofdomestic a usedtoconstruct combined data-objects willbe thecitizen sciencemovement.supported The hardware (OSH) that and hascriticallyimpacted software (FLOSS) andlow costsofopensource wide availability offree/libre opensource withdata leverages metrics).The project encoded into onedata-object (timespecificimages which integrates imagecapture anddata metrics for visualizationmethodology ofwater quality (VCU) whoproposeSara a are artists Gevurtz investigators ThomasAsmuth(UWF)and titledTurbidityIn theproject Paintings, principal USA andTomasAsmuth Sara Gevurtz turBidity paintinGS dialogues onwater quality. an experimental whichleadstonew model istocreate inthisproject andtheart the artist indistinguishable andscience.Therole of inart The iterative process andprocedure are nearly when dealingwithscienceandscientificdata. questionstheroleand directly oftheartist andthesciences the dividebetweenarts Turbidity Paintings explores andchallenges

41 Installations and Exhibitions experiences audible.Usingaspeaker, withthefact ofnotbeing anaudio ofananswer, music?Insearch ears sothat itcanbecome thiscomposition Is itessentialthat soundtravel through theairandseaperceived by our oflisteninginseparableIs theact from themusicalexperience? that onafundamentalquestion: reflect ofaseriesmusicalinstallationsMusic onatempered stringisnotpart Colombia Alba Triana rEQuirEmEntS &layout muSiC onaBoundStrinGno.2inStallation in a two-dimensional plane and performs temporarily, visually and spatially. multidimensional nature: apieceofmusic,insculpture format, isreflected the moving rope andthespeaker. its Thisplannotonlyinstalls,butreflects Behind thesculpture, inatwo-dimensional theshadow planeisreflected of single vibration that unfolds sophisticated reflections. the moving string,thewaves oflightandinteractive sound,unifyingina parameterstructural aluminous ray ofthecomposition.Byprojecting into taking intoaccountthevisualnature ofthepiece,lightisexplored asa of transformation andcomplexity ofavisiblesoundwave. Additionally and conceived inamusicalway, whichconsistsofaslow andmeditative process through thestring.Thework invites andobserves adetaileddiscourse, signal excites astring,allowing thesoundmaterial tomanifest visually

Andreas KratkyandJuriHwang froM Within WeepinG baMboo:resonances sensors andamicrophone. through aGPSlocation-tracking unit, inertial correlated geography withthe actual oftheplaza offersthe project anarrative soundscape that is environment, withtoday’s myths inconcert ear. Beginningwithnarratives ofindigenous environmental soundsperceived through the The multi-channelsoundscapemergeswiththe from the space within the listener’s head. skull, which makes it seem as if it were coming transmitted by way of the bone structure of the made headset a spatialized audio experience is with aspatialized soundscape.Through acustom- experience that merges environmental sounds history of Manizales through an augmented reality It creates a rich layering of different stages of the transmit andgestural sonic,tactile, experiences. resonance, thecorrelated to vibration ofbodies, buildsonthenotionof Theproject Colombia. in publicat thePlazadeBolívarofManizales, speciﬁc, reactive soundscapethat isexperienced pieceofferingIt isalocational soundart asite- and preserving indigenousforms oforal culture. an exploration ofnew forms ofcommunicating Weeping Resonancesfrom Withinis Bamboo: USA

concept ofhuman interacting withmicrobes. Generative Membrane materialize this abstract health andpreventing diseases.Thepiece andhelpsusinimprovinginhabiting ourbody Microbiota isthecommunity ofmicrobes wastes. natural of decomposition the in particularly materials non-organic and organic recycling the in roles signiﬁcant play microorganisms Invisible comfort. human suit to ecosystems engineering by organisms many ways.affected We have direct non- and direct the in environment the with interacting always are Human Singapore Galina Mihaleva Generative MeMbrane mapped projections andamalgamatedmapped projections sounds. moisture, heat andtriggersby meansofitsshape in thetextile totouch, whichreacts object, the sculpture isrealized by implementingsensors generated from bio-inspired algorithm tocover createdThe structure by digitalbacteria

45 Scheduled Intervention concerning the value of the conscious observation Yoga practitioners make extraordinary claims in air and breathing as our technology of being. breath) to bring awareness to our co-existence and the practice of pranayama (regulation of the yogic concept of prana (breath or life-force) Finding Prana is a bio-art work that employs UK Helen Collard findinG prana imaginaire ofprana. that is thought to be found in the practices and the search for consciousness, unity and peace remembering of our most essential element in bio-art performance acts to elicit an Irigarian practitioners moving and suspended breath. This system for sound creation controlled by the air, in real-time, creating a re-appropriated The data is sonified, turned to vibrations in brain. the of hemisphere each in levels hemoglobin deoxygenated and oxygenated of levels changing the recording is fNIRS performance. pranayama live a during data brain-state real-time take to Spectroscopy) Infrared (Near fNIRS technology neuroimaging the employs work bio-art interdisciplinary this (BPNRC) Centre Research Nutrition and Performance, Brain, University’s Northumbria at Jackson Philippa Dr with collaboration In consciousness. of producer the and time of material our is breathing soul; and mind the from away segregated function bodily gross a just not is here, Breathing and control ofbreath. vegetal ink. contours ofthedevice withthehelpofapenand in between.They are revealed by following the machineand paper head, neurosignal detecting are soughtfor intheentanglementofhuman from that observation,Departing hiddendesigns toaflatthe neurodevice surface constellation. topological stance:reducing the3Dtypical useof emergewhilstalteringthe aesthetic properties brainactivity reading technology, particular researchwith In thecourseofembodied device developers/makers. conceptualization and fabrication by the initial were subconsciously integrated in their to the revelation of the hidden designs that reading devices and in particular contribute have the opportunity to engage with brain – or people in the mentioned public space-will With “Rapchiy” the ISEA participants/audiences Happening. Performative Finland VandeputBart readers´ hiddendesiGns “rapchiy” -enquiry intobrain the availability. (ceramics on filament).Depending orwood/PLA 3D withthehelpofscanningandprinters The 2Ddrawings transformed canbe againinto Canada -USA PhD JohnMaccallum Teoma Naccarato and synchronisM space, for everyone present. and sonicinstallation throughout thepublic used toenliven aninteractive, hapticsculpture ofeachpersonis astheheartbeat spread further other, are andenvironment. Individualbodies ofinternalversus external,boundaries andself, negotiated nonverbally, asthepairtransgresses consent,and playIssues ofmutualtrust, are own andoneanother’sbodies. real-time, stimulating sitesofpulsation onone’s in the duoshare therhythms oftheirhearts stethoscopesandtransducers,With electronic insidea privateinvited booth. tojoinapartner In thisintimate are installation, participants and colorfulwholehow listeningisakey to ecosystems organizethemselves asasupportive adventure. Visitorscanfeel how divergent sonic audience intoasubtleandintimate listening nuances ofthesonicexperience willtake the Finland andManizalesregion. Thedetailed resonating multicultural diversities ofboth spread around inagardenand modules performance madeofsmallsonicsculptural Aquatrio presents asoundinstallation Finland and JoséAlejandroMontesdeOca Luis AlejandroOlarte Marianne Decoster-Taivalkoski, aquatrio enseMble intiMidad delsonidobythe flores sonicas,unviajeala each oftheseplaces. works sonicelementsandobservations from Cuernavaca, andOaxaca.Ithasintegrated inits Venice, Ljubljana, Weimar, Mexico City, Morelia, inTurku,Helsinki, realized andconcerts projects Mexicofrom Colombia, andFrance. Aquatrio has ofculturalfrom Finlandwithmembers origins The Aquatrio ensemble isanelectroacoustic creating thiswhole.

47 Scheduled Intervention channels, implying a strict directionality.channels, implyingastrict where onesoundcouldonlytravel intoadjacent laidoutinalinearfashionis considered tobe designed for separate speakers, buteachchannel as a“loudspeaker orchestra”. Eachsoundis Acousmonium, whichiscommonlyknown Inconnu isoriginallycomposedfor a20-channel Turkey Zeynep Özcan inconnu deeply embedded intothecomposition. deeply embedded are that trajectories underlying the recognize and ambiguity this untangle can audience the listening, close through Still, distinctive. and ambiguous be should path individual’s an how for metaphor a choreograph I structure, the of characteristics resonant the and speakers of dispersion uneven an with trajectories these blurring By process. composition the during determined I trajectories the obscure to aim I piece, the of performance the for follow I scheme specialization the Through interrupts the linearity of the sonic trajectories. beyond what the composition affords and further space, the structure itself adds various effects Furthermore, when the piece travels in the spots in the construction in a non-linear fashion. are placed on separate levels and asymmetrical However, the loudspeakers for the performance

hacking thesystems ofhormonalcolonization. collectively of capable xeno-solidarities, arise xeno-forces From (rivers). fluids ecological and (urine) fluids bodily from hormones extracting body, stable a of notion old the against you guard will Agency Queering Molecular The panic. sex for need no is there But species. non-human of bodies and bodies our queering level, morphological the at change transfect to able are molecules disrupting endocrine These hormones. by colonized been has that landscape toxic a in live we industries, pharmaceutical and agricultural, petrochemical, to Thanks toxicities. with filled landscape alien an is world Our USA Maggic Mary queerinGaGency Molecular Loren PanetoBergantini, Laurentiz, CassiaAranha, Marcus Bastos,Silvia dynaMic crossinGs positioned nearby). from a computer-vision device on its surroundings (as mapped behaviour of people walking will change according to the of lines, as well as their velocity, generated by code. The pattern Processing real- time drawings two of its columns will display on a screen positioned amidst the Herveo Tower, a projection generated by the shadows of Exploring the graphic patterns Brazil Realities Group Sergio Venâncio Dario Vargas, Monica Moura, Lali Krotoszynski, Marcelo Carvalho, Ana ElisaCarramaschi, symbolically highlychargedplants. symbolically human stereotypes ofhow distills plantsare considered, Rodado on purpose,as‘glitches’. Inordertoaddress anddestabilize in real timeby thelargedistillation apparatuses that are blown, immersedintotheolfactoryinvited scopeproduced onstagetobe plantmovements,morphogenesis andcollective theaudienceis into themovement ofplants,intomechanicaltransduction, the dancersperform movements derived from scientificresearch spaceforparticipatory immersive human-plant interaction. While physicist andartist Aniara create Rodado Chomaz a Jean-Marc In Transmutation debase(BasicTransmutation), choreographer France Music createdby: JorgeBarco Aniara RodadoandJean-MarcChomaz alien-MiGration basic transMutation/ environmental crisisandanthropogenic excesses. of times in cognition beyond sight human-centered the than modes interaction sensorial other in engage and scale, temporal ‘plantamorphized’ a to down slow to need the emphasizing at aims piece This synesthesia. of effects intriguing create to scape sound a with scape smell immersive the completing factory’, kitchen’, ‘alchemist a ‘sound a from emerging frictions Contact microphones and hydrophones amplify the micro-

infected with mosquito-borne diseasesishigher infected withmosquito-borne Reality ofpeoplewhoget isthat thenumber Colombia Alejandro Valencia Tobón borne diseases CamPaigns againstmosquito- and sCienCetore-designhealth betWeen art,anthroPology exPeriments at theinterfaCe mosquito-virus relationship.mosquito-virus and imprecise observations ofthehuman- breeding sitesonlyleadsustohave inaccurate diseases focused ontheelimination ofmosquito- simplistic understandingofmosquito-borne Buzzing (https://goo.gl/Zjjzmu), Iarguethat the oQt2gV), Serotype (http://goo.gl/NnTg6P) and gl/Da7Yyn), theMosquitoKite(http://goo.gl/ Through thecreation ofVampires (https://goo. ways ofseeingandthinkingabout them. replaced byhealth campaignsshouldbe new suggesting that the‘over- automatisation’ of diseasesfrom adifferentborne pointofview, which peopledonotrespond. Ipresent mosquito- eliminate mosquito-breeding sites,adiscourseto templates for ‘teaching’thecommunity how to against themhave basedonstandardised been mosquitoes breed inwater, healthcampaigns (mainly Aedesaegypti),andknowing that transmitted tohumans by thebiteofamosquito So consideringthat thesethree diseasesare water storage serve asmosquito-breeding sites. for example, abandoned materials anddomestic ofbiologicalandecologicalvariables,because Health Organisation (WHO) arguesthat thisis identiﬁedin60countries.TheWorldbeen of international concern.Chikungunya has is now considered apublichealthemergency viral mosquito-borne disease.Zika important every year. isranked Dengue asthemost This approach todigitalliteracy isinformed by over theirown lives individually. arrangements where peoplehave more control re-looked ofsocial at how part technologycan be sessions,weDuring participatory constantly in apedagogicalprocess usingdigitaltools. two communitiesofwomen, whoengaged areas ofthestate ofKarnataka, India,with The two were projects carriedoutinrural experience, andnotanend-product. adds value.Therefore, digitalliteracy isan practices, andﬁndscenarioswhere technology it mustderive from current socialandcultural for meaningful, communities,butinordertobe isolated educational andtechnicalcomponent basic premise isthat digitalliteracy isnotan withthepotentialtoempoweract people.The at thatprojects digitalliteracy look asapolitical This designcaseincludestwo examples ofdesign India Catalina Alzate Pedagogies fordigital literaCy Ways ofKnoWing:Creative and experiential learning. processes,participatory theuseofdigitaldevices of‘WaysThe methodologies ofKnowing’ include capacity ofcommunication andtransformation. bythat people and arecan extend embodied their meanings, andposesdigitaldevices asartifacts individual rights.Itgives priority tocultural the principlesofempowerment, citizenshipand

51 Design Cases in art anddigital media,we invokein art theideaof counter-establishment andremix innovations towards space.Learning from thecultures ofthe a more ﬂexible anduser-driven orientation orplanningperse,invokingarchitecture instead We conceptualizeplacebeyond thedomainof Norway Wendy andAndrewPerkis AnnMansilla PlaysPaCe adressaParKen -amulti-use park inTrondheim, Norway. Multi-use Playspace intheAdressaparken public development process increating anexemplar public space.Here, we present ourdesign-led forms ofplay, learning,andengagementin engagement through thecultivation ofrobust Multi-use Playspaces aimtosparkcreativity and freely extensible. community interactions that are designedtobe technologies andmaterials, andplacemaking exploring technologicalinfrastructures, mobile “Multi-use Playspaces”, apublicspacefacility for facilitating collaborative work indata visualization, whichwe useful believe willbe Interface (TUI)designedfor interactive data We present aprototype for aTangible User Canada Steve SzegetiandSaraDiamond Lan-Xi Dong,SamaaAhmed, Ana Jofre,StephenTiefenbach Keller, interfaCe fordata visualization d the usercanentertheirown data tovisualize. data, butwe have designedoursystem suchthat We demonstrate oursystem withdemographic screen displays the results oftheuser’squery. by manipulating tokens onthetabletop andthe screen display; theusersinterrogate thedata graspable userinterface withatwo-dimensional Ourhybridanalytics. system combinesatabletop ata bloCKs –atangible

The politicalandeconomicinstability in musicfromof electroacoustic Latin American. recovering andmake ofthehistory known part (or aninstallation)This isaconcert focusing on Canada Ricardo DalFarra eLecTROAcOuSTIc muSIc) PART OFHISTORY (LATIn AmeRIcAn creativity that hasalways Latin America. been music names intheoceanofelectroacoustic Juan BlancoinCubaare onlysome ofthemany QuintanarinMexicoin Argentina,Héctor and inBrazil,Reginaldo Carvalho Horacio Vaggione JoaquínOrellana inGuatemala,in Chile, JoséVicente Asuar MusicCatalog. Electronic according toHughDavies’ International studies inArgentinabetween1950and1953, Mauricio Kagelcomposedeightelectroacoustic really astounding.To namebut afew examples: musicinparticular,and theelectroacoustic is ingeneralin theregion arts oftheelectronic problems. Inspiteofthat, thedevelopment postponedtosolve urgentsocial usually been has activities for artistic decades. Support deeply affecting thelife ofitsinhabitants for many Latin Americancountrieshave been with agrid,that dividesthebasewithvalue by theend.Thisevolving aestheticispunctuated prevailing simplicity inverted at thebeginning The increasing complexity isnow visibleandthe ofthisbasicshapearise. visual embodiments Following parameterized principles,twelve is abstracted alongthealbumconvention. visual installation, thesinusoidalwaveform presentation asalive performance andaudio- as EPs.For thevisualtranslation and concept, thetitleswere publishedconsecutively Following theserialcharacter ofthecomposition increasing compression oftheoriginalshape. illustrate especiallyover timethecomplexity and this basis,thesearrangements reference and from agenerated sinewaveform. Builton made by uptotwelve different soundsamples for Thebasicstructure each titleis frequencies. composed exclusively withtwelve consecutive for Zwölftonform twelve consecutive titlesare Following theformal ofdodecaphony, rules Germany Andreas Lutz ZwÖLFTOnFORm of thesamplenumber.

55 Soundscapes / Performances Switzerland oncl roelet roTewArt th ort Luca Forcucci BODYScAPe into an electroacoustic piece,likeinto anelectroacoustic aroad movie. cut-up text, videoandsoundcomposed pictures, Thecompositionincludeslayersapartheid. of and observed thedivisionafterendof I explored thecountrywithtext inmind and how thoseare kept inaspecificcontext. persons intoblackones.Atext about privileges transforming ofwhite avirus describes thebody in thecolumnofaSwissnewspaper, which Epidemic). Thenovel was publishedoriginally Swiss writerFriedrich Dürrenmatt (TheViral of SouthAfricaonthebaseatext ofthe asanexpeditionfurther inotherregions (Francisco Lopez). theresearch Iconducted South Africawithabiologistandcomposer ofBotswana,at theborder LimpopoRegion, includesfifteendays’The project fieldrecordings the audience. dark andthus magnifiyingthesonicmemoriesof playedleading toapieceintendedbe inthe were thencomposedat NOTAM inOsloNorway, performances inSanFrancisco andSwitzerland Thesoundrecordingssonic source. oftwo ofadancerasthemain focuses onthebody characteristics are included.Themainidea resonatingits architectural andspatial composition. Theperformance spaceand isasite-specificelectroacoustic The project control in the Big Data Era. Data Big the in control and prediction defies that movements and behaviours emergent of space indeterminate an environment, surrounding and bodies to relation open-ended and unpredictability indeterminacy, on focusing immersion, multisensory and 3D with architectures, digital physical & dynamic merges that spaces indoors & outdoors for environment performative & METATOPIAinteractive nomadic, a is Spain Jaime DelVal meTATOPIA 4.0-ALgORIcene occurrence random ofmicrobes’ movement? ourselves whoare evolved from achance Where are we comefrom? How dowe define Korea Hyungjoong Kim D ATA .nATuRe.AnAgeneSIS

Austria -Germany Klaus SpiessandLucieStrecker PROjecT On XcuRRencIeS.APeRFORmAnce relationship between thethree transactors. dependence that establishes aqualitative are inastateconsumers whoboth ofreciprocal and inalienable betweenartists become objects thus consumers.Artworks andtheart artwork logic operations interfacing betweentheliving alphabet. We usesystems biologytoprogram cellular processes withexpanded xDNA We currently assigneconomicsystems to attendees.interests oftheauction life would now governed be by thecommercial asan‘eco-political to act auction agent,’ whose transgenic Beuysian creature was then put up for interface able toactivate thesynthetic gene.The living yeast cells.We thenprogrammed an againstagingandspliced it into which protects then isolated thecatalase genefrom theblood Beuys hadshrink-wrapped hare’s We blood. We openedoneofthemultiplesinwhich counter-economy asenvisioned by JosephBeuys. incorporate animalrelics inthelightofa the audiencetospeculate that onartworks ‘Hare’s +’we designedagenetoallow Blood economics. Inourperformance/installation ofanecological part art-market tobecome that are informationally ‘grown’ for the The aimofourresearchistodevelop artworks

direct testimoniesanddigitalre-elaborations.direct relationsconstruct between reference materials, ofsoundworksThis basesare thebegging that American contexts they generate data bases. investigating socialandpoliticalreality inLatin aroundprojects theconceptofMemory. By composition. Thegroup hasdeveloped different usedineachmusicalandmultimedia tools are Thisinstruments thebasic instruments. and programing interactive gestural controlled Itfocussesand JulioCatalano. ondesigning formed Biffarella, by Gonzalo Gustavo Alcaraz This trio,whichwas formed intheyear 2010is Multimedia andinteractive concert. Argentina and JulioCatalano Gustavo Alcaraz Gonzalo Biffarella, SOunD DIALOgueS improvised structures. works,determinedand withboth multimedia art All thesematerials are captured insoundand

57 Soundscapes / Performances Colombia -Brazil Lizarazo Karla BrunetandEnriqueFranco AuDIOvISuAL PeRFORmAnce wA created by us. movements, andobjects simple body instruments (re)lived.cannot be Itisjustperformed with noisedasthe experienceIt isglitched,rusted, the lived experience indifferent environments. This audiovisual performance istheoutcomeof miscellaneous ofvideosandsounds. trips asnature immersionsandbringingbacka waterscape, snowscape... Itisgoingintoﬁeld townscape, riverscape, roofscape; seascape, different scapessuchaslandscape,cityscape, about journeys onnature. Itiswandering on WanderingScapes isanaudiovisual performance nDeRIngScAPeS –An randomness ofthevisualnarrative. time, works asaresourcethat mixed withthe same information generated that isbeing inreal The sametimehappenswiththevideo, sound events from thecontext and thepaetzold. so thepiececangenerate itselftakingasinputs working withasystem calledmachinelistening, From atechnical pointofview, is thisproject dimensions: technical,musicandconceptual. similarities betweenthemthrough thesethree and Non-real Time,exploring thedifferences and worksThis project withtwo elements:RealRime (Paetzold, andvideo) electroacoustic Leviathan Mexico -Argentina and AlejandroBrianza Emilio Ocelotl,JessicaRodriguez LevIATHAn during theperformance. reactions and actions by enhanced are interactions The performance. the of audio and video the both of interaction and soundscape the drive make they moves The board. chess enhanced electronically an on chess play scientists enhanced electro-acoustically “Reunion” duringtheperformance. andreactions enhanced by actions Duchampfrom andMarcel 1968.Inthis casethetwoCage collaborating soundscape andreal timeinterventions based onthechessmatch between and variousmidicontrollers. Using variousdata sets from theresearcha developed aninterface andperformance strategies withachessboard Lancaster incollaboration withastrophysicist RogerMalina.Theartist as astrategy for data exploration. isScotGresham Theperforming artist 20 to80.Theresearchinvolved addingsoniﬁcation tovisualisation tools dataThe project was ofhealthy fMRIdata individuals from onagecohorts for VitalLongevityCenter Studiesat UTDallas. is associated withongoingresearchateamofNeuroscientists at the thedata andthesoftwareboth developed for adata that stethoscopeproject Labs engineersperformed inpublicNew York. Theperformance used the NineEvening performances andBell in1966where prominent artists The performance isinhonorofthecelebration ofthe50thanniversary of USA Scot Gresham-LancasterandRogerMalina AnD cHeSSBOARD FOR cOmPLeXneTwORkSOFFmRIDATA ReunIOn 2-PeRFORmAnceOFTHeD ATA STeTHOScOPe

59 Soundscapes / Performances film always new toyou. software andhardware tobringthisreal-time with theenvironment. We designourown audiovisual experience fullofmovement mixed a canbe uniqueandtheact the piecewillbe improvising, buildingafilmbrickby brick; with eighteenpeoplemoving around, CICLUX willmake alive cinemaperformance around us,around you, around everybody. handcrafted andalotofNOISE projectors a city, inthiscaseMedellin...someoldphotos, with new ones,RUIDOasthestoryof willborn Using oldandrecycled technologiessideby side Colombia and EstebanBetancur Luis AngelCastro SOunDTRAck RuIDO, LIvecInemAwITH constitutes a personal exploration about how to medical purposes in a creative application. It also implementation of a tool that was developed for The intention of this is to explore the affects theoutcomeonceagain. which then re-influences the performer and the performer, the sound, and the environment system. This creates a cyclical interaction between is sent to different parameters inside the music detectors, the data coming from these devices vital signs. By wearing brainwaves and heartbeat that is directly influenced by the performer’s The idea consists in creating a musical experience Zen-borg is an audio-visual, biofeedback piece. USA VelezMartin Zen-BOR and consonantstate toanoisyandchaotic one. and the heart rate, the piece will go from a quiet our daily situations. Depending the state of mind awareness and has effects in how we engage with meditative state. Meditation isthepractice ofself- The piece is intended to be performed in a Iimplementthebiofeedback paradigm.artist, merging it with a lifetime process of becoming an taking a personal element that defined me, and lifetime interaction with biofeedback devices. By them. Heart surgery at birth set up the base for a embrace your limitations and take advantage of g the binary. Theirmovement establishes ahieroglyphic languageofdancethat synchronises withthe tomakedrummed holographic sound.Humanfigures become whenprocessed through thedigital, creates representation apictorial ofairmovement insidetheriver stones,whichare blown and stone-form containers andsuggestthepresencegeometric virtual ofbreath inthesoundscape.This innovative new mediaandancientcultural knowledge. Thehuman figures inOneOneshiftthrough asamasterwork andpower described ofbeauty OneOne hasbeen -radical initscombination of New Zealand Daniel Belton OneOne constellations, tides and corals take form, with hollow stones like bones of the earth. like a gigantic whale. We hear the call of cetaceans. Membranes that convey the geometry of sound, ontology. For the closing episode she is cradled inside a great geometric basket or ship that glides - theinternalgaze.Thefemale dancerisamessengerbetweenworlds inthisoceanorientedanthology/ female element. Male and female together journey forward. In OneOne the female figure is the navigator song and chant connect past and present. The tree symbolises rootedness in culture. The Waka is a very together with sacred rites. Ancestral knowledge is reborn again through the long corridors of time when The Waka (traditional Maori canoe) is a monument, and the product of an entire community coming land. navigation cetaceansandislands.OneOneexplores charts, ofvoyaging thetwinacts andcomingto Waka, orvessels that thehuman transport figure intimeandspace. They evoke kineticPolynesian spectral performance. stoneshave tobecome Selected carefully scannedand3Dmodelled been installation, expanded cinematransmission, mappingandAV projection architectural Liveset stage have researchandcreation inspired theartistic ofOneOneinitsdelivery asinteractive museum light andsound.TheMaerewhenua bending projected River stonesare 23-25millionyears old.They anancientelementalenergy -ancestralOneOne reflects memory unfolds inadigital cloakof sounds ofnature, Taonga Puoro andthehollow stoneflutesoftheMaerewhenua River. (SOunDScAPe-meDIA ART)

61 Soundscapes / Performances and director ofAtemporaneaand director GQ, committedtorescue allthisvastarchive ofguitarmusic hasbeen set apath for present-day musiciansandperformers. Daniel Forero, classicalguitarist Colombian ofplacesthatrepresents andcomposersfrom oneofakindgeneration allsort artist ofColombian XXth century, at stillactive his81years of life. SonofManizales city (hostof thisgreat event) he composersfrom the Colombian oneofthemostimportant isinall aspects, Guillermo RendónGarcía Colombia deguitarras Daniel ForeroandAtemporánea,cuarteto cOm HOmenAje ALmAeSTROguILLeRmORenDónenSuS55AñOSDe Op. 89performed for thefirsttimeby Daniel Forero. by theRuizVolcano ofManizaleslandscapeaswell) andthepremiere (part ofhisfirstGuitarSonata Trémolo tremulante, adramatic andtouchingmusicalmarvel theArmero’s remembering devastation delexilio guitarpiece,hisquartet Rendón: hisCiclo whichishisvery firstandmostimportant Therefore, thisrecital presents asummaryofthemostrepresentative guitarworks from Guillermo guitar musiconnew performers today. morefirst time.Thistaskthat than10years began ago,generated awholenew interest onRendón’s again onstagesinthecountryandabroad, doingperformances andrecordings ofthismusicfrom the written by Rendón,mostlyworks onlyperformed at theirfirstauditionat the80’s,andputtingthem POSITOR. eSTRen O m unDIAL D e S u S On ATA

PARA gu ITARRA OP.89, SOLA nO.1

India andCatalinaAlzate Vidyarthi Sharath ChandraRamakrishnan,Jatin Whose Weather isitanyWay? soniﬁcation andnetworked practices. mediaart the audience using emerging methods in data examining these interfaces while engaging in the age of networked Big Data, critically climate of economies’ & ‘the economies of climate’ This project explores the interplay between ‘the climate change debates and environmental policy. opaque informational conglomerates that fuel weather reporting and predictions through intellectual property regime that often makes local and global weather information into an conditions are central, lies the colonization of calamities and stock prices to which weather recreational tourism, festivities, food, livelihood, Amidst narratives and decisions surrounding infrastructural aspects. control anddissemination mediated by its informational representations ofcommand, in natural ecosystems andthat ofman-made and contrast informational patterns that exist of interventions that seekstodecipher, expose Whose Weather isitAnyway? ofaseries ispart

characteristics oftheanimal evolution tothe new interpretation inherent whichascribes one from theaudiblelanguage,providing a the topographic territorytothesymbolic author’s sounds,appointstothepassageof cicadasandofthelocalfaunaactual tothe The interaction betweentheanswer ofthe family). Cicadidae with theirabdomen from the andwings(insects byhis voice thecicadas thesoundsproduced when simulatingintervention with oftheartist and Quindíomunicipalities)from thesonorous Coffee Cultural Landscapearea (someRisaralda the transformation ofthenatural territoryinthe isasoundscape thatThe Harmonic shows Cicada Colombia Mauricio Rivera harmonic cicada with theuseoflanguage. creating arepresentative andimmersingworld questions thereality ofthephysical territory between thefauna andthehuman being From apoeticdimensiontherelationship language. sound the through built are that landscape the of realities characteristic the with bodies audience the register to proposes soundscape the habitat, and metamorphosis rooting, displacement, its during insect the of manifestations audible different the to associated states life and death the of connotations sound the Through mutual experience.

65 Soundbridges and Listening Room responsibility with the environment. environment. the with responsibility and behavior our on reflection invites that act pedagogical a becomes it critical than more that, Project this in image moving into transformed are that Elements waste. our of management the in planning of lack the because today, factor common the become has that scourge devastating this to react to must we religion; or race status, social work, our matter No ecosystem, economy andcultural identity. our danger in puts variants its all in pollution how manifest to need the sees It art. contemporary the of forms expressive the in relevance acquires that topic a is environment the of prevention The creation. artistic the for way a and tool ethnographic an as approached be will bridge sound the goal this To landscape. cultural coffee the 0n impact its and streams rivers, in pollution the about talk will research-creation following The Colombia Mauricio ChicaM. me rÍo the narrative of the piece. piece. the of narrative the on whistle the blows gesture final The dream. a and reality between forth and back swings however, consciousness, This consciousness, to “ascent” individuals the signal to emerge sounds abstract and concrete between balance a forward, moves piece the as But includes very few representational sounds. atmosphere withagloomy thatpiece starts environment ofabstract The andreal objects. as shetriestofindherway through asynthetic withwakingstory ofanindividual’sstruggle up, offieldrecordings,dream. ittellsa Composed As ifIdidn’t isahyper-real soundscapeofa Turkey Zeynep Ozcan as ifididn’t Spain Carlos Gárate sUB as theneedofdigitalsoftware tounderstandthingsthat are biggerthanus. process sonicenergyandtoquestion reality beyond human’s aswell perception theability alsotriestoputinconnection tocreateCarlos oftheEarth and the underground andare anunmistakable signoftheAnthropocene. by thehumanwith thesoundsproduced acQviQes.Soundsthat are to projected immense scalesuchasearthquakes andtherotationitselfmelt oftheEarth underground, aspacethat vibrates andwhere thesoundsofnatural originof considersthat acousticactivity onthe thisinfrastructureCarlos produces capitalism: bigcities,industrialcomplexes, massive systems, transport etc... foundThe causesofthisscenariocanbe inthephysical infrastructure of crust. Earth’s the even and oceans the atmosphere, the of composition the changed irreversibly has activity Human Earth. on force geological relevant most the become have humans era this In Holocene. the follows that epoch geological the Anthropocene, the of sounds the explore to tries Carlos SUB With unnoticed. go normally that spectra sound audible make to underground, the of activity acoustic the exploring by aims, that performance sound a is SUB

67 Soundbridges and Listening Room piece where short vocal samples are deeply deeply are samples vocal short where piece “virtuoso” a as intended is rencontre Une Herakleitos ofEphesosFragments 8and103. beginning and the end are common. the circle a of circumference the Concerning Italy Antonio D’Amato Une rencontre impregnated for thedailyroutine. constant andlouderplacewhilethetimegoeson for thepeoplethat every day walk on there... Ina confirm theexistence andtheroads make places work andestablish feelings inherpeople.They placesandspacesthat theparticular behind about theview ofthecity. seen Ithasbeen streets in.Manizalestown, itshows areflection The louderbridgewas recorded onthecenter Colombia Katerin PinedaSalas Lioso Landscape instruments. electronic or acoustic and voice of merging spectral a for researched especially I way this In algorithms. convolution through mainly one, in objects sound more of fusion the is it instead but work, mixing a just not is It elements. these of fusion total a toward tending least at or achieve to order in elements synthesized and samples instruments acoustic with together processed computer music. music. computer the of possibilities transformative the explore and examine to aims piece The personal. is that history a is there recordings, used the of analysis the Beyond itself. beyond history of sense a embodies It landscape. sonic a of marks sound on focuses music electroacoustic This series. Path” “Dark the of part a is piece This Italy Anna Terzaroli dark path #6 ought to benefit thenational andglobalsecurity.ought tobenefit by everyone,unconsciously produced itispossibletoaccomplishaconditionofcontrol; that condition the examination oftheconstantandcontinuousinformation flow, whichiseitherconsciouslyor refers tothetopicalandcontroversial themeknown as“globalcontrol andcensorship”. Through was inthecourseofaMRIdiagnostictest.Theaestheticideaimpliedcomposition produced Körper isanacousmatic pieceentirely basedontheelaboration which ofanacousticpulsesequence Italy Antonio D’Amato körper having an impact on the installation’s audiovisual environment. reproduce how the inner of the subject is influenced by the outer environment and at the same time, both the environment and the tweets, transforming this data into visual and audible signals, which measures thereafter the cerebral activity of the visitors, and analyses their emotional reactions to network (in this case, Twitter). The tweet messages are turned into audible sound, and the computer interface, which reads their brain activity. Thereby, they are confronted to messages from a social Visitors are invited to interact with the audiovisual environment (light and sound) by using an EEG (EL wires). through wires electroluminescent site-specific, where soundisdiffused insurround, andthevisualelementsconsistof lightproduced sound, brainwaves andvisualelements.Itcreates animmersive audiovisual environment, whichis WEB-MINDSCAPE isaninteractive installation suchassocialnetwork, joiningdiverse aspects, -ColombiaGermany Claudia Robles-Angel WeB-mindscape ZKM studiosinKarlsruhe. foundation material is clearly revealed only at the very end of the piece. The piece was composed at and resonant filters are chained in order to isolate restricted areas in the whole sound object. The Technically speaking the composition uses exclusively a short audio recording of a MRI test. editing and examined inordertogather information stored andprocessed? collected, tobe buildings, can we assume that in the future cells and chemical reactions in our bodies will be scanned If nowadays cameras and sensors constantly watch movements of the individuals in cities and well-being andsecurity? The questionis:How inorderguarantee deeporintrusive shouldthecontrol onindividualsbe global

69 Soundbridges and Listening Room are explored. telematic interfaces for audio-visual expression computer brain interfaces, social interfaces, and as expanded documentary, live performance, of audiovisual performances where fields such realization of 4 telematic works, all in formats Teacher of the Caldas University. Proposes the For this year TEA4, Directed by Mario H. Valencia each work. integrate the artistic and aesthetic proposals of interaction) and Telematic interfaces, which Computer Inteface) To HCI (Human Computer subjects from the computer vision and BCI (Brain and a last technological one that approaches of live video, one more of corporal expressions musical part of another visual with manipulation of live interaction elements consists of a sound- develop collaborative telematic works. Each piece diverse geographic places, contribute, raise and in which assemblies of participants distributed in realization of a group of telematic performances “Active Tele-spaces” proposes the production and Colombia and ElizabetGranadosSalgado Mario Valencia espacios activos4(tea4) active teLe-spaces 4/teLe project thesoundrecordingsproject ina3Ddiffusion with amultichannelspeaker system inorderto In Loophole thelisteningspaceisendowed stillremain. armedconflict the Colombian where violenceimprintsandcollateral effects of Villa María,Supía,SanLorenzo andArboleda, Guayabal, Chinchiná, Department: of theCaldas samples were taken in provinces and small towns “Laboratorio Sonoro deCaldas”. Theaudio pedagogical practices carriedoutintheproject soundscape, through audiosamplestaken in journey Coffee by theColombian Growing Area reconciliation process. Thepieceproposes a a temporarysociety stageintheColombian topeace, fromthe transitional conflict period installation that Loophole isasoundart depicts Colombia com/lab/loophole www.sensorlab.co/labson-sonologiacolombia.wordpress. Arango and JuliánJaramillo Mario Valencia ChristianQuintero, Ceballos, Maria PaulinaGutierrez,Oscar“Tata” LoophoLe photography oftheCultural Coffee landscape. environmentcan getintoavirtual basedon360º installation space.Through theglassesvisitor glasses that are located inthecenterof Reality (VR)experience through three cardboard audio system, Loophole offers anoptionalVirtual space surrounding him.Besidesthe multichannel experience soundscomingfrom a360°virtual Therewith ablemode. thevisitorwillbe to

last onedaylast Wake up!thefightdoesnotonly does for us. thisworld withthenaturewith us,andpartner enjoying allthat it make thisworldone,we abetter want tojoinmore peopletoﬁght attention thisgoalsthat withtheproposal tocontinuesupporting forlooking thewellness andIwant ofeverybody tomake acallof I want tohighlightallthisﬁghtsthat have to theobjective by peopleoftown. these taskswere recently suspendedfor implemented legal actions would affect directly theriver andallthenearby water sources; Gallinazo county, were placewhere miningactivities intendedand I aminterest instickoutoneofthem, located inVillamaría, in Colombia. measures oneoftheprotection thatactions; realized are in being containscontamination traces,part result ofunconscioushuman 0,4% (potable water) in theentire planet,whichis,nowadays, abig that mostvalueshouldhave for whichisonly the human being, vital resourcesfor every livingcreature: thewater, theelement more consciousnessabout oneofthemost theneedtoprotect state hastakenSince acoupleofmonththeColombian alittle Colombia ohana arcelaimnezrozco are allintertwining. andobject time, space,subject society vagueas are becoming given totheindividualand government andtheroles migration policyofTurkish into chaos accordingtothe was cosmos,hasnow turned outcomes. Istanbul, whichonce social, cultural andeconomic these issuesthrough their Cosmos”, whichaddresses form inthevideo“Chaos in photo collage creates a dynamic effectjustice. Theequilizer of life, immigration, mediaand inequality, consumerism, urban human rights,freedom, social she examines issuessuchas of thesemediainthecenter, andthepluralityperception language that putsviewer By usingtheexperimental her politicalthemedworks. criticize politicalauthority with Duygu NazlıAkova aimsto Turkey ugu azlAova chaos incosmos

73 Media-Art Videos ugu azlAova cronos living conditionsofindividuals. identities, andthegapin the disappearance ofethnic seenthrough politics canbe oftheappliedurban reflections site where theterrifying agiantconstruction become legacy. Today, Istanbul has existing historicalandcultural of concrete, by destroying the creates megacitiesmadeout This unplannedurbanization undergoing for many years. renewal”, Istanbul hasbeen under theguiseof“urban paradedwhich hasbeen unplanned urbanization, Cronos, takes at the alook Turkey has been captured intheseaudiovisualhas been records ofwar, Iintend By exalting biodiversity that thevisualimageryofColombian fighters’ pointofview. on how thenatural witnessedfrom the landscapehasbeen recorded by soldiersat thefrontlines, thispieceoffers areflection platform. Usingsegmentsfrom non-professional digitalvideos inthebattlefieldproduced andare archived ontheYouTube that armedconflict are the mediamemoriesofColombian Muted Arms,Touched Naturepiecethat buildson isavideoart USA Andrs Lombanaermdez (armas mudas,naturaleza tocada) muted arms,touchednature motion ofthevisualsandprovides asentimentaltonetothe piece. of Bach’s AirSuiteinNo.3Dmajor)accompaniestheslow persists.Alyricalsoundtrackof Colombia (apublicdomainrecord outraged, thenatural andtouchedby thearmedconflict, landscape onthepersistenceofnature.disrupted, to reflect being Despite contagion asart transmission: disease asdesign. habitation withcontagionand co- fears ofbio-invasion, bodily explores ofContagion Art the remixing, Transmission: The Through palimpsestsofmedia ofrebellion? considered anact disease acquisitionbe intentional making? Can based posthuman aesthetics form ofnon-enhancement transmission framed be asa andbioterror? Howbioart can transmission asaform of potentials ofdisease What are thegrotesque Disease” “I Want Your Ugly, IWant Your USA and iraecoudres Adam arets – Lady GaGa.

design in the video corresponds to the radio-waves radio-waves the to sound The corresponds video milliseconds. the 89 in of electromagnetic design period other a and with emits waves that radiation radio star Vela of the neutron of pulses sound regular highly-magnetized a stimuli. digitally-altered Pulsar; the auditory uses and evolving visual rapidly “Primordial” forming using by affective perpetually an to and consciousness of akin the state sensation a facilitates altered prior viewing experience to particular sequential viewer in The life universe and the temporality. of matter to all the on and “persisting” takes and general in “existing” “Primordial,” of title, its concepts with accordance In Turkey rverdi sein ert primordial emitted by this particular Pulsar.emitted by thisparticular

75 Media-Art Videos elissa elaerced scnery:Valugan to bring you to the beach. residents of the island. I want and distant chatter of the on the slow crash of the waves noise of the urban and focusing of such. By silencing out the on the shore as the images are to give emphasis on the rocks project the images on the floor of the scenery. I have decided to Instead of a parallel projection presence intime. and the sound preserves its there is beauty in the rocks and island is growing. I believe popularity of both the beach picked off and sold as the through. Rocks were being changes the island is going the island and he narrated the after my father’s first visit to the Valugan beach is 30 years various places. My first visit to attempts to bring the user into a video installation which Scnery:Valugan is based on Philippines

as part of a large-scale media art project is developed through context, multichannel sound composition Decomposing Landscape cultural settings are undergoing massive transformation. In this these rural sites and pastoral landscapes along with their traditional the contemporary conditions of anthropogenic climate change, infrastructure and industrial development. Under the specter of due to governmental pressure for rapid growth in technological landscapes in the emerging economies like India are endangered integrity as well as the traditional cultures and heritage of bucolic earth’s ecologies and cultural heritages. In this era, the ecological geologic era defined by unprecedented manmade disturbances over We have arguably entered the Anthropocene epoch, a new India udhadita Chattoadha decomposing landscape address thepossibility ofachieving reconciliation andpeace. landscapes for public intervention and artistic transformation to but also records cultural transformation of conflict-ridden sites and project not only intends to foster the capacity to preserve heritage, contemporary urban, rendered within a mode of questioning. The transition of India from a pastoral past gearing fast toward the a contemplative observation. The work intends to delineate India. The work creates a discursive auditory situation to facilitate (SEZ) Special Economic Zones, situated in the eastern part of extensive field recordings made at specific sites now considered Gabriel anegas andatharinalemm Video essay: “innerpathWays” and controlled thedestiny oftheinhabitants. livedmountains, springsandothersacred placeswhere thegods stars; geomagnetismandspiritual paths. They the connected They were alsorelated totheircalendar;themovement ofthe the entire SouthAmerica. Later onthelineswere readapted by theIncaEmpire toconnect pathways seenfrom satellites. canonlybe disappeared theday whenthesunraised. Theseperfectly straight According totheinhabitants thecivilization whobuiltthelines, severalpilgrimage routes whichconnect worlds. of thearea, whotoldusseveral fantastic storieshiddeninthese material meanwhile commutingwiththeindigenousinhabitants lines at theSajamanational audiovisual parkinBolivia;collecting We towalk hadtheopportunity throughout several ofthese inhabit currently theseareas. by lostcivilizations before theindigenouscommunitiesthat worldviews that and itwas shapedthismajesticartwork created The Quechua conceptof“Pacha,” (TimeandSpace) was oneofthe aesthetical speculations ofthistechnologylostintime. the BolivianPlateua, leadustoexplore different conceptualand The mystery at oftheNazcalinesandcalled“Ceques” Colombia -Germany USA Sims ill 10kfps.cine Building to Birds lcd all themore conspicuous. and the association of content becomes apparently processual, the transition between images and 36 seconds. At this speed is magnified over 14 minutes LCD screen. The brief moment camera while being played on a withahighspeed- scrutinized first 2.6 seconds of the video is alternatively precise scale, the content. Secondly, at an in rapidly near-anonymous unexpected topological shifts over 31 minutes, exposing slew images progresses in one view, a hyperactive is depicted twofold. Firstly, This transformation of content with that withtheuser. semiotic coherence to parlay of visualization, evincing a must swim across disciplines modes of use, the search engine reconciling these different and sociocultural utility. In boundaries of professional the internet, crossing images from throughout moves through over 50,000 by-image feature, the video search- the in recognition imagery. Using Google’s image chain of phantasmagoric onset for potentially continuous A single image serves as the

77 Media-Art Videos oao edroliveira ÂphÂr dust of the earth. (Genesis28). dust oftheearth. likedescendants willbe the at itstop.[...]Hesaid:Your down itandtheLord stood were goingupandcoming heavens. TheangelsofGod with itstopreaching tothe stairway ontheearth erected Jacob hadadream: Hesaw a void. (Genesis1) was withoutformearth and the heavens The andtheearth. created God In thebeginning, Old Testament: inspired ontwo passagesofthe that means“dust”. Thisvideois ‘Aphâr isanHebrew word Brazil one view, ahyperactive slew imagesprogresses over 31minutes, This transformation twofold. ofcontentisdepicted Firstly, in with theuser. visualization, evincing asemioticcoherence toparlay withthat enginemustswimacross ofuse,the search disciplinesof modes professional andsociocultural utility. Inreconciling thesedifferent images from throughout of theinternet,crossing boundaries the search-by-image feature, thevideomoves through over 50,000 of phantasmagoricimagery. UsingGoogle’s imagerecognition in A singleimageserves astheonsetfor potentiallycontinuouschain USA Sims ill google rhapsody content allthemore conspicuous. apparently processual,images becomes andtheassociation of 14 minutesand36seconds.Atthisspeedthetransition between playedbeing onaLCD screen. Thebriefmomentismagniﬁedover withahighspeed-cameraseconds ofthevideoisscrutinized while content. Secondly, at analternatively precise scale,theﬁrst2.6 exposing unexpected topologicalshiftsinrapidly near-anonymous

of feministcinema, international shoW the media and history in general. from stereotypes established by encourage a change of thinking not encourage more violence, but experienced by women. We do violent and dramatic situations and criticism, leaving aside the liberating spirit that mixes humor All videos share the same ofbuildings. destruction cucumber to the dramatized the subtle gesture of cutting a institutions is generated, from patriarchal system and its these videos, a critique of the and experimental videos. In documentaries, performances in which there are short films, international selection of videos, is the view shown in this fighter and rebel, and this new woman is empowered, to the kitchen and home, the The woman is no longer due Spain Aleandra ueno fem tourtruck the acousticaffordances ofsuchanenvironment are deemed is oftenthemarkofanindustrializedurbanenvironment; exhibit anoverpopulation ofsonicelements.Alo-fisoundscape In Soundscapetheory, lo-fiacousticenvironments are thosethat civic systems. of industrialization, onsocial and anditsoften-ignored impact so, thiswork aimstohighlightouracculturation means tomodern sounds andpeople.Indoing blending itsreal landscapes,objects, constantly creates unrealistic versions ofacity by algorithmically SYNTHCITY isagenerative audiovisual installation which USA Anil Camci synthcity be regarded asnaturalbe orcomfortable ineveryday environments. ofacity,parts itrealigns theviewer’s onwhat perspective tendsto By contrasting thethresholds ofaudiovisual stimulation invarious that andoutofplace. of mundaneobjects are outofproportion auditory andthevisualdomains.Theresult isanuncanny mixture and resonant spacesofacity,objects, the itdoessoinboth computationally blendsorganicandinorganicsound-producing acoustic environments asit perspective: from amultimodal SYNTHCITY explores therelationship betweenhi-fiandlo-fi hazardous levels. disproportionate tohuman physiology, amplifiedto andcanbe

79 Media-Art Videos Anil Camci temas representationality. between theorganicandsynthesized,forming with contacts sounds andimagery, stochasticallytraverses thefineline Roads’ Touche pas.Temas, whichgenerates purely abstract Stockhausen’s Kontakte, Touch, Subotnick’s Morton andCurtis The software designofTemas draws inspiration from Karlheinz synthesizer). performance (i.e.alaptopandmodular highlights thecontrasts ofthe betweenthealternating tools layers oftheperformance; theunfolding visualnarrative tosounds,guidetheviewerswhich react through thediegetic All soundsandimagesare generated inreal time.Thegraphics, performs probabilities. listens,andinreturn, parameters. asaseed;theartist Soundacts affords control over probability distributionsinsteadofimmediate a generative system of analysis. as a module The software interface The software underlyingtheperformance integrates into theartist TEMAS (tr. touch)isastochasticaudiovisual contact, performance. USA people chattering. chattering. people of full room a resembling soundscape a create to time over builds slowly audio the and constellation a form words the where work audio-visual an is result The service. translation Google’s of feature undocumented an using sound to converted were tweets the in words The API. “Egypt”,twitter the utilising word the contained that tweets intercepted I 2011, in Square TahrirCairo’s in protests and uprising days the the of During Australia Greg Giannis protesonics eredith rum the chthuluandfinalgirl to re-think, re-tell, re-world ourpossiblefuture. to theorize a giant and powerful feminist science and science fiction or defiantly misusing, Lovecraft’s racists and misogynistic cthulhu term, she posits the Chthulucene. With the later she is overturning, markets and trade routed. And as a more expansive and livable prefers the term Capitalocene, which commences with early global Concerned that the name Anthropocene is ineffective, Haraway andthecthulhu. détournement ofthecyborg Haraway’swriting alsoinfluencedtheanimation, particularly strong at theend.Alongsidecinematic, DonnaHaraway’s punished inhorror, yet itisthefinalgirlwhoemergesalive and against normative morality, by women, particularly isviolently of hierarchies ofphysical andpsychological dominance. Rebellion power inhorror films.Thepiecetroubles thegenres’ normalization andTheFinalGirlisananimationThe Chthulu about genderand USA can also call displacement. displacement. call also can we movement this movement, a into translates turn in this and, force certain a producing coalition factors, and elements of set a where territory a is there that necessary is it this give to able To be wind or sound water, light, as such elements natural and things living of activity the from derived phenomenon natural a is Displacement Colombia atero os arleedoa parqués yterritorio

81 Media-Art Videos tima dithRamrezomnguez pa weaving technique. formuse insymbolic ofrepresentation, through thegeometryand and theirritualceremonial connotation emphasizing their apparatus through thetextiles andthecultural identity. Textiles the socio-cultural transformations, establishing aconceptual establishMedia arts arelation withthetradition tounderstand also theirheritage. thus practice, configuring theircollective theiridentitybeing, and oftheTextileimportance activity inthehistoryofhuman environment, inthiscontext iswhere we candefinetheuseand the individualdefineshimselfincloserelationship withhis where thereidentity isaprocess andbelonging, ofconstruction for ofthehumanThe incessantsearch being generating textile the of patterns designingvarioussoundpiecesinreal time. abstraction sound a generating textiles American Latin of surface the of tracked is process a which through vision artificial of system a arethrough works that elements object multimedia sound a revealed, various which in machine hybrid a Is Mexico XX teXtilepattern soundmachine here reach thedeparted’.” likewise may what isgiven overflow intotheocean,so ‘As therains filltherivers and the edge,monksrecite: body. Asitfillsandpoursover before themonksanddead poured intoabowl placed funerals, where “water is wasn’t aware, like theBuddhist mirrored ritualsofwhichI Unexpectedly, thework experience ofrelease. to portray theuniversal slowly form took initsattempt communicate through water. It asanimpulseto started project renewal andcleansing. This evokes ideasandfeelings of purifying power ofwater tothe thebody subjecting In APrayer for theDead, USA Lnn ianchi dead a prayer forthe (April, 2013). Another Atlas,RAW:Gallery Winnipeg &Design, ofArchitecture Movable BordersFurtherfield Gallery, London, UK(May 2013), 2016) OnceisNothing,Inter/Access Gallery, Toronto (Feb. 2015); Anti-Atlas ofBorders,Universite iterations laFrontiere, etDecoder have screened at: been Coder Parallel isanevolving, updated frequently Previous project. Reaper drone. comprises found audio,andambientsoundfrom ISSand anMQ-9 two nations andthelegacyofcolonialepistemology. Soundtrack Digital andmaterial realms mingle,chargedwith the politicsof its own topography, boundaries, areas ofdensity andintensity. from different seasonsortimes,allcreate aparallel landscapewith Blurrings, doubleexposures, seamsbetweensatellite tiles,images geographicaldisplaced by both features andmediaartifacts. moves, thephysical appears,disappears,isreplaced and border the eye ofasatellite, and at what camera resolution. Asthevirtual havingdigital artifacts todowithwhenagiven area cameunder As onefollows apparent: thepan,anomaliesinimagebecome the archived imageoftheplanet. Earth’s historicaldatabasefrom Google toexpose discrepancies in 49th parallel,border, theCanada/US parallel mobilizesimagery A continuousvideoofmoving satellite imagerycaptured alongthe Canada Larence ird parallel ́ Libre deBruxelles (April–May opposite forces. to thefragile balancebetween created anddestroyed, thanks and impossiblelandscapegets scale, aminimal,uninhabitable, evolution. Insideaninfinite intervention) toitsnatural ear that attends (withoutany the intimacyofanalieneye/ is observed/listened from This micro/macro universe read inturnassoundvariables. whose movement well- canbe the variables ofitsorography, system. Thisactivity creates abstract nature ofacomputer and in thedisembodied activity ofasoftware entity, Nullius isthe“geological” getsnoland.Terraand nobody never getstoheavenNobody Spain ati Arauo terra nullius

83 Media-Art Videos the sea the sky,manand larger spectacle. a of part all are we because within; and without lives and us of all embraces that landscape emotional larger a with connect can viewer the work, the of presence the In creation. his with preserve to try and observes artist the that and conceptually, and emotionally viewer the moves that movement eternal An movement. of idea the with connected historically is which emovere, Latin the from comes emotion word The USA Lnn ianchi structures with a cultural and and cultural a with structures or buildings elements human of land, of area an over take personal a be always will it so surroundings”, symbolising or structuring representing, of way pictorial a image, cultural a is landscape “a perception: human of expression outward an as but terms physical in not and seen, be can what is Landscape Portugal -France Anabela Costa landscape aesthetic dimension. dimension. aesthetic portrait ofmyportrait city. ofalarger part me, tobecome NYC, andthensentthemto in them intheirapartments a few others. They recorded like “New York New York” and few famous Americanmelodies mine. Iinvited themtohum a the voices ofthree friendsof The secondoneiscomposedby practicing withhissaxophone. fascinated by ajazzmusician contemplating theview, recorded thefirstonewhile of two mainaudiotracks. I The soundtrack iscomposed balanced composition. of a slowly part become numerous littleepiphanies in awell-organized spectacle complex videocomposition.As river intoalayered and a dailyview oftheHudson alchemic effects that transform on themagicfeelings and New York, New York focuses USA Lnn ianchi neW york,york un ong the greenproject and reality. virtual the fake, the and real the In-between A green charmedby thesuperpower. green. A spacefilledwiththespectacular “hyper-reality”. called point moving a at standing am “I” world. virtual border, confusedby thefake reality, andreal geographicwandering inandoutoftheChinese “I”amtheperson color green andblueinChina. colors andgivingtheexamples oftheusage comparison betweennatural andartificial and outofthe“Chinese colorsystem”, making In thiswork, “I”amthepersonjumpingin we really needthesefake natural colors? simulative colors?Whoare thosepeople?Anddo peoplehaveWhy doChinese onusing acrush green are therepresentative colors ofnature. years 2004,2006,2007and2008.Bothblue inthe in sub-urbanarea ofSouthernChina, barren mountainswere quicklydressed ingreen Beijing, intheyears 2006,2008and2015.The The grey skywas quicklyturnedintobluein USA

soundscapes. Anabstract animation isdirectly The result takes theform ofnoisyandhypnotic sensing apparatus. the limitations andqualitiesofvariousforms of analog anddigitaltransformations formed by exploresThe project of theaestheticproperties – tocreate evocative andextreme experiences. theaudioandvisualsworkboth together dissolve. Inanaudiovisualthe boundaries ﬁlm limits ofhuman sensesat thoseedgeswhere The STRATA isconcernedwiththe project Sweden gandas Simbelis strata T ICaudiovisual performance project. STRATA iscloselyrelated ﬁlmproject toSTRA need for technique.The any post-production that. Insuchagenerative process, there isno and generates moving colorfullinesthrough The camera captures thepulsation ofthelight andwave modulation, phase, frequency shape). affecting thelight(e.g., amplitude,frequency, plays Theartist diode. withseveral parameters affectaudio frequencies thepulsation oftheRGB and inreal-time generated from thesound itself;

85 Media-Art Videos Ari Gold and Ara Ghavamian Ari GoldandAra i loVeyou,keepgoing story andchangethefuture. ofthe part orbecome the world’s destruction, possible.Viewersbecome may passively watch forces, transcendence andharmony withnature Three, where multiplecyclistsIn Chapter join fear are ofdeath activated. anddestruction Two, whereChapter oneperson rides,the industry destroys of theworld. In theheart bikes, One,where nobody theoil In Chapter mount bicycles and“change thestory.” filmswhichinvitethree thevisitorsto looping nation’s historyis entwinedwithoil,Icreated with Iranian filmeditorArya Ghavamian, whose rather thansimplytheirminds. Workingbodies audience couldfeel theseopposingforces intheir tooil,insuchawaycountry’s addiction that an possible toinvoke astoryabout nature, andmy traffic jaminCalifornia.Iwondered ifitmightbe I Love You, Keep wasinaheavy born Going USA -Iran developed ofinnovative through variousmodes cultural whichwere artefacts themselves material and in takingassource theartworks analytically. Wake Vortex employs (re)creativity the originalsoviewer intuitively regards it generated imageryretains thesuggestiveness of observation. Whilevisuallyestranged, the reveals new formal valuesandfacilitates layered scanning Dimensional collapseinorthogonal sides/directions interesting results. produce combinations materials ofsource andscanning animated, andcertain images whichcanbe set ofvideoframes creates anewof sequence scanningofastackedlines, whileorthogonal ofone-pixelis perceived asasequence wide from theside,image Scanned orthogonally asline-scanningofdigitalimagery.understood but alsofrom any otherside.Thisprocess canbe andvieweddimensional object notjustfrontally digital rastertreated imagecanbe asathree- videos andimagesbuiltaround theideathat Wake Vortex isanongoingseriesofgenerative Serbia ean Grba Wake VorteX consequences. consequences. cognitive, ethical,relational andpolitical cultural totheirunforeseen artefact, expressive, or unregistered default or valuesofanartwork it pointstothecomplexity oftheimperceptible generated by thecraft’s motion.Inthisproject, unpredictable, oftendangerous turbulenttrail In aviation andseamanship,wake vortex isan combinatorics. Vergangenheit der landschaften in algebraic hypersurfaces. tilings withsingularity theory relating thetheoryofaperiodic research inalgebraic geometry, isbased onrecent visual part geometry are explored. The withalgebraicconnections certain In thisproject Spain uan scudero assumption and fear of the other – while at the same time providing manner that they transcend or challenge place, prejudice, projection, attire might suggest. Portraits of individuals are constructed in a empathetic bridge between strangers than their contexts, roles and the common human characteristics that could provide a stronger on assumption and objectivity; this project is designed to explore works considering polarised perspectives, drawing alternatively The Mirror project is conceptualized as a series of two-screen empathy established isbeing withinacontext ofpolarization. explore the nature in which trust and suspicion is confronted when Mirror IV: Stranger is a two-screen installation developed to UK -SriLanka andRuanthiedeChicera avid Cotterrell mirror iV: stranger deep historicaldivision. to thenormalization ofindividualinteraction withinacontext of Chickera. Itisacontemplative study oftheprocess andobstacles David andSri-Lankanartist, Cotterrell screenwriter, Ruwanthie de Mirror IV:Stranger isacollaboration betweentheUK-based visual enormous challengesofreconciliation andforgiveness. Theproject consideringthe of anew modestly research-basedartwork war, comingtoaclose,we appearstobe propose thedevelopment At atimewhentheextraordinary polarization ofhalfacentury insight intonuancedinternalnegotiations andnarratives.

87 Media-Art Videos eXperimental system) equidistant suBjects(data Visualization epistemic process oftechnological condition. contractual anddespair, we of approach thedeconstruction of interpreting data, appealingtorhizomatic visionswhichbecome that refers ustotechnologicalprocesses that dealwithnew ways of approaching data visualization, generating avisuallandscape Latin America),whichestablishes thevariousexperimental ways of knowledge derived from theDALA in (DigitalArts project, oftheprocess ofco-creationThis pieceispart withdifferent areas discourse, through areappropriation ofinformation. ofthesource axis ofthecreative process, they areofthevisual thesource Is avideoinstallation, theconceptual inwhichthedata become Mexico and timadithRamrezomnguez srael AleandroLezGarca and amplifythesethemes. twisted videoeffects reﬂect and sounds can.Thedistorted to express more thantheraw piano samplesare manipulated and time itself, and the detuned involves ofspace thedistortion how traveling through space synth constantlywarps like of anoldfamily piano.The damaged synth,andrecordings The piecewas madewitha inspired by theﬁlmSunshine. A pieceinthree movements UK -Mexico and ssicaRodrguez ichael o flare solar

Rea right andSimonoden all hands track anddisentangle. micromovements, vision,andproprioception) to reﬂexes,meshwork ofsensoryskills(embodied needstousea screen, andtheparticipant handsappearonthe a multitudeofvirtual their handsabove theLeap Motioncontroller, oflight.Astheyshimmering curtain raise a minimalreal timeenvironment: afractionally sits infront ofascreen showingThe participant topology ofambientsoundandlight. conspirator itmusttrace toactivate ashifting so that itco-emergesonscreen withamachinic explores this question,arranging ahuman hand back? AllHands isasoftware assemblagethat When we wave at machines,dothey alsowave Australia -New Zealand

images becomes apparently processual,images becomes andthe 36 seconds.Atthisspeedthetransition between brief momentismagniﬁedover 14minutesand camera played whilebeing onaLCD screen. The witha highspeed- of thevideoisscrutinized alternatively precise scale,theﬁrst2.6seconds near-anonymous content.Secondly, at an unexpected topologicalshiftsinrapidly images progresses over 31minutes,exposing twofold. Firstly, inoneview, ahyperactive slew This transformation ofcontentisdepicted that withtheuser. with parlay to coherence semiotic a evincing visualization, of disciplines across swim must engine search the use, of modes different these reconciling In utility. sociocultural and professional of boundaries crossing internet, the throughout from images 50,000 over through moves video the feature, search-by-image the in recognition image Google’s Using imagery. phantasmagoric of chain continuous potentially for onset the as serves image single A USA Sims ill BuildingtoBirdslcd10kfps.cine association ofcontentallthemore conspicuous.

89 Media-Art Videos gandas Simbelis art Value movement, BigData, andother. archeology, algorithmicprocedures, computation, quantified-self andquantified:through clocktime,media is digitalized,coded unification ofeverything what isaround us,alsothrough what and data, itsinclusion ineverydayin numbers life, abstraction and Questioningtheexponentiallybelieves innumbers. growing trust contemporary human (post-human), whoradically anddecisively This aestheticturnisexamining thecontemporary notionof ValueArt istakingplacethrough theexposition ofnumbers. monetary values. the segregationworld anditspublicescalation oftheart ofthe one ofthemaincharacteristicsworld ofthecontemporary – art ascommodity.the notionofartwork Itisalso acritiqueof throughperception economicprinciples,i.e.through rethinking It isaspeculative reception questioningartwork’s project and assumptions, elevating themoral andaestheticvalues. invited to rethink the existing connotations of those philosophical different and opposite paradigms. The viewer of the exhibition is discourse, the artist seeks for a synthesis between those two project. Critically appropriating principles of such dichotomy to the art world and to creation in general is a key theme of the and consumption. The economy standards and its influences neoliberal values in the art processes, i.e. production, circulation The project Art Value examines the notion of political economy and Sweden physical joy. andintellectual moving agreat imagebecomes when masteringacomposite forlooking theprecise moment my motivations andemotions, the natural world, illustrating images. Mygoalistocapture entirely capturedbe by static that transcend reality cannot that flowingbelief processes capture fleetingreality, andthe converged inaneffort to breath withallfaculties photograph istoholdone’s Cartier-Bresson’s ideathat to suspended betweenHenri My latest works are extension ofstillimages. considered an videos canbe through avideo,andthose realitymy virtual iscreated forms. Every digitalsurface in the confinesoftraditional art past from theneedtolook Sonata for Seagulls,arises The proposed entitled project, USA Lnn ianchi the Waiting pool of theWorld,stories,mythsandlegends” animated WeBseries“chroniclesoftheedge contemporization that reaches the targetpublic. of saidcultural context andtoappropriate theminaprocess of reinterpretationfictional that allows toapproach multiplefacets ofdiffusion,tools inaprocess technologyandanimatedof arts, indigenous peoplesandSpaniardsaftertheconquest,usingas American identity throughout thehistorynarrated by both oral tradition that imagination hasbuiltthecollective ofLatin of theWorld andLegends -Stories,Myths istodisseminate the The mainpurposeoftransmedia oftheEdge proposal Chronicles ownership that ispossessedover it. in through Inordertopromote thecapacity ofappropriation and environments, canfacilitate theunderstandingofitsproblems possibility ofrapprochement betweenthedigitalandanalogous recreate itthrough theuseoftechnologies,that allow agreater imaginary, created around hishistoricalcultural traditions andto systemUnderstanding thesymbolic acollective that liesbehind Colombia aniel Rueda eia and uan avid Aristizabal Gmez Garzn, Aala aro ernn ogoa, imnez Germn Camila Solano Castillo, Luisa ernanda ega Sa, red ara Anglica Laura Cifuentes, scobar Antonio Sergio Rios, Altamar Ramrez, Guzmn Aleandro ess

around us. its signsare clearlyvisibleall intangible andinvisible, yet “Time issupposedtobe within asingledigitalvideo. incoherent timelinesexisting were reassembled, displaying The fragments ofexistence of alternative dimensions. while thrown intothechaos off onereality tothenext the way onemightbounce meaning ofspaceare explored interpretations oftime,the The onthebeach. afternoon leisurely enjoying alate video showing acouple Grasshopper isaHDlooped USA Lnn ianchi grasshoppers

91 Media-Art Videos ugu azlAova gyes potential totake over theworld inthefuture. fantastic dystopic hero Gyes, which has the scary the process of modernization, turning into the of the utopic world aimed to be created through terrifying images of the new living spaces are part in the living conditions of individuals. These disappearance of ethnic identities, and the gap applied urban politics can be seen through the site where the terrifying reflections of the Today, Istanbul has become a giant construction unjust livingconditionshave reached. transformation, changinglivingspheres and as animagethrough thehorrific point urban and represented inTurkey, especiallyinIstanbul – isGyes; present intheworld onamajorscale, - Gyes (terror) Kottos (anger),Brianos(strength) represents thethree giantnamesofmythology trilogywhich heads. Thefirstofthisvideoart and Uranus whohadonehundred armsandfifty formed, Gyes was oneofthethree sonsofGaia before thecosmoswas beings of thefirstgodly In Greek mythology, duringthechaotic times Turkey of bio-political control, for example the one on the process of deterritorialization from a certain type lines of flights, optimal for the beginning of a not anymore as frozen scars but rather as virtual the praxis of the artistic research looks at borders the point of view of an aesthetic of crises. Thus, challenging political situations, and studied from regards of disclosing narratives in the frame of their sociopolitical and aesthetics potential in Those borders are selected on the basis of the subversive strength ofthosespaces. attractions, responsible for both anesthetizing site viapresence ofduty frees and/ortouristic and by thestrategies ofdistraction enabled on zone isunderlinedby theirprison-state status - where technicallyandpoliticaldangerofthis buffering areas betweentwo confiningcountries real metaphoricallylocated perspective at the at geographicalfrom theimaginaryyet borders investigatingshot by theartist criseslocations Scars&Borders isanongoingarchive ofimages USA itra Azar collection) scars&Borders (arthropocene the Anthropocene. engage more withthethemes of orlessdirectly from theScars&Bordersarchive thatborders For asetof willselect Iseascreening theartist around theglobe. filmmaking andperformances areas at borders’ specific works withthemeansofphotography, Scars&Borders generates aseriesofsite- notion ofhuman movement. esse re, Glendare piXeldust peace and social justice. hope to people around the world who fight for to be a public display resource to console and give figures from all points of the world. It is designed to accept public contributions of inspirational PIXELDUST is designed to be an “engine” built and made substantial contributions to our world. figures who clearly overcame their weaknesses reveal the person’s identity, easily recognizable As the voice/text ends, the pixels assemble and despair orfear expressed inthat person’s life. person, taken from apositionofhopelessness, statement isheard/displayed from anunknown While the‘pixeldust’ swirls,anautobiographical pixels that ofthescreen. risefrom thebottom shrine/altar that triggersavisualduststormof figures inworld history. Participants approach a texts from andvisualportraits inspirational autobiographicalresoluteness through short a visual/aural display ofhope,faith and and economicdisparity, PIXELDUSTpresents of civilrights,environmental destruction In aworld increasingly threatened by erosion USA and Sencerathes

language, theirbehaviors and thechaos itself. they tounderstand thesame unifyandbegin that madethemdifferent from eachother... their environment andchangingtheidentities complete transformation ofthesetwo, affecting between thecountryside andthecity causeda We mustunderstandhow theconnections the group can’t exist. which istheself-representation withoutwhich elements thatthe“us”, contributetoproducing ritual behaviors are, withoutadoubt,important and informal fraternity. Theceremonial and on anetwork created withanidentity ofmasses insidetheir“ownbeings world”, butdependent day passesby, fulloflightsandtheindependent where timegoesfast andshowing how every full ofsocialchaos causedby thesenetworks Coffee Cultural Landscapewithcommonsounds amongst themselves showing awholeideaofthe the days, theevenings andthenightsconnected That’s how themassbehavior analysis manifest: Colombia Laura SofaArangoalacio callis for the appropriation of our environment. our of appropriation the for maintain, internally or externally, mechanized on the reception of different types of impulses to which comes from subtle and continuous changes intensiﬁcations of the common stimulus of beings that has sociological bases that defend around It’s the kind of self-individuality of the metropolis

93 Media-Art Videos tension betweentheinternalandexternal length of’a moment’ofattention andofthe investigatesoutside? TheMomentsproject the What istimefrom inside,what istimefrom UK aniel uzzo noW? all WecanknoWforrealis What doWeknoWoftimeWhen argument for time. world. Positioning theviewer inthecenterof shift inoneofthemostcomplex citiesinthe at every momentby amaelstrom oftemporal the otherscreen acentral figure surrounded discrete momentsofsenseandattention, on Ononescreendirection. theworks shows real-time inany order, at any speed,inany frames re-played by algorithmiceditingin video istreated, graded andre-processed and back alleys incontinuous framed shots. The moves through theneoncityscape andcrowded Hong Kong. Inthematerial acentral character video’derives’self-portrait through thestreets of Contrasting thisisaseriesofextended walking interstitial glances that show a moment occurred. close toathousandseparate clipsofnoticing, collatedThe project videofor ayear, recording on thesubstanceoftimeandlived experience. philosophical andphenomenologicaldebate the viewer inthecentre oftheemotional, this dynamic dual-screen installation situates experience oftime.Usingreal-time algorithms body becomes multiple. multiple. becomes body the and images the unifies background black The identity. unique one of deconstruction the and multiplicity the diversity, the affirm body masculine and feminine the of enunciation The reaches. light the where to only eye the direct shadow of boundaries set the predominates, black where stage, theater A proposal. videoart a is multiple Body: Beyond Brazil alesca immen Santos Beyond Body: multiple

town isinitsheight.Further deep,invisible to ships cross thehorizon.Thelife ofatouristic the carstravels between bays indistance,and seashore, planeszipsacross thesky, lightsof the timelesssightofMilkyWay onacalm August 2016.Whileattempting tophotograph UK lul oguel What liesBeneath thestars contrasts. for andwonder, beauty inageography ofuneasy anything, about theironysearch ofanartist’s What LiesBeneath theStarsis,more than lives for ahopeofsafer home. take thenext stepsoftheirjourneys, risking their Mediterranean seaswhere every day refugees all theway totheseshores ofAegeanand eye and thecamera, echoes awar that ricochets fiction andimaginationfiction inanaleatory way. parameters ofprogramation whichreconstruct itisalsogeneratedcontruction, thereafter are notjustdeveloped asvisual with3Dtools from reality ofobjects fragments. Contruction processes andtransformations are modeled which mutate digitally, butwhere evolutive the immersionofviewer inenvirontments represented by poligonalgeometry. Itinvites to generation worlds, where ofartificial organicis three-dimensional spacesandquestionsthe The videoexplores of theconstruction Colombia Camilo ermida three-dimensional

95 Media-Art Videos dialogue with the dancing figure - illuminating song cycles in a cosmic choreography of light. to the generation of pure light - expanded points and lines. This virtual acoustic architecture creates a ‘anatomy’. The visualisation of sound for AXIS arrives through a music notation system synchronised We are each made up of photons. Photons are particles of light. Light is inspiration. Every space has an Daniel director Belton. with artistic Lindborg, Tanya Carlson, Jac Grenfell, Donnine Harrison and artists of the Royal New Zealand Ballet a collaboration between Company Good Arts and renowned artists Joyce Beetuan Koh, PerMagnus AXIS - anatomy of space - creates a unique fusion of music and dance film for dome cinema. AXIS is New Zealand aniel elton aXis In my Iusescientificphotography project, toachieve (scientific)resemblance anobjective ofindividual purposes. addition to that which is merely informative allows it to also serve expressive, subjective, and aesthetic purpose is not to convey beauty but rather accurate information, its ability to record material in specific disciplines. Although scientific photography can be considered non-aesthetic, since its main Scientific photography aims to record and illustrate data and experiments that differ according to Australia Anastasia urina ripple effect laboratory. Thiscausesadilemmafor thegalleryspaceisdifferentbeautiful. viewers, because particularly from a My imagesanddigitalinstallations evoke aninterest inthat water compositionisshown asbeing world toamacro level, Iplay with themeaningofpresented images. what potentiallydifferent thingsmy imagescansay about water toaviewer. Transforming themicro- intervention ofa scientificprocess throughMy artistic experimenting withtheSEMisaway tofind I trytocreate „expressive ofwater portraits” drops. water buttheresulting drops imagesare totheirsubject, inwhat highlyselective they show andhow.

Michael Krzyzaniak eraseD Deeper thanDigits:tepiDnight by a machine. crowd-sourced collective intelligence as mediated algorithm, and the resulting poetry is a sort of with the previous people who did so through the people that edit the poetry then also interact collaborative relationship. Likewise, subsequent is in turn inﬂuenced by the human, resulting in a poems written by the computer, and the computer In this regard, the human is inﬂuenced by the future poems. the algorithm will re-use them when composing be displayed until the next poem is composed, but new words or phrases. Not only will these edits poems generated by the algorithm or suggest passersby. Additionally, anyone may edit the every few minutes to enrich the thoughts of It composes and displays a new short poem generation algorithm with humans in the loop. Deeper than Digits: Tepid Night Erased USA and BrittaKallevang is a poetry With an unexpected approach to surveillance surveillance to approach unexpected an With andscience. eternity andtime,art the globalenvironment,andouterspace, Earth draws betweenindividualsand theconnections the ever- changinguniverse (macrocosm); it and theunity ofhumanity in withoutborders the diversity ofhuman civilizations (microcosm) seen simultaneouslyinaninstant.Itvisualizes where andinspacecanbe many placesonEarth unprecedented interactive andvisualexperience Through theAleph USA Jing Zhou the WorlDinrealtime through thealeph:aglimpseof alternate reality. all Aliceaswe peerthrough ourscreens at an andwe day looking-glass, areis ourmodern Looking- Glass.” Perhaps the computerscreen literary works—“The Aleph” and“Through the titlewas*The project inspired by two great in thepresent moment. space and time through nature and humankind between bond the explores also but Earth on peace of dream the embraces only not It environment. source open an in landscape abstract an create to data live uses project web meditative this networks global and cameras is a net art project offering project is anetart an

99 Net Art with theaimofanswering abasicquestion:what isaninteractive interviewsconducting withexperts inthefieldofinteractive documentary exhibitions. Thisistheresult offour years ofintensive research (2012-2016) adocumentaryseries,multimediaplatform parts: and of 3interconnected meta-documentary that ontheinteractive reflects documentary. Itconsists COME/IN/DOC/Collaborative Meta Interactive Documentary Spain Arnau Gifreu-Castells DoCumentary] Come/in/DoC [Collaborative meta interaCtive and valuable for tool training andteaching. unique a become has and research applied and theoretical through created documentary a is COME/IN/DOC content. generate even and contribute participate, to interested are who people for possible it make training and networks social interfaces, and platforms its because interactive is DOC to explain akindofdocumentarybasedonthat genre. COME/IN/ actual attempts that meta-documentary a is COME/IN/DOC sense. broadest the in work collaborative a project the made who documentary interactive in experts the to thanks especially But another. or way one in it on worked COME/IN/DOC himselfonthenewreflects genre. a “meta-interactive-doc”, anexperimental interactive documentarythat emerging fieldusingdifferent as platforms. described couldbe Theproject documentary? From about point,theideaistoreflect this thisstarting is a collaborative project because many people selflessly selflessly people many because project collaborative a is is atransmedia Canada Ana Jofre,PhD @isea_bot_2017 Markov chainalgorithm. a using texts the re-generates and ISEA2017, of proceedings the from papers the on tweets its bases bot The ISEA2017. at presented work the of consists and subsists that pseudo-life-form a Twitter, on indefinitely live will ISEA_bot_2017 is a bot that that bot a is

the ever-changing nature of our relations in a network. network. a in relations our of nature ever-changing the through unanticipated and ambiguous composite, made quickly is that time in point a to us move tweets how references once” at everywhere is river “The work net-art The networks. different in connections our of ﬂow cyclical and overlapping asynchronous, the in revealed is contexts new in re-translation tweet’s a in connotations their and topologies new of emergence The Michel Serres’s termsatopology. that isacompositeofspaceandtime,network andprocess; orin this way, atweet contributestoanexpanded senseofplaceasone and meaningwhenviewed indifferent contexts. Whenseenin The Twitter, tweet refers toapointintimethat takes onnew form Australia Mark Cypher Cotterrell

101

detect motion accurately.detect the “eMotion”, awearable that uses anaccelerometer/gyroscope sensorto “Automator showing how and ormechanical object; tocontrol anelectrical and temperature onairandsoil,aswell asgasesanddustdensity; the consiston:the“Biostation”,projects withsensorsfor measuringhumidity andintegrateprojects itscomponentsfrom kitsprovided. Thethree theexperienceParticipants willgothru ofbuildingonetheexposed contributeworkwhere members ondifferent schedulesandlocations. documentation aspivotal incollaborativeemphasizes ongood projects CAD, for software boards industrialmanufacturing. Theprocess tomodel making bakelite andﬁnally usingOpenSource by DIYmethods, boards based ontheESP8266showing how tosketch inaprotoboard, acircuit We’ll cover adesignprocess for prototyping anddeveloping customdevices capture inputfrom theenvironment andcontrol physical objects. thatfully-ﬂedged projects, expose different sensorsandactuators that totheESP8266showcasingThe workshop participants introduces three interactions betweendifferent components inaninstallation. remoteand designerswhoneedtodeploy ornetworked requiring projects capabilities inaminiature for footprint,makingitanappealingtool artists The Colombia Miguel Vargas, SantiagoGaviriaandJuliánGiraldo builDing interfaceS Developing withtheeSp8266:DiYproceSSeSfor ESP8266 is anArduino-compatible microcontroller that integrates WiFi

105

metamedIalab: ontohackInG & metaGamInG In the alGorIcene Jaime Del Val

Spain

MetaMediaLab into the ways in which media shape societies not so much at the level of content but of their very structures, particularly in termsstructures, particularly of how they organise perception. This is what we will call metamedia: The thinking of the very frameworks and perceptual structures mobilised by media. Ontohacking implies a critical reinvention of such structures, which alters the way move, bodies relate and constitute social ecologies. student’s creations. the in applied be will that materials and theory electronics basic other. provide each We also in will perfect ﬁt origins distinct with objects coincidence”, industrial two “industrial of which in concept the explore Forwewill that, objects. design upcycled create to order in them hack and landscape urban from objects unused collect wewill workshop, this In objects. decorative or sculptures installations, electronics, as either recognized are which devices multifunctional of production the on itself materializes technology.It and art on works for inspiration of source a as hechizos) or hacks” Gambiologia Brazil Fred Paulino IntroductIon toGambIoloGIcalStudIeS is a Brazilian creative hub which adopts the country’s tradition of “gambiarra” (“life (“life “gambiarra” of tradition country’s the adopts which hub creative Brazilian a is

is a citizen lab for exploring and elaborating minor perceptions, a laboratory of research

107 Workshops relates tothetext. Oneofthese new mediaforms ofnarrative expression is documentaries, andespeciallytheprocesses involved inhow theviewer transformed distributingandshowing theprocesses ofproducing, has dramatically changed.Theinteractive narratives non-fiction have Over recent years, theway we teach andresearchnew produce, media Spain Arnau Gifreu-Castells throuGh 10exampleS InteractIve andtranSmedIadocumentarIeS GuIdelIneS andreSourceSfordeSIGnInG broadcasters andgrants for new mediaproduction. andabroad, companies, multimediastudies, Colombia suchasproduction of theworkshop willfocus onproviding usefulresourcesfor in producers implement aninteractive ortransmedia documentary. Thesecondpart helpfulforguidelines thatwhowant couldbe producers todesignand This sessionwillshow asetofcasestudiesinordertoprovide some traditional audiovisual documentaryproduction. the socalledforms ofnew mediadocumentarydiffer substantiallyfrom about atransmedia documentary. processes in Thedesignandproduction there are different mediaformats andplatforms involved, we are talking viewers by allowing themtotake decisionsthat affect the narrative. When An interactive documentaryisakindofthat empowers the ofstudychallenges traditional anddissemination. methods “interactive documentary”. Asanew interactive mediaobject, documentary USA Sophia Brueckner aScI-fIWorkShoponhorrorandpoSSIbIlIty haplab: modeling andinteractivity.modeling technologies. Thisday longworkshop shouldhelpeachstudentobtain fundamentalsinparametric processes, andinteraction whoare with Arduino.Thecourseisorientedfor new participants tothese withGrasshopper andRhino,digitalfabrication to;modeling The scopeincludesanintroduction is withinthiscontext that this workshopdeveloped. hasbeen andofplanningthelifecycleengineering, management,communication, construction ofa building.It a robust infrastructure that ischangingthelandscapeofdesignconception,development, simulation, maturity over andevolved thepast30years.have absorbed, Computers adapted,modified into been thecontemporaryWithin thefieldofarchitecture, digitaldiscoursehasgainedasignificantlevel of Sutherland,Beer,Engelbart, Ashby andPask were dreaming ofwhenthey ustocybernetics. introduced every facet of our lives and is currently showing real promise to augment of lives in the way that within an architectural environment. Computation has become ubiquitous, is embedded in virtually We are interested in providing participants an introductory course in parametric and interactive design USA Aaron Brakke parametrIc formfIndInG,InteractIonandSentIence for new technologieswithanattitude ofcriticaloptimism...hopefulyet careful. ideas whimsical and imaginative of formulation the encourageexercise constrainedwill this cynicism, Avoiding both blind optimism for technology as well as its polar opposite of overly Luddite thinking and with thequestionsomitted,asajumping-off stories. pointtowriteone-sentencesciencefiction and answers only of Questionnaire”,“Answersup a Ballard’s made to G. story J. a use will participants workshop, this During unchecked. continue they if bad, and good both trends, these of consequences the on speculates It future. the into them extrapolates and trends social and technological current at looks fiction Science engineers. and designers, inventors, for class ethics like is fiction science Reading to encourage theethicalandthoughtfuldesignofnew technologies. technology might lead us. This workshop with speculative/criticalties science fiction design as a means For decades, science fiction authors have explored both our wildest dreams and greatest fears for where “A able storyshouldbe nottheautomobilebuttraffic topredict sciencefiction good jam.”

-Frederick Pohl

109 Workshops construct digitalvisionsofpeace.Stemmingfrom anexplorationconstruct ofstates ofdislocation andtechnical and personalnarrativesParticipants willcombinefictional ordisplacementinorderto ofbelonging experiments withdigitalmediawillexplore experiences ofdislocation. facades and/or ofabuildinginLaUniversidad deCaldas thecity ofManizales.Duringthisworkshop, researchers tocollaborate displayed tobe onaseriesofvideoprojections onthewindows and The workshop, Simulations Projected and ofBeingandBelonging,invites interdisciplinaryartists Canada -UK Santiago Tavera, AnthonyHeadandLauraAcosta e private, nature and culture. expanding theurbancommonsinways that simultaneouslycollapsebinariesbetweenpublicand We invite messy, solutions totheways rebellious information shared for canbe thepurposesof embraced, recasteaters assomethingtobe andnotpositioned astheoppositetopeace. mightbe practices canresist capitalist and colonialregimes ofpower. betweenavariety Here, conflicts offruit and offerand bees), take-home grafting kits.We provoke adiscussiononhow specificcultivation from graffiti toattach toelectronics tobranches (disseminating information about the graft tohumans how anddifferentGuerrilla Grafters tousetheirinternettools teachparticipants kindsoftagging— For ISEA2017,we demonstrate how tograft ofManizales.The trees urban fruit intheRecintodistrict forests,food andunravel civilization onebranch at atime. to prove that aculture cultivated ofcare from canbe theground up.We aimtoturncity streets into Over ismadeavailable time,delicious,nutritiousfruit tourbanresidents through thesegrafts. We aim trees. ornamentalfruit The GuerrillaGrafters branches bearing, graft bearing ontonon-fruit fruit USA Margaretha Haughwout andIanPollock natural reSIStance allowsprojections for ofacultural thesimultaneousactivation andarchival site. (elasticity, alteration, translation) for viewers Framing andparticipants. apubliccontext withvideo graphic Theuseofdigitalmediapresents thepotentialtosimulate tools. astate ofdisembodiment experiment withvideocamera onbuildings,videomappingandmotion setups,multipleprojections of thefuture, andfinally, effects ofwar andvisionsofpeace.Participants willhave to theopportunity resolutions betweenheritagesurfacesconflict narratives, andsubjective pasthistoriesandillusions This workshop isabout generating socialcollaboration inordertowork towards betweenparticipants public space. video/graphic experimentation, thisworkshop willresult inthecreation ina projections ofoutdoor la StIc SpaceS -projectednarratIveS ofbeInGandbelonGInG

We usephysiological signalssuchaselectromyography (EMG),electrocardiography (ECG) and ofthehuman body. withtheinternalfunctions and connect focuses ondeveloping interactive danceperformances that utilize biosignalstoamplify, understand different biosensorsanddiscussthecreative usedinourwork at methods Emovere which project, signals (biosignals)andthetechnologiesavailable tomeasure them.We willdemonstrate theuseof This workshop willfocus onunderstandingthemeaningandpossibilitiesofdifferent physiological Chile Javier Jaimovich and Francisca Morand InteractIve performanceSfordance,SoundandbIoSIGnalS the traces ofthepresent for future generations withouteven noticingit. historically thelimitsofaccesshave never stable been andwillcontinuetochange but we are losing suchasWaybackcountries usingtheonlinetools MachineandMediaWiki.The reason for thisisthat The maingoalistopreserve that thememoryofprojects appearanddisappear day by day indifferent culture, community currencies, solidarity economy, grassroots media,p2p,piracy, media,etc. tactical economy, commons,co-ops,crowdfunding, crowdsourcing, cryptocurrencies, DIY, free software, free citizen journalism,citizenscience,collaborativescience, opendesign,education, openspectrum, of the20thcenturytopresent day related toopenaccess,content,government, open that bringstogetherprojects The collection have emergedindifferent countriesfrom thesecondhalf politics andtechnology. thatprojects offer accessfor culture, thegeneral science,economics, publictothedomainsofart, the researchisawikiwhere cancollaborate everybody withcataloguing, preserving anddocumenting Domains Mexico Paz SastreandAiselWicab the preSent domaInS, publIcSandacceSS.WIkISprIntforamedIaarchaeoloGyof collaborative sound environment that buildsonexplorations around soundpoetryandbiofeedback. will joininaco-creative experience rate using theirheart ofcreating andspeechwiththeobjective a outcomes ofdifferent piecesthat utilizebiosignalsinperformance artistic scenarios.Participants The workshop willexplore the rationale interaction designs,compositionaltechniquesand behind dimension that isinconstantchange,affected by external andinternalstimuli. activity (EDA)electrodermal asmaterials that accessanintimate and–usuallyinaccessiblebiological , publics and access is an ongoing research in media archaeology ofthepresent., publicsandaccessisanongoingresearchinmediaarchaeology Thecore of

111 Workshops opportunity toovercomeopportunity thissituation that takes somany years. experiences withnew technologiesthat itispresent inourUniversities. We thinkthat adialogueisan musicandthesoundart ofacademicinstrumental realised acleardivisionbetweentheproduction Anilla –Cultural Latinoamérica Europa (Chile-Argentina-Colombia). Inthisexperience, we have have oftheNetwork madeaseriesofinteractive Cultural withinthenodes –telematic concerts University University.postgraduate withCaldas and Chile courseinMediaArts Inthiscontext, we We oftheFaculty areUniversity part intheCordoba andwe ofArts have inthe thejointproject Argentina Gustavo AlcarazandJulioCatalano Gonzalo Biffarella, Sound dIaloGueS-fromacouStIctoGeStural by oneofthebilingualworkshop facilitators. relationships with peaceandnature. Thisworkshoptranslated Spanish andEnglish willbe intoboth in precarious situations; andcreatively exploring andestablishing practical andtheoretical for engagingdigitalcommunitiesinmeaningfulways; creating practices of identity anddisguisement processes for collaborative making; identifying andestablishing new for toolkits peaceandsafety; tools Shoptalk: FieldTools forbeyond Critical Makinglooks solo authorshiptoexplore andpractice installation. digitalandpublicart visions ofpossiblefutures inboth prototyping andproblem solvingwillincludecreative oflistening,andshared narratives acts and and brainstorm for topicsandmediumstocreate collaboration with.Methods projects through rapid case study overviews. Workshop willthenhave themselves participants tointroduce theopportunity presentationsWorkshop withshort about theirown practices leaderswillstart and community arts the FieldTools for Peace ISEAexhibition andonlinegallery, andexplore new approaches tomaking. day tocollaborate workshop theopportunity willgive participants andbuildtheirown submissionsfor making topromote socialresiliency, for for action peace.Thishalf- socialchange,andparticipatory art Shoptalk: FieldTools ofthinkingand topractice formethods CriticalMakingengagesparticipants USA Glenda Drew, SaraDean,BethFergusonandJiayiYoung Shoptalk: fIeldtoolSforcrItIcalmakInG interdisciplinary, interactive andinclusive. seminar-workshop of5days ofsessions4hourseach. way, we will make bridges among diverse types of knowledge and ways to perform the sound art to be management. We propose a project that articulates a workshop and an artistic presentation. In this those who enter into the ﬁelds of software programming, interactive systems, sensing and database artists of diverse academic backgrounds as instrumentalists, improvisers and composers in addition to In order to reduce the division, we propose an interdisciplinary space, which brings together sound

learning spacesassimulacra andabridgetotheexisting ofthesocialdynamics inCoP ones.We will ofPractice basedontheCommunity (CoP) approach, willbe that present methods The instructional andpeacebuilding,whichare coming toColombia. conflict inscenarioslikeand politicalagendas,soacriticalunderstandingofitisimportant post- if we want tobuildaplural world that ismediated by data. Data justifies,creates social anddirects A criticalapproach towards more crucial data isbecoming asahuman, socialandpoliticalconstruct Colombia VladimirLunaCárdenasandFernandoCastroToroOffray data [h]ac[k]tIvISmandvISualIzatIon WorkShop peace actors. peace actors. twitter to“hack”thefeedbackofsocialnetworks loops andtrace thefeedback (or itsabsence) from data formats (JSON), firstappand data visualization publishedonlineandshared that via willbe ones betweenuseranddeveloper ,toenterinthehandsonexperience, learningthebasicsyntax, betweenapp,document,developmentdistinction environment andprogramming languages,andthe The workshop willpresent ahistoricalquickoverview ofalternatives ways computing that blurthe repositories. code andsource interactive notebooks create permanentandfluidreal timecollaborative reified memoriesviaetherpadsthat in willbe memories andheritageinrelation totheterritory, generating thevideoinstallation asaproduct. doing, concluding,proposing andvisualizing)characterized by experiential dialogues about identity, ‘Las AldeasdelMundo’ consists ofthree moments(diagnosing questioningand andreflecting, approach tocommunity socialempowerment. other andtotheirterritorythrough andparticipatory technologicalmediation, construction collective (known Colombia forof Manizales,Caldas, theirproblems ofterritorialorganization) torelate toeach The videoinstallation seekstogenerate new ways for thehabitants oftheSanJose identity, memoryandheritage. consists ofthecreation ofcontentsbasedon ofavideoinstallation construction basedonthecollective The workshop Villagesoftheworld, atechnologicalaestheticmediation ofidentitiesandterritories, Colombia andSebastiánLópez Sebastián González,PaolaFernandaLópez,Cuartas medI oftheWorldWorkShop,anaeSthetIctechnoloGIcal vIllaGeS at Ion ofIdentItIeSandterrItorIeS sector of thecitý sector

113 Workshops perceiving /understandingdoing? Whatperceiving dowe expect from publicpolicies inthiscontext?[electronic] art How doesdigitalculture changeourway of visions ofwhat human lifeWhat istherole inourPlanetshouldbe: of is different thanimagined,andhuman society istornbetween polarized turns, thehopeofawelfare state isdiluted,thetechnologicalrevolution In timesofstrong changesintheworld, whenpoliticstake unexpected Canada -Colombia -Argentina Ricardo DalFarra,FelipeC.LondoñoandDiegoPimentel life-review system opening topublic. researchfindings basedonformativeproduction, testingwiththeseniortarget population, andavatar This workshop willexamine conceptualfoundations, ofthe project: diverse aspects multimedia analysis theemotionalcontentsofuser’slive speech. algorithmsdetecting through configurable avatars. Avatars’ affective gestures results andsoundreflect ofsentiment various ages(child, teenager, theirlife stories andthoseofsignificantothers adult,elder),embodying memories invested withemotionandbuoyed by engagingplay. outreminiscences at Seniors act among peers,caregivers, andfamily promoting intergenerational members, relationships by eliciting This system was designedtostrive toenhanceseniors’quality oflife, fostering communication and therapy inKorean rooted shamanisticpractice. transdisciplinary integrates project gaming,computerscience,gerontology, arts, electronic storytelling, interactive avatars users’speech,gestures, reflecting andemotionalstates inreal time.This This workshop aninnovative willintroduce therapy platform designed for olderadults, with USA andBriannaOndris Semi Ryu,StefanoFaralli avatar lIfe-revIeWtoSupportmemory InolderadultS public sector. policiesalreadywill result from underdevelopment applyingcertain by the b. Theotheroneisapractical componenttobuildandshow examples that digitalculture andpublicpolicy.a. Oneisthediscussionaround art, The proposal includestwo components: - consideringtheseprevious questions-for thefuture? transdisciplinary collaborations appropriate require practices anddidactics. ideation power, planningfallacies, orovervalue Successful ofshared beliefs. may cognitive underperformofcollective limitations because suchasless efficacy tosolve professional andacademicchallenges,untrained teams Although transdisciplinary collaboration isassociated withefficiency and USA -Colombia Roger Malina,G.MauricioMejíaandAndrésRoldán tranSdIScIplInary collaboratIon co-creatInG andcrItIquInGtraInInGmethodSfor this workshop willincludethepanelistsandotherISEAattendees. problem; many includedin thepaneland interested colleaguescouldnotbe This workshop isassociated withthepanelproposal submittedonthesame challenge, socialization, practices. anddebate ofbest includeteamwork Activities design theworkshop ina withtheparticipants. an annotated bibliography inthetopic.We to willuseco-designmethods and publish thisdocumentalongwith The organizerswilldevelop further is arefined for draftpractices anddidactics teamwork. documentofbest critique, extend andrecommend from thisdraft. Theexpected outcome forand didactics teamwork tocontribute andwillaskparticipants In thisworkshop theorganizerswillpresent adraftpractices ofbest

115 Workshops catalyst foregrounded ineducation became andhealthcare. invariousfieldsparticularly they extraordinary couldalsobe ability, suchassynesthesia.Inthelastdecade,role ofgameasa courage discussionsabout difference. Differing abilities are traditionally designated asdisabilities but tigates learningthrough designiteration, humor andplay intheform ofacardgame,inordertoen- The Gameof Play, Debate: Dobble Difference, andCoexistence Canada Nina Czegledy, Lynne Heller, etc. the Gameofdobbledebate: play, dIfference,andcoexIStence to approach conflict resolution.to approach conflict to employ aninclusive, mindfulandcontemplative listeningpractice coined“hyper-listening” asaway immediate judgments,may potentiallyleadtobridgethetroubled water ofdifference. Myproposal is CorradiFiumara suggests,apropensityAs philosopherGemma tolistentheothers,withoutmaking other. the to carefully listen to ability of lack a in embedded essentially is conflicts all of root the that assumption my is It calamities. anthropocenic possible to leading environments, the in decay human-made unprecedented an and resources natural of scarcity by marked is which ahead, times challenging the navigate to humanity the for essential are tolerance and Acceptance values and beliefs. and segments of peoples. The future human societies need to learn how to resolve conflict of interests, Contemporary world is strained with intensified conflicts between nations, and within various sects India Budhaditya Chattopadhyay hyper-lIStenInG: praxIS societal change. and more informed understanding and concern for different abilities - hopefully effecting positive This will eventually contribute to grassroots participation in policy making. The goal is to create a deeper creatingparticipation abroader awareness. Media EcologyAssociation 2016,improve theliteracy through ofourworkshop thisactive participants workshops itwas alsopresented at Transitio_MX06, Mexico City, the17thAnnualConvention ofthe at OCADUniversity inToronto. local Inadditiontopractice testsandsuccessfulintroductory humor rather thantraditional play strategies. TheDobbleDebate conceptandpractice was developed This workshop aimstoelucidate thedifference anddifficulties that iselicitedthrough usingplay and

is aresearch-creation that project inves- and visualsthat were created for through assource thesedevices theirinput. usingmy body condition, Ihave always exposed been tobiofeedback devices anditalways intriguedmethesound out how totake advantage by developing withaheart from acreative it.Beingborn tobenefit method When life putsyou indifficulty you away caneitherrun from it,orembrace that obstacleandfigure USA VelezMartin therapeutIc StImulatIon embracInG adverSIty: bIofeedbackdevIceSforaudIo-vISual Amsterdam, May 26,2009. withKathyconducted Highabout Embracing her project Animal,Theatrum Anatomicum, deWaag, Theatrum Anatomicum, deWaag, Amsterdam,May 26,2009.AVASTAL-ULS videointerview was werelectures presented afew days Andy Gracie later Chapple, by andBrandon Boo Ballengée, and theFarmer’s Market ofNieuwmarkt,Amsterdam,May 23,2009.Accompanying VASTAL-ULS and collaborate laboratory, ontheecoart heldintheTheatrum Anatomicum, deWaag, Amsterdam science,natureinterstices ofart, andeveryday life.”1 Theunwas invited by VASTAL togive alecture Theun Karelse. FoAM isaninternational “cultural laboratory reimagining possiblefutures at the SeedBombinglabThe EcologyandEcoart: was by run VASTAL incollaboration withFoAM member USA Adam ZaretskyandKiraDecoudres ecoloGy andeco-art: SeedSculpturelab meditation, whilewearing biofeedback devices tocontrol aninteractive audio-visualpiece. to generate andcontrol audio-visualcontent.Thistutorialwillteachattendees thetechniqueof helpfulfor people withphysicalThis isparticularly disabilities they because canusetheirvitalsigns creating afeedback loop. usedtocreate whichcanbe generativeand body soundandvisuals that isfed backintotheperson with ourdailysituations. Itspractice withtheirmind canhelppeoplebuildstrongest connections meditation. Meditationparticularly isthepractice ofself-awareness andhaseffects inhow we engage making.Inthatprocess ofart Idiscovered techniquesthat allow ustocontrol ourvitalsigns, toincorporate ofmy academicresearch, Istarted myAs part own physical conditionintothecreative

117 Workshops observer inanimprovisatory way inthephysical environment. Soundwalks guideusonapath When leadingasoundwalk we and are combiningtheperceiver andtheperceived, theparticipant providing a theoretical tool box for creating one’s own soundwalk as a transformative art experience. participatorywalk form,asanart including thethesoundwalk ofandits key historyconcepts theand development, overviewof while an presentsPeace to BridgesBuildingForm: Art an asSoundwalk The USA Andrea Williams the SoundWalk aSanartform:buIldInGbrIdGeStopeace Following the walk, there will be 45 minutes of break-out groups for discussion posted on the URL. species bring us a sense of peace that we can translate to being at peace with fellow human beings? peace sound like? How do we feel connected non-verbally to other beings? How can observing other The soundwalk will focus on: How can we be in peace and harmony with our surroundings? What does segregation andcontributingtohealthy living”. andasmallsquare forgardens, urbanstructures, events. created Theparkhasbeen to“eliminate Parque AntonioNariño,located intheManizalesDowntown, anopenspaceconsistingofﬂower primarily created Andrea Williams,willleada45-minutesoundwalk by ourears.Soundartist, at

habit. themanifestations,as support adjustmentsandtransformations that practices to thehuman being itself influctuating levels andoffers field,theempty abiggerperception like ofterritoryhas apercent history fragments inthewalls collected ofourcity. Everything that isoutsideofitslimitspresents The Walls have Ears Colombia and CristianCamiloQuinteroToro Laura Valeria Buriticá The Walls have ears laboratory expand thediscoursearound the useoftransgenic organisms? the ability tostore data withinlivingorganisms?Inwhat ways practice situated inthe cananart practice situatedthrough withinbiotechnology?What afineart possibilitiesexist whenwe have research,addressing thequestions:How exploredof theartist’s mighttheagencyoforganismsbe the evolution adissemination ofdata withinlivingmaterialpractice. Itisinpart through fineart Transformational that -anongoingresearchproject ofEvolution forms oftheSubject explores apart reflect on their decision via a video diary. choose whether they wish to physically store information within the body of a living organism and then storage device for text, music or image, create their own DNA storage designs for potential future use, the encounter of doing so. The workshop enables participants to explore the potential of DNA as data the situating ofoneselfphysically in the position of transforming a thought into a living organism and Medicine at Newcastle University. Tranformational theconceptofpsychotransgenics: introduces an ongoingresearchcollaboration University betweenNorthumbria andtheInstitute ofGenetic This talkpresents initialresponses from Transformational workshop that -abio-art of forms part UK University Northumbria Louise Mackenzie – aPsychoTransgenicWorkshoPonmakingWiThlife TransformaTional inhabited surfaces anditsinhabitants. represented inthemarks,deformations andsoundthat show betweenthe theaestheticconnection The spacethat issimulated have thecharacteristic toexpose thediversity ofsituations, whichonesare isanenvironment activated wheretoshow thesurfaces canbe the andobjects

121 Artist Talks theoreticians, artists andexperimenterstheoreticians, artists infilmmanagedtocomeupwithotherspeech,acceptedand purposethatand commercial thiswas comingpermeating Itissoprecisely as from Hollywood; ‘established’ todeepenthecharacteristics ofanemergingnew film,away from mercantilist has feltSince theemergenceofseventh theneedtoexplore art even beyond what already Colombia Universidad Nacional of PersPecTive a Carlos MauricioGómez video-arT: and film filmmaking beTWeen‘ProducTioneffecTs’ exPerimenTal abouT noTes of scientific, in this case biological, data but becomes a partner in the search for inthesearch thenovel. apartner of scientific,inthiscasebiological, data butbecomes with the intention to map out a discursive territory, where art is no longer an assistant for visualisation which the infusion of art through science becomes not only visual but a requirement will be presented practical approaches and do so at the example of my artwork Poietry. This method of artistic creation, in This artist talk will examine poietic strategies in art productions and in which way they are different to ofveracity;a mode apossibility for humans tofindtheirown certainties. Poiesis avolitionalact. process, ontheotherhand isnotabout being butoneofrevealing andwiththat Poiesis standsthereby thenotionofwillto inoppositiontopractice, whoseendinitselfisaction: unveiling, a-letheia as understood oftruth was asapractical andvoluntary amode notitsaspect process butitbeing from concealmentintothefulllightofwork. tobeing, nonbeing Theessentialcharacter ofpoiesis where there ‘somethingpassedfrom was callsitin‘TheManwithnoContent’: void. GiorgioAgamben that tocreate isdirected somethingoutofnothing–from poieo( The termpoiesis,thebasisfor poietic,isderived theadjective from AncientGreek anddenotesanact Austria Sophie CarolinWagner PoieTic sTraTegies inarTisTicPracTice interpretations isobtained. but theprocess itself, theideasthey are covering what isobserved; thus, aninfiniterange ofviews and a viewpoint judgmentwithinagiven ofsubjective spaceandtime,isunable toreach aresult assuch, stated thatIt canbe madetounderstand,butfrom theexperimental hasnotbeen filmandvideoart valid from anaudiovisual context. (ἀ-λήθεια).

(Agamben, 1999,p.42). (Agamben, π οιέω): ‘tomake’; tocreate something accessories where gestures for interaction are andelectronics noticeable. Technologies, we are tryingtomove away from traditional wearable devices worn onclothesand computing, chemistry, anatomy, body human behavior, anddesign.ByusingBeauty electronics anddigitaltechnology. products beauty Theconceptstemmedfrom amultidisciplinaryperspective; Beauty Technology isanovel area ofresearch that presents anexploration surface, between thebody USA MedicalSchool MIT MediaLab,Harvard Katia CánepaVega c Beauty model, and the opportunities andchallengesfor biosensors implantedinthedermis. andtheopportunities model, In thistalk,we willdiscussourpreliminary evaluation ofthesebiosensorsinanex vivo pigskin fluoresce at ahigherintensity underUVlight. and pinktheglucosesensor between blueandbrown; and asecondpHsensor thesodium glucose, andH+ ions(pH)intheinterstitialfluidofskin:pHsensorchanges between purple We replace traditional inkswithbiosensorsthat colorimetricallyindex theconcentration ofsodium, information.to encode interstitial fluid.d-abyss isdesignedtousetheaesthetics,permanence,andvisibility nature oftattoos display by patterning intothedermisbiosensorswhosecolorschangeinresponse tovariations inthe (d-abyss) isourproposal tocreate novel biointerfaces withintheskin.D-abyss renders an interactive Advances inbiotechnologysuggestnew Abyss usecases outsidethedomainofresearch. TheDermal USA Xin Liu t that translate ahuman behavior toaninputdevice. Makeup,such asConductive Hairware andFXe-makeup willexplain thedesignoftheseinteractions order tocreate seamlessinteractions. Several ofapplications ofBeauty andartworks Technologies This presentation highlightstheconscioususeofunconsciousbehaviors inBeauty Technologies in functionality tocosmeticsmake theminteractive?). fingernails toopenadoor, andtouchyour hairtorecord aconversation (how couldwe addanew Within thisrealm, imaginethat withablinkofyour eye, you couldturnonlights,move your he Dermal o S met I c t S cnlg: Seamle echnology: aB y SS : Po SSIBI l I t I e SS S of B Interact I o S en S I or on S S a hog Interact through S a t attooe D Interface I ve

123 Artist Talks the concept of perception and altered emotive Bonnie Mitchell’s electronic art installations explore USA Bowling GreenStateUniversity Bonnie Mitchell sensaTion andimmersion exPloraTion ofPercePTion, consciousness: anarTisTic maniPulaTed sTaTes of extreme activities. extreme responses that occur before, during, and after toward thrill seeking, along with the emotional psychological states that entice people to gravitate Experiential Extremism attempted to provoke the meaning ofthepiece. onto hand-held projection screens to decipher the caught poetic animations falling from the ceiling on internal conflicts. In Inhabitants, the viewer glass to create an environment that commented walls along with figures trapped in hand-blown questions. Internal Distance, used projections on stylized forest and ask thought-provoking etheral figure to emerge from a multi-dimensional viewer to sit in a sensor-enhanced seat, provoked Encounters,an an installation which invited the to the preservation of our natural resources. experience addressed the shifting politics in regards dimensional spatial elements. This holographic-like creation ontothemulti- of both anddestruction scrim enclosed trees with projections of the results on Us, invited the viewer into a room filled with Her recent immersive installation entitled Shame time and place. that have altered the participant’s sense of reality,a wide range of electronic interactive installations stimuli. Over the past 20 years she has developed states via interactivity, immersion and audio/visual

water andnothingelse. compiled alloftheimagescontainingonly and algorithmictechniquesIhave found and analog 7, 2016.Usingboth this December inthisinternment have part passed.Itook well as,interningtheashesofsurvivors who themselves surveying theUSSArizona,as War IIValor. Divers from theteam,videotaped archive oftheNational Park ServiceWorld installation compiledfrom theunderwater was asinglechannelvideo The Eyes oftheGods of thegods. eyes make the to used often iridescence, its for valued was pearl of mother The fishhooks. into carved also were they rope; and make cloth to scrapers as used were shells harbor. The the in flourished once radiate) Oysters(Pinctada pearls. of river the Harbor, or Pearl Wai feeds Momi, that estuary the named Hawaiians Ancient USA and UCSB HonoluluBiennial, Pepperdine University Jane ChangMi The eyesofgods to theJointIntelligenceCenter, Pacific (JICPAC). United States Pacific home Fleet,including being ofthe Harbor-Hickman istheheadquarters thisirony,reflect theJoint BasePearl astoday National Security Agency(NSA).Iwanted to and surveillance software utilizedby the issimilartoface recognition Eyes oftheGods This alogorithmictechniqueusedtomake The The embodied performance—moving between echo,question,andchallenge—evokesThe embodied that ofplaying informational transaction. sense ofwhat heistoldtounderstand.Humanandmachineareinconsummating seentostruggle an of aPolish citizenshipform astranslated ontheflyby hisoverworked triestomake smartphone—he entities: analgorithmictranslator andahuman reader. reads aloudthetext Americanactor ANorth DuologuewithaBrokenMisunderstood: Machineexplores therelationship betweentwo imperfect Canada Jordan MatthewYerman misundersTood: duologueWiThabrokenmachine critical perspective towardscritical perspective peaceinColombia. andicon.Theconferencethe conceptofsign,symbol isanapproach tohow theinstallations propose a activation amonganaudience.To achieve this,Vaca frames withinlinguistics through hisreflection definedasmetaphors that type allow asmedia)canbe of aparticular design, Works (understood of Art From tothe ideaofMediatoanalyzehow, there, theconceptofWork connected willbe inits ofArt (2015). /Constitutions Constituciones authorship: Máquinapara unOlvidoPresente /Machine for aPresent Oblivion(2013-2015)and proposed by Manovich, itwiththenotionofmetaphorthrough two connecting installations ofits To dothis,Vaca retakes oneofhisinitialinterests approaching thehistoricaldefinitionofmedia, relationship withtheconceptsofdevice andmemory. exploresartist theconceptofmedium,analyzingtwo piecesofhisown, inordertoemphasizetheir dialogue established from thepasttowards that Focusing ofthefuture ofColombia. the onthisaspect, This conference process strongly gives influencedby theaccountofanartistic aninterest betweenthe Colombia Jorge LuisVaca Forero aPProach ThroughinsTallaTion arTToWards Peace colombia’s PasT andiTsfuTure:PersPecTivesfromacriTical media asamediumforesTablishing aconversaTion beTWeen shape ofhisidentity. ofafrustratingly,the mercy that inscrutable canultimately setofinstructions beautifully changethe the networked profoundly smartphone fails at itstask,glitchingasitleaves itshuman interlocutorat through seemingly-arbitraryand structure external thepromise cues.Despite ofinstantinformation, easyanswerswith aOuijaboard: are soughtfrom thinair, butinsteadtheusermustseekmeaning

125 Artist Talks through what they reveal tous. precisely tothecharacterization ofspacesby theirsoundenvironment, allowing ustoknow them only anew conceptthat would transcend tonowadays, ofstudy butalsoanautonomoussubject linked every audiblesoundsurrounding us.Schafer conjoinedthewords SoundandLandscape,creating not The conceptofsoundscapewas shapedby Murray Schafer inlate 60’s,describingitasthegrouping of Argentina Universidad NacionaldeLanús Alejandro Brianza underground soundscaPes action itarose from.action individual the directing and of comprised is it people the shaping ideal, own its towards moves then Society action. individual of phenomena emergent an and arises society purpose, and will own their with each individuals, From interconnected us. around people the by conditioned is progress our but ideal some towards work Internally,weeach process. communal and solitary a both is Growth tense wholefrom thesumofitsparts. a temporary hive identity. In thisstate, HABITAT creating willadapttotheparticipants, arestful or occupy theirown theyAs otherparticipants cocoons, are addedtotheothers’biofeedback, creating peacefully, andlikewise responding withdissonancewhentheoccupantisrestless. to biofeedback from itsoccupant,creating senseofcalmnesswhentheoccupantrests anurturing likealone inacocoon cutoff structure, vibrates from outsidestimuli.Thecocoon gentlyinresponse HABITAT Sweden osefn Lindebrin habiTaT urban soundscapes,andtheirrelationship withtheheritage,cultural practices andtraditions. In thistalk,we’re goingtohear, understand,discussandexplore different potentialexpression of Paris, isstillrecording andtheproject places. de México,SãoPaulo, BuenosAires, Medellín,Valparaiso, London, Amsterdam,Madridand Brussels, soundscapes ofdifferent subways indifferent cities.We canhearhow itsoundsthesubway inCiudad in2015,makingandputtingtogethermanyUnderground that Soundscapesisaproject hasstarted explores themesofdevelopment asolitaryandcommunalprocess. Participants lie asboth

at a crossroad. The fact that artistic production production artistic that fact The crossroad. a at are pieces artistic of processes construction The Mexico and JessicaArianneRodríguezGuízar Rolando RodríguezGuízar Process a bio-generaTive/consTrucTive and iTscondiTionofPossibiliTy: The beingofarTisTicPiece recognize any category ordefinition. experience ofthepiecethat doesn’t ofthebeing criteria, andfocus onsharingtheprocess and critictobuild is, what aestheticis,theartistic from occupations like whodecideswhat artistic piece?Thus, increasingly,artistic we move away has ledustorethink thequestion: what isthe through abio-generative/constructive process, which containsitsown conditionofpossibility From ofthepiece, thebeing this perspective, pieces. processes ofartistic production the think to how rethink to have we model, market a to responds that system, art current the within that, made have them, use to us for built has technology the that ones same the of multiplicity and materials itself; reality of construction the and context the to adapt that models and methods of eclecticisms proposals; methodological them; between boundaries recognize not do that disciplines and areas intersecting knowledge; and theories techniques, blending of terms in unlimited is and imagesthat are passingby andwe buildto Images thatsubject. come from thememories inherited sonatas, hymns, sublimeariasonthe We have poems,essays, novels about peace.We social space/time itinhabits. conceptthat fillstheculturalconstructed and itspast.Second,asasubjective time reflecting ittowardsejected thefuture, butat thesame a human that perspective thinksitsspace/time, updating. We build“peace” asasign,first,from ablecondition ofbeing totransmute, through hasthe ofprojects, asaproject The human being, the middleages,aswe thinkittoday. It’sevidenttruths. that we can’t thinkofpeacein presumedof previous asabsolute constructions inherited, withitwe alsoinheritawholeseries If we assume“peace” asasignthat hasbeen Mexico and JessicaArianneRodríguezGuízar Rolando RodríguezGuízar and TexT Peace sign from The Triad sound, image The of consTrucTion The street without being transited.street withoutbeing whisperthat transitsshort inimagesthrough a three lettersthat make itupinSpanish,andit’sa and speculation statements, lightnessform the Itcontainscomplexity,construct. uncertainty embrace andquotethem.But,peaceisapersonal

127 Artist Talks body intransformationbody andthelackofcontrol before thecorporal transformations. relationship ofsensoriality anditslimitspresent inthedialoguewithrepresentation ofahuman eye within ahuman headsimulated inathree-dimensional environment, we intendtoinvestigate the Look at You installation reality. inimmersive isanartistic virtual Through theimprisonmentof Brazil Escola Guignard,Universidade doEstadodeMinasGerais aT Silva andilliam ablo Gobira,Antnioozelli “look realiTy: virTual yourself” (“olhePara você”) immersive in insTallaTion inTeracTive beautiful creaturebeautiful intheface ofclimate change. the ElRosarioreserve inMichoacánwithfluteandMexican poetry, thisexplores theresilience ofthis Butterfly takes eachyear toMexico. from Canada videoandsoundfootagerecorded in Combining It isanimmersive soundandvideoinstallation inspired by theincredible journey that theMonarch Mexico -UK Andamio /University ofHull Jessica Rodríguez flighT ofThemonarchs andRobertMackay T Oen ocentry ReerchAlte T Oenocentry Arnau GifreuCastells and disseminaTion Transmedia narrative shows much potential for being used as a such as marketing, advertising, arts, education, and also research. on fiction and nonfiction but can be applied to many more areas, Transmedia Storytelling is a kind of narrative that focuses mainly Spain Transmedia sToryTelling aPPlied To research research inanew, easy-to-understand andoriginalway. create multiplemediaplatforms toexplain theresults oftheir educational formats. Withtransmedia narrative, researchers can editions, filmorwrittenessays, museuminstallations or documentaries, orjournalisticformats like special reportage, computer graphics, expression non-fiction forms and For example, studentscouldusedata visualization, infographics, (discussion forums, focus groups, analysis, etc.). reality supports games,smalletc.),orparticipatory applications, socialnetworks, etc.),physical (alternate supports mobisoides, webisoides, etc.),multimedia(websites, mobile (videos,tutorials,documentaries, or audiovisual production generating contentusingmediaandplatforms suchassound would translate involved intoaskingstudentstobecome in Onapractical level, teachingmethodologies. this constructivist and usedtoimplementconstructionist and theprocess canbe context, togenerate knowledge) construction, asacollective With thisformula, content(inthis thestudentcanproduce that make it ideal for the dissemination of knowledge. strategy in teaching, education and training, since it offers new tools

129 Artist Talks create a media architecture that reveals the interface and sets up an alternative experience of ecosystems.a landscape. He utilizes sensors and the wireless network to explore workssite-specifichisDiBlasi explores hownetworksdatagenerate canofdata interactive, andaesthetic experiencesinfrastructures localof to JohnnyDiBlasi’s hybrid creative practice sitsintersectiontheat scienceart,oftechnology. and Through USA &Design,University ofIndianapolis ofArt Department Johnny DiBlasi ToPologies: arTisTTalk byJohnnydiblasi amorphous, yet distinct and celebrated place: the web. ethos. In this respect, Alien WebMD showcases an intellectual and artistic heritage of media in a global, of memory archive, collective journal, and exercise in digital world building, with a nod to a pre-Web 2.0 use, our memories are created by the way we curate lives over Internet media. This zine serves as a sort unifying theme. In a world in which our perceptions are constantly informed by the technologies we The zine’s issues are generated by the collective efforts of digital artists whose work is based on a web technology, and invites a non-hierarchical exploration of interactive webpages. further explores virtual renditions of real and imagined places as interpreted through the lens of DIY illustrations, audio, gifs, memes, video, prose, popups, essays, and images collaged together. The zine topics, mediated through the unique and self-referential language and framework of the Internet, using Alien WebMD is an Internet zine that visually expresses a collective consciousness about various USA MFA StudentatUCDavis aria abac alien Webmd medium and how we understand a place itself in terms of physical form and electronic information. grid suspended overhead that spans the entire space. DiBlasi’s works seek to understand space as a the space’s invisible electronic infrastructure. Real time data alters the topological structure of a shifting Topologies, is a site-specific installation that functions as an architectural extension and an expression of audio and visual output. facing downward. Textual data from the current news cycle as well as visitors’ movements drive the interactive audio video installation made up of fifty LCD video monitors hung from the gallery ceiling experiences. He will discuss past projects Array and Topologies, as well as current projects. Array is an DiBlasi will give an artist talk that covers his practice and past works that utilize data to create immersive biking data and then be ablebiking data andthenbe tomake more informed decisionsinthefuture. fun through a visually appealing, interactive interface.sustainability. I hope that users My willproject be able is promoting to learn bicyclingmore about generally,Biking has multiple for recreation, benefits for forindividuals’ transportation, health andas wellfinances as foras well as for the environment and USA UC Davis Esther Kwak bike forabe expressive possibilities that this creative process has provided to the artistic research of Emovere project. of the interactive solo, focusing on the interactive design between dance, sound and voice and the The artist talk will show and explain the artistic and technological foundations of one of the sections experimentation.artistic on sensoriality, physiology, consciousnessandexperience asfundamentals for interdisciplinary and Facultad Emovere Theproject -Universidad in2014asamutualinterest deChile. deArtes started dancer Francisca andresearcherJavier Morand andthesoundartist Jaimovich, academicsat both iscurrently awork Emovere,Self-Intersection oftheproject inprocess, aspart by directed the sound environment. real-time a to mapped biosensors with constructed system interactive an in involved all biosignals, and text voice, dance, sound, of intersection the on based is performance The vocalizing. and moving while self-sensing as such processes, somatic of relationship subjective the by constructed image isasoloperformanceSelf-Intersection by adancer, developed around themesofidentity andself- Chile Universidad deChile Facultad deArtes, rancisca orandandavieraimovich and voice self-inTersecTion: inTeracTivedesignforbiosignals,dance,sound TT er World

131 Artist Talks The Anthropocene Cookbook is an artistic research project investigating researchproject isanartistic thefuture cuisine. The The Anthropocene Cookbook near future ishow 9billionpopulation. tofeed thesoon-to-be Wehappened” (Morton). have toadjustnow ifwe want questionfor tosurvive. our Theimportant evidentgeological epoch-theAnthropocene, that itbecomes “theecologicalcatastrophe has already live ofmotherEarth’s resourcesthesameway aswe didbefore. Withthepresence ofthenew Humans have cultivating animalsandplantsfor been more than10000years. Butwe cannolonger Norway Zane Cerpina The anThroPocenecookbook-eaTing forourfuTuresurvival therefore, Thehacker apoetics. asart. ethicbecomes integrate themselves togenerate anew entity, calledaesthetic”. Thisis hackingdefinedaspoetryand, associative phenomenaachieved by thedifferent perception, elementsof asetare interrelated and poiesisrefers“In thearts, tothefascination provoked at themomentinwhich, through multiple original use,redefining itsrole. is totransfigure any given system its somethingnotoriginally intendedinit,subverting -inserting definition of“hacker ethic”proposed by Levy allows ustocompare ahacktoanintervention. To hack aims todiscussethicsthroughrealm, hacking.The guidedby Thisarticle character andsocialrules. Ethics isawidelydiscussedconceptinphilosophy. Itisrelated ofmanonthecollective totheactions Brazil Gambiologia Fred Paulino gambiologia andThehackerPoeTics Let’s findtheglobaltasteofAnthropocene. Burgersforthing, suchasJunkFood Insect theFuture? basis, notjustasasomethingexceptional ortaboo’ish. aneveryday become How basedfood caninsect based farming? intosomethingsocially acceptedandeaten Andhow onadaily toturnsuchfoods Or using genetic technologies to growcooking? in-vitro in the lab? beef How can we prepare for indoor printersfor Ornanotechnologicalnutritions?WhatShould we about food eat basedfood? insect from ofapost-ecologicalcatastrophe? aperspective look How doesfood design,science &technology.arts, mapsandexploresproject themostinnovative andspeculative ideasabout alternative within foods research, designandfabrication ofhisrecent projects. and therelationship oftechnologytonature. Millerwilldiscussearlierworks andhighlightthe work include:climate thebody/mechanical change,human impact, processes, animalcommunication human experience andthenatural world we inhabit. Underlyingthemesexplored inMiller’srecent simulating natural systems. investigate Theseartworks theparallels betweenthe andincongruities Daniel Millerwilldiscusshow explore hisartworks relationships tothephysical world through USA University of Lowa Daniel Miller simulaTing naTure evolution ofaspirations globally. resolution, represents thisproject aforward-thinking enginethat generates atimecapsuleofthe integrates bigdata to engage socialchange.Inthepresence ofincreasing globalchallenges inconflict significantlyexpandsThe scaleandtimespanoftheproject researchinemergentfieldsofdesignthat aspiration from peopleindifferent geographic locations livingwithdifferent circumstances. hopes anddreams human istomapthelandscapeofcollective ofourtime.Thegoaltheproject Message intheSkyisanon-linecrowd-sourced togetherthe that project publicparticipatory pools USA University ofCalifornia,Davis Jiayi Young (Work-in-Progress) message inThesky: ofhumanasPiraTion ThechanginglandscaPe broadcasters andgrants for new media production. unpredictable companies,multimediastudies, ofnature,such andemergentproperties asproduction generate new forms andevolve. Through mimickingnatural systems embrace theseartworks materials through andmechanicalmanipulation. heating, Here cooling materials flow andrandomly investigate relationships tothe largerecosystem. activate andmanipulate Insomecases,artworks Miller willdiscusshow someworks reference anditsinternalmovements; thebody otherartworks simulate variousbehaviors andgenerate feedback through interactions withparticipants. world usedigitalcontrol Projects to through andactivatedobjects. electronic theuseofrobotics exploreartworks theseenvironmentalmake Theseartworks boundaries. tothenatural connections where thesystem whenpushedbeyond Daniel cannolongerfunction Miller’s thisboundary; The natural environment hasevolved intosystem Inecosystems inequilibrium. there isathreshold

133 Artist Talks This iscomposedofeighthexagonal whichwere modules, builtfrom anupdated concept pictorial Orientales” oftheMetro ofSantiago(Subway). muralElectronic sonorous project, andvisual,speciallyconceived for themainwall ofthestation “Los Chile naturalezaytecnología Rao Caya:arte, Yto Aranda sanTiago elecTronic soundaudioandvisualmuralforThesubWay sysTemof and theradical transformation oftheways inwhich we now relate toeachother. contemplating thesignificantchallengessocialmedia poseinourunderstandingofthesocialfabric entropic propagation ofsocialmediainfluenceon this U.S. and provides election, aphysical spacefor The installation allows theexamination ofthemachineworld infiltration that shiftedthegenerative influence eachotherandpropagate inseparably asacombined voice. mechanisms ofaworld wherehuman true tweets andtweets generated by TwitterBotsmutually within thedata, anddifferentiating human tweets from AItweets, theinstallation exposes theinner uncovering period, thepropagationBy identifyingmajorTwitterinfluencersinthiselection patterns the topicfrom February date 2016through the election ofNovember 8,2016. transforms theshapingoffuture ofanation. Theinstallation recounts Twitter hashtagactivity on data intoalarge-scaleinstallation the questionofhow toprobe socialmedia assumesform and withitsmultiplephases,transformsThis project, the2016UnitedStates Twitter Presidential Election USA University ofCalifornia,Davis Jiayi Young TWi PresenT Ko meanswater inMapudungun. for citizenship. in particular, water an“electronic cycles. Inshort, mural” that tellsusabout nature created especially using contemporary technologies.Fusion anddigital.Itsthemeisnature, betweenpainting,electronics TT er acTiviTy ly unTiTled:daTa maPPingof2016u.s.PresidenTialelecTion players involves mappingfeatures inhuman inputtoparameters computer program. Muchsoftware interfacing human andartificial between alive performer andsomemusicalaptitudecaptured ina Interactive composingimpliesdynamic on-the-flymusicalnegotiation Belgium Peter Beyls e inT To of criticaloptimism...hopefulyet careful. We concludewithalive demo.for new technologieswith anattitude their specificconceptualorientation andcomputational architecture. social affinities between individualplayers. Ourpresentation sketches theexpression orchestra, itselfsupporting chamber of a smallvirtual suggest aninteraction format ofonehuman soloistinteracting with intelligent interaction from theabove Mostprograms perspectives. Over theyears, varioussystems were implementedapproaching sustain acompellingandrewarding interaction format. behavior and(2)todeeplylinkhuman andmachineinitiative asto algorithm aims(1)tomaximizesensitivity anddiversity insystem competing machinemotivations. Inaddition,areinforcement-learning relationships,artificial explore qualitative features and inperception takesOur method inspiration from human psychology: we implement coherent, life-like behavior. cognitive buildingblocks.Suchsystems exhibit unpredictable though and complex behavior emergesfrom theinteraction ofmany simple No oneisincontrol; manandmachineexpress mutualinfluence creative authority. entitiessharingacommonbiotopewithequal Our work suggestsviewing human andmachineasconvincing affecting outputentailingresponsive behavior. ffor W erac ards T T ion: inT elligen l earning T h uman- T o c rea m T achine e ina c ommon

135 Artist Talks USA Michigan StateUniversity aiser,achar RebeahlesingandGabiSchaffzin PlaTeaus: comPuTaTion, geology,onTology and receiving ofaudioandvisuals. build participant’s empathy, curiosity, interpersonalindividual’s understanding interactions, and soundness and Secondly, of mind via withthe sharingthese understandings,explore and understand to develop the an ways environment in which that the willtechnological Participants environment can relax, affects observe, the andindividual participate and thein uniﬁed creative expressions. The goalvisual. is becomes twofold:sound creativity, of Firstphenomena mysterious to SoundMind is a virtual environment in which, through the power of technology in combination with the USA Essig Tara Parker soundmind ranging from thoseofpeoplesdisplacedby environmental crisestothoseofancientcivilizations—as intowhichvisitorsenterinordertoviewThe structure thework references temporary shelters— siftedthrough thesteelgrate. andbe ofWiFidevices itcounts,causingthelandscapetoerode number WiFi networks and, in response, shakes the topographical model with a force proportionate to the total Meanwhile, a device inside the pedestal on which the landscape sits tracks mobile devices searching for which some of the minerals for our mobile devices are mined sits atop a stainless steel sifting tray. Plateaus itself is an interactive transmedia system: a topographical model of a region of the Congo in humans, geology, andmediatechnologies:notasimmaterial butasgeological. minerals for thosetechnologies.Plateaus seekstoelicitanunderstandingoftherelationship between nature ofmobiletechnologiesandthesocio-politicalenvironmental implications ofthemining Talk,In thisArtist we willpresent arecent work, entitled,Plateaus: ameditation onthegeological well asFaraday cages,whichare usedtoblockelectricity orWiFisignals.

“The smooth skinofthedevice demandsgore“The smooth tofeed itsgloss.” —Benjamin Bratton creation andwhetherwe control orare definedby it. own agency. Thiswork invites ontheeffect ustoreflect of technologyonthebasicact ofmodern process. Itquestionstheauthorshipby bringingtheinterface closertothebody, whilegivingtoitits Better Hands isaninteractive installation that explores inthecreative thelimitsandrole oftools Brazil Guignard School,StateUniversity ofMinasGerais(Brasil) Center forHCI,Virginia Tech UFMG(Brasil)and (USA);SchoolofFineArts, allace Lages,abloGobiraandranciscoarinho inTeracTive insTallaTion “be collaboration, resolution, andprocesses withthegoalofcreating ofconflict illusionsofautopic future. interactive digitalspaceshave thepotentialofgenerating dialoguesoncultural identification, social experienced displacementparallels Immersive statesvirtual and by ofdisembodiment migrant bodies. Tavera’s creative-research questionshow through themediation ofdigitalmedia,experiences of (The Wrong- Biennale,2015-2016). New DigitalArt performances andavideointeractive installation (AgenceTopo |Montreal |2016)andfinallyonline Montreal |2016),asalive screening GalleryofOntario|Toronto performance (Art |2015),asreading This work exhibited hasrecently been asaninteractive website withlightboxes (Chromatic Festival | web-project. that andaninteractive includeswrittenfictions book ofanartist recently resulted intheproduction sites.Theresearch,Translational digitalenvironments architectural to construct andvirtual Spaces, Tavera’s creative-research andpersonalnarratives combinesfictional anddisplacement ofbelonging environments that alterourthresholds ofperception. for viewers Tavera andparticipants. investigates thepotentialofdigitaltechnologiestocreate virtual (elasticity,media presents thepotentialtosimulate astate ofdisembodiment alteration, translation) ofinteractive andimmersiveconstruction environments. digitalarchitectural Theuseofdigital talk,TranslationalThe artist Spaces,by SantiagoTavera presents hislatest creative-research onthe Colombia -Canada Elastic SpacesLab,ConcordiaUniversity Santiago avera TranslaTional sPaces |esPacios deTranslación TT er hands”

137 Artist Talks with thepurposeofdesigningcollaborative practices asadevice for artistic theconservation ofthe the Valle andtheHipermediaLaboratory delCauca, (HiperLab) (Colombia), OftheUniveridad delCalle interfaces: thecommunity oftheislandLaPlata Pacifc inBahíaMálaga,located intheColombian of Creation SocialInterface (ISC)isadoctoral researchabout theinteractions betweentwo knowledge Colombia Universidad delValle Camila ACamosuintana,avidorenoGaleanoandSantiagoalencia Christian elieLizarraldeGmez,araGriseldaGmezries, “caminandar” exPanded book time; times that become exhaustedtime; timesthat become tofillorcompleteatime.Atime full ofpast. an accumulation ofhours,minutesandsecondsthat remain registered asevidence ofthepassage space oftime.Becauseit,thisoffer isametaphorinwhichthewear ortheuseoftime, itisalso would dothesamething:To trytodomore, takingadvantage of thepossiblemaximumthingthis But what would we do,ifwe couldreturn thetimefifteenminutes,two hoursormore? we Maybe thisoneisnever outandgetslost,because stopped. running time’s the inevitably but time, the lost get not does it that thinking live, to done is and do to lived is It Colombia Ligia AmaroscobarCalern serie TimesarresTed(deed) of plasticexpression that go from drawing reality. tovirtual explores the possibilitiesoffered by thehypermedia andtransmedia narratives, usingdifferent means developed by theinterface. “Caminandar” isfirstandforemost atravel journal,anexpandedthat book an exploratory fieldjournalthat gathers eachoftheencounters,inquiriesandcreative practices andtheaxisthat alltheinvestigativeThe instrument articulates workcalled“Caminandar”, hasbeen urban andtelematic environment. constantly recreate reality through thecreation practices withournatural, ofresponsible artistic the existence andtherealization oftheother. Ascenariowhere itispossibletoimagine,designand The ISC are configured as an area for the encounter between different types of knowledge, recognizing ancestral knowledges oftheSouthPacifc ofColombia.

through acommontheme:thephenomenonofaudio-visual creationfrom theresearch—artistic anditslinkwithdesign synthesizestheexplorationsResearch andprocesses developed Colombia Pereira Universidad delQuindío-Universidad Tecnológica de Georgina Montoya Vargas auTobiograPhies inreal-TimePerformances insTable visual landscaPes: speculation. as well that asawork moves ofart betweenobjectivity and necessary tocreate categories over whichatext formed willbe itdeepensontheautobiographicbecause terrain, however itis adetermining factor precisely discipline. Experiencewillbe same timetakingadvantage ofthepossibilitiesinherent ineach in otherwords, puttingthesetwo intension, butat aspects the that moves anddesign, a methodology betweenthelimitsofart technology, andself-referentiality, approached through willbe From therelationships thisperspective, betweenbody, landscape, processes ofcontemporary art. not onlyfrom theacademicpointofview butalsointhecreative thinking about research-creation asameaningfulphenomenon In thisway, theﬁndingsthroughout thisresearchhave permitted contributes torethinking relationships andworld. betweensubject the reevaluation ofsubjectivity, where theinquiryintoemotion affective ofcontemporary thoughttowards spaceandaspart from withintheseexplorations, thesameperspective, asan tothinkorincludethelandscape At thesametime,itlooks also conﬁgure individualforms ofinhabiting theworld. atmospheres that ofanepoch,but notonlyconstituteorform part ascarriersofmemories,sensations,the intimacywithobjects and approached throughtheme willbe visualautobiographies and creation withthebody. inreal timeanditsconnection This

139 Artist Talks characteristics and qualities of nature transferred to be world to the artificial through a creative process. inspiring designers and architects of all eras. Biomimetics is a discipline oriented to study different Nature has been an infinite source of conceptual, morphological and functional analogies; it has been Colombia creaTive Technologies, ner ontcolrn fabricaTion avid Andrsorreblanca az digiTal inTegraTion forProducTdesign and biomimeTics the customsandspacesofManizales. when they walk through thestreets making everyday life somethingsacred, asoundscapeinspired by peoplecarryoutritualsintheirworkplace,incense andthesoundofbells; whenthey buytheirlunch, of thecity, themarket, 23rdAvenue, downtown asacred etc.Thecity placewiththesmellof becomes within theseplacesthat are holyandsyncretic in nature andwhichcontrast againstthebusystreets rituals, thespaces,whispers, the prayers, thedialoguesbetween peopleandthetraditions thebells, This pieceisamusicaldancethat documentsthesoundsofprincipalchurches inManizales:the Colombia Universidad deCaldas atalia LezLombo TemPle ciTy debate onthesenew exploration territories. design through theanalysis ofprofessional, academicand researchcasesandinthisway toopen a ofthistalkistoshowThe objective thetechnicalandcreative possibilitiesofthisnew area for product innovative andalotofcreativemethods, products opportunities. innovative researcharea withfew exponents intheworld, inwhichispossibletoseenew working The integration betweenbiomimeticsanddigitalfabrication technologiesisanemergingand materials andfinishes,amongothers. of personalization, generation ofcomplex geometries,fabrication ofarmedassemblies,widevariety of advantages are: theimmediacy(tofabricate from directly adigitalfile), possibilities orproducts parts Digital fabrication technologies offer technicalandcreative advantages never before seen,some radically anddifferent thedesignprocess ofdesigners,architects creative professionals. Since thelastdecadeshave emergingthedigitalfabrication been technologies,they are changing epltcl aa s omte it a id of kind a into formatted is data Geopolitical must escape inspacetowards anew inhabitants home. its and apart ripping is earth the a events: cataclysmic offers of It interpretation poetic experience. audiovisual an is Roar Canada UQAM rederics Tomas uellet roar data indigitalart and addresses theuseofmeaningful side and the roar of the ships fleeing on the other, onone crumbling earth the of roar the with screens different two real-time seismic data. The project is presented on with synchronicity in decelerates or accelerates crumbling away.The crumble to continues earth discontinued it, flee inhabitants previous its As But willany shipshave survived tillthen? considered complete. will be voyage the which of end the at time of amount simulation is run on a persistent server for a fixed The space. virtual with space real linking – noise atmospheric random real on outcomes the and statistics social on based are probabilities events, these control to generators pseudorandom using of Instead etc. mutinies, on-board obsolescence, programmed colliding, ships – narrative a create to events random by punctuated is voyage The nation. each for models spaceship the 3D generate different to system the by used code DNA ecpin s civd y utpe as of ways multiple Leeker: by Martina by appointed as communication, achieved is perception which in setting hybrid a for aims art-piece This Colombia. which in context in find places Cortázar, narrative and Julio characters from “poisons” tale namesake the of version free a of conception the through proposed is wave surrealistic the with consistent paces and characters layers, of set A the to all ofamise-en-scène. construction performance, sound music life literature, and design design, space multimedia concepts, design, architectural involving performing arts; of field the in lab experimentation from an original as proposed is it Conejo” in(Colombia), city Manizales de “Pata the troop by theater presented work multidisciplinary and VENENOS LOS Colombia Universidad deCaldas Pata deConejoCompañíaTeatro PercePTive exPerience TheaTera venenos”: as “los hs a nw yais f communication, of dynamics are andperception generated.construction new way This interest. specific her or his to of according piece the readings particular make to individual each allows which context widen a giveview, of point the visual, sound, expressive, narrative and scenic form offers stage the that stimuli The emotions. VENENOS’” their viewersand the with interaction the is goal “LOS poli-perceptivo”. “espacio in s n r-ic o collaborative of art-piece an is P oly-

141 Artist Talks conflict andinterdependenceinthecapitalocene. conflict around gender, sexuality, mutuality andviolence,allwithinalargerconsideration ofmulti-species of thechimera andimagesoffemale power from gaming andcinematoexplore feminist discourse Meredith willdiscussherrecent Drum 3Ddigitalanimations, andherchoicetoemploy thetrope USA Arizona StateUniversity SchoolofArt Meredith Drum inTerdePendence and mulTi-sPeciesconflicT exPlore To animaTedWorlds creaTing3d warmth unconsciously. while theEmpathy allowing Amuletusesasynchronous connection theusertoexperience theshared that helpingoneselfmeansotherpeople. The Empathy Box explores synchronous connection, devices encourage their users to make a deliberate and generous rate reciprocity into their design, such physical warmth tocultivate empathy andanovel withanonymous senseofconnection others.The Incorporating cognitionaswell as cognitive behavioral ideasfrom embodied therapy, devices use both networked devices that many connect anonymous peoplethrough shared warmth. empathy boxes inalonelyworld. Inspired by thestory, theEmpathy Box andEmpathy Amuletare two In Dick’snovel, thousandsofanonymous haptically andemotionallythrough their peopleconnect – PhilipK.Dick,DoAndroids Sheep? Dream ofElectric all over theworld, whohadfusedat thesametime.” “I hadholdofthehandlesbox anditovercame today my depression alittle...Ifelt everyone else, you touchotherhumans, it’stheway youalone.” stopbeing “An empathy box is the mostpersonalpossessionyou have. It’sanextension it’stheway of your body; USA University ofMichigan-AnnArbor Sophia Brueckner Well-being The aPPlicaTion ofembodiedcogniTionTohaPTicdevicesformenTal presents, andfutures.” shredding andlayering like amadgardener, make amuchhottercompostpilefor stillpossiblepasts, upthetrashcollect oftheAnthropocene, theexterminism and chippingand oftheCapitalocene, and themotivation shetakes from Haraway’s insistencethat: must “TheunfinishedChthulucene Drum’s onherunderstanding ofDonnaHaraway’s founded, talkwillbe inpart, tentacularthinking,

where he will spend all produced oftheweekwhere hewillspendallproduced ...OnMonday again. everything starts to thechurchwithhisfamilyuntildawn inthebarLaMaCana, andthenhewillpassallafternoon the specialday, themostanticipated, isfair day whenMr. hewillgo Reinelwillsellhisproduction, schedules ranging from 4amto6pm,untildaylight allows from Monday toSaturday. ButSunday is Mr. Reinelworks every day oftheweek plantingcoffee, potatoes, cassava andcabbage; at strenuous Colombia Jorge Tamayo andJorgeGonzales coffee man macana, graPhicandsoundmanifesTaTion ofThecomParTmenTs ofa consequences. values of an artwork or cultural artefact, to their unforeseenthe craft’s expressive, motion. In cognitive, this project, ethical it points and political to the complexityIn aviation of and the seamanship, imperceptible wake or unregisteredvortex is often default a dangerous, unpredictable turbulent trail generated by it analytically. estranged, the generated imagery retains the suggestivenessin orthogonal of the scanning original reveals so the viewernew formal intuitively values andregards facilitateswere themselves layered developed observation. through Whilevarious visually modes of innovativeWake Vortex combinatorics. employs Dimensional (re)creativity collapse with orthogonal scanning of the artworks and cultural artefacts whichscanning sides/directions interesting results. produce creates a new set of images which can be animated, andthe certain image combinations is perceived ofas sourcea one-pixel materials wide and line, whileside. orthogonal This processscanning can of bea stackedunderstood setas line-scanningof video frames of imagedigital can imagery. be treated Viewed as a three-dimensional orthogonally from object the side, and Wakeviewed Vortexnot just isfrontally an ongoing but seriesalso from of generativeany other videos and images built around the idea that digital raster Serbia inBelgrade Studies,University oftheArts Program, Interdisciplinary PhD inBelgrade; DigitalArt University oftheArts New Media,FacultyofFineArts, ean Grba Wake vorTex:orThogonalscanningofdigiTal arTefacTs population inarelevant, butlittleexplored elementofthecoffee cultural landscape. so that, thesebehaviors have remained unchangedfor decades,whichmake thebehaviors ofthe expression,pictorial focused onthebehaviors ofthepopulation inthecoffee cultural landscape, that isaproject aimstoexploreMaCana thequotidianfarming environment through soundand

143 Artist Talks will make itpossibletoconsolidate contemporary identitiesandfindways toresolve conflicts. new languagesthat are presented tothecurrent cultural demands.Theuseofthesenew languages science,andtechnology,The aimistogenerate betweenart, connections whichwillallow ustofind Colombia Universidad deCaldas Sean IgorAcosta resoluTion inconTemPorary culTure urban inTervenTion:creaTion asasTraTegy lab forconflicT a brain computerinterfacetogenerate asatool several expressions. artistic historically has been made in the field of joining science and art. The goal of this artistic talk is to show multimedia software and audiovisual applications in order to expand the creative boundaries of what real-time could be used then to communicate the measured data with external devices, in this case with cognitive and non-cognitive states of the human being. BCI, as an instrument to obtain information in to obtain relevant information to truly measure the behavior of the waves which are equivalent to both technologic advance to measure the electric activity of the brain and it has become the main instrument affects them and the space surrounding them. A Brain Computer Interface (BCI) then, has been a big behave or interact with others and with themselves, expressing their feelings in response to what Brain activity has been always a scientific subject of interest to understand how the human beings Colombia Sonorous andVisual EnvironmentGroup(Universidad deCaldas) ctor ugoCastroLondoo,Sergiolrezlez andctorabioorres Cardona bci audiovisualaPPlicaTions: aninTroducTion resolution ofconflicts. interrelation, aswell asgenerating anencounter withoneselfandothersthat contributetothe andtechnology,between design,art, andwilldiscover: what cinematellsus,what arisesfrom that investigated,understanding theaestheticsofinteractive cinema.Thiswillbe through interrelations It istheMobileLaboratory ofCreation that willallow learningabout interactive languagesand finding new ways toresolve andtounderstandeachother. conflicts the pathway toexplore andtechnologyasapoeticrelationship, of thetensionbetweenart insearch learn how tocreate audiovisual ingenerating content andthenparticipate suchcontent.Thisopens ofthecommunity willfirst interventions ofthecity withmembers ofManizales,theparticipants In thismanner, through theLaboratory ofcreation ofinteractive cinemas,whichisgiven inurban to abandon Nature orournatural selves inpursuitofprogress. not predetermined tocontinuedown thispath. We donotneed way tomove forward istoleave However, allelsebehind. we are forward whileincreasingly synthesizingurbanlife, asiftheonly seemintentonmovingSocieties across theglobe technologically USA Texas A&MUniversity iffan Seo ReneSnchezandinsilaroung de/comPosing distraction. andtheirownof theseobjects sensorial experiences without background, allowing onthemateriality directly userstoreflect intimate forms ofinteractivity. Technology lives quietlyinthe My latest andPrey, experiments, Heartwood utilizesimpleand achieve ourown hybrid evolution. technology. Idosoinhopesthat oneday we willlearnhow to tangible memories,sensorialvignettesbridgingbody, nature, and technologies give life tomy experimentalcreating objects, art the agedwithnew, inpursuitofhybrid evolution. Interactive organic andsyntheticforms, breaking down andreassembling thisnotion;Ide/compose practice embodies us. Myhybrid art The world anditsinhabitants are endlesslyde/composing around through ouremergingtechnologies. Rather, we experiences may seektopreserve andevolve ourbodily Nathalie Agostini To PosT-inTerneT arT digiTal memeculTure and saTire, from sTock PhoTograPhy sTock: laughing photography practices. in art and contemporary possibilities of their handling while surveying alternate stock images in meme culture, captured by the renderings of “wallpaper of consumer culture,” of stock photography, or the this study examines the limits Taking satire as a starting point, the many characters it takes on. worthy of attention because of media, stock photography is formats as well as on social commercial and editorial Ubiquitous online in its various exploitation in visual culture. focus, and its widespread photography as an academic unexplored territory of stock contrast between the relatively This study interrogates the Canada

145 Artist Talks In recent years, the “Korean Wave” made young people in the world to learn Korean language. For thistouched viaoneofthemosttouchingKorean poems. explore both the beauty of Korean language and literatureThis “Multicultural via new media, Poetry and ii) Video audience’s based on Koreanemotion canCulture” be includes two positive effects: i) audience can USA Texas A&MUniversity Hyojin Jang mulTiculTural PoeTry video basedonkoreanculTure of multimediacardsfor different grades. learning environments in a way that fosters interactivity,Elementary collaborationstudent Primary and and creativity secondary education,and through motivate theof usebiology, themselves the towardsabove with teaching the purpose processes of making in theto classes innovate more in didactic the different and dynamic areas that of allowknowledge, the onesciences of them, to thefoster natural spaces sciences of learning speciﬁcally and innovation. in the area The With purpose the technology of the presentation of augmented in reality the use it of is technological possible tools of reality increased in the area of natural Colombia and JulioZarateTrespalacios abio gnaciounvaruintero,ohnAleanderaborda innovaTive learningsPaces inTheareaofnaTural sciences use ofTechnologicalToolsaugmenTedrealiTyTofosTer interactiveness ofthesystem willfacilitate andmotivate theaudiencetolearnKorean. alphabet is not completely random, but they compose thetime, Korean some ofpoem Korean “Flower” fonts in willthe timelybe randomly manner. highlighted. The The proposedHowever, art work these displays ramdom highlight all Korean of the fonts Korean scattered all around the multi-layered screen. At each semantic effect, Icreated petal-shaped Hangul font. to explore Hangul. For this, I selected a beautiful Koreancombination poem of “Flower” 14 consonants by Chun-soo and 10 Kim. vowels. To observe Reading a Koreancalled Hangul, literature is considered is one of onethe ofmost the effective most scientiﬁc ways reason,alphabetical the number systems of people in the who world. are interested It is formed in learningby the Korean is increasing. The Korean language,

and Innovation Deakin Motion.Lab,RMITUniversity, SystemsResearch InstituteforIntelligent array, andpharmacologicaltreatments. ofviruses Theresponses inresponse are totheintroduction investigatesNeuron Conductor theeffects ofbiologicalneuron activity, cultured onamicroelectrode Australia J conducTing music inTroducTion ofvirusesandchemicalsThrougharoboTicarm neuron conducTor:visualisingculTured neuralresPonsesToThe it alive andmake anew self-experience AHÍ. itinamemorycircle becoming who scansomeofthismarkers couldknow aninstantabout thepersonandevents placetomake took Manizales andletpasserby that getclosedtothosememorybearers hadlived inthisplace.Theperson ananothermechanisms,weinstallation, willshow QRcodes you signiﬁcative placesin-between we, leave memorybearers the world, butspacesare life witness.Trough augmentedreality markers We, city inhabitants, stepby stepcreate vanishedwhen amemorymap.Memoryissupposedtobe Colombia Universidad deCaldas andoleizaaime Csaronilla oro ocanegra ahÍ. acasTaño ZaPaTa memory lifemaP biological /digitalsystems. issues inauniquemanneraswell ascontemplating therole ofnon-human agencywithinhybrid well asraising awareness investigates andaccessibility oftheresearch. Neuron Conductor real health art/science work presents analternative meansofvisualisingandunderstandingneural responses as visualised through themovement auniquemusicalscore. Theresulting whichconducts ofarobot ohn cCormic,AdamashandAsimhatti

147 Artist Talks divisions betweenthetechnologicalandnatural. towork across andbiologicalart many media,complicating sociallyengagedart, in conceptualart, the interest ofimaginingpossibilitiesfor human andecologicalsurvival.Idraw from legaciesfound My personalandcollaborative practice operates at oftechnologyandwildernessin theintersections USA Grafters Guerrilla Margaretha Haughwout cenTury andcare:co-creaTingconflicT, collaPse naTureculTure inThe21sT- creation pursueto provide anexperience ofsynesthetic activations provided by the artist. and adaptation ofsonorous atmospheres for thecreation ofsoundsand live images,these processes of is theresult ofaprocess ofresearch andcreation that materializes from thecomposition, manipulation stimulate thedanceofsensesfrom ambientsounds,glitch,break andsynthwave. beat Thisproject Follow TheVoid Live isanaudiovisual journey that seeks to create worlds ordimensionsthat Colombia Monster Cyclone Santiago RubioLez folloW Thevoidlive lateral governance whilestillnavigating structure complex hierarchical politicswithcity agencies. downtown SanFrancisco, where we cultivated low inputecologicalsystems anddeveloped aunique trees. Hayes Valley Farm, from active 2010to2013,was aninterim-useurbanpermaculture farm in and theGuerrillaGrafters. TheGuerrillaGrafters branches graft bearing ontosterile,urban fruit fruit different ofwilderness,speciation, coastswhotrouble thesubjects humanness andways ofknowing — viewpoints. Two ofmy collaborations active ReadingGroup —readers includetheCoastal from thatI seekouthorizontalprojects emphasizeintersubjectivity andexist inatensionwithtotalizing cultivation ofbiologicalsystems. andpoliticalpower,My ‘practice ofsurvival’engageswithelectrical interactive narratives, and care. and mutuality cohabitation, multi-species ﬂourishing require I understand practice to be the work of trying over time to make one’s engagements better, and survival to

of thecopresence ofanotherhuman ontheotherside.Itexamines humanandsensitivity perception which explores thenew dynamics ofhuman interaction intelecommunication andthesigniﬁcance image as alternatives to the real durational is ones. a “Hello, participatory My Dear” performance piece, In ourdailyinteractions withtechnology, we have ofothers’voice and accepteddigitalreproductions USA at University ofCalifornia,SantaBarbara andTechnologyMedia Arts Department Sahar Sajadieh a TheaTrical TuringTesT perception towards the presence of the other body on the other side of the digital medium. artwork seeks to simulate digitally-mediated liveness in video communication and examineare the solely spectator’s non-verbal, since there is no audio in the video-mediated communications. ThisThey interactive go through various modes of liveness, in interaction with each other and the artist. The interactions with thepersononscreen infront ofyou.” thecomputerstations andfollowsit behind “sitsilentlyandmaintaineye themaininstruction: contact private enterseparate andpublic.Inthisperformance piece,participants simultaneously, rooms then betweenrecordedinteractions by andlive, challengingtheboundaries presence andabsence, and isatheatrical“Hello, MyDear” TuringTest, whichinterrogates thenotionofliveness intelepresent towards theimmediacyofinteraction duringencountersmediated detecting by videocommunication.

149 Artist Talks interconnectedness of Earth andtheecosystems ofEarth interconnectedness that define it. towards becoming bi-planetary, from the dark history of colonization to the immense diversityCreatures and Such As We is an ephemeral reminder of what cannot be forgotten as we takebinds our us first to asteps planet facing ecological ruin resulting from human inaction, exploitation,These and greed.monuments are a holistic vision of the unity required in the face of political fragmentationedifices that that reflect upon a world united by the need for discovery: existential, personal,The monuments and scientific. are not odes to the robotic, microbial and human colonizers, but instead optimistic digital Creatures Such As We strives to present a hopeful vision of interplanetary explorationaugmented as a realityforce of monumentsgood. at coordinates corresponding to the landing sites of these spacecraft,superimposing the latitudinal and longitudinal coordinates of Mars on Earth and placing democratizednot repeated as humanity ventures beyond the confines of our planet. By Creatures Such As We is an installation designed to ensure that the mistakes of Western colonization are USA Virginia Tech, College Allegheny ohn ensovitch andronRich creaTures suchasWe wilderness areas andrural communitiesinpoverty, andfindsmany usefulmetaphorsinthenatural world. of adversity, landscapes and people in flux, and ecologicalinstallation, systems. and performance.She is influenced Her byprojects her upbringing explore inpersonal Rachel Lin and Weaver cultural is memory, an interdisciplinary resilience in media the faceartist working in video, experimental documentary, sound, USA Virginia Tech University Rachel Lineaver video arT&indigenouscollaboraTions byrachellinWeaver experimental oral history and documentary projects with indigenous groups in Alaska and Central America. Central and Alaska in groups indigenous with projects documentary and history oral experimental Most recently, Weaver has worked as a facilitator of creative decolonizing workshops, and has co-createdcollision ofthepersonalandimpersonal,physical andmetaphysical, thescientificandecstatic. and evocative meditative spaces where viewers contemplateplace or the data. richness By combining of ecology, deeply andpersonal the overlap reflection and with(field empirical recordings), observation, and experimentation Weaver offers with compositionunusual ability and narrative to be scientifically that transforms objective. understanding She negotiates of a Weaverthis fertile is andmost bewildering drawn to the territory murky areas through where collection her personal perspective or deep memory confuses her the consequences ofviolenceonthedailylife ofciviliansin the consequences examines thatproject —usingdigitaltechnologyasatool— Vis isalong-termsocially-engagedcreative practice research Mexico Universidad AutónomaMetropolitana,Lerma Luz MaríaSánchezCardona creaTive PracTiceresearchProJecT vis. [un]necessary force.asocially engaged start inMexico.start —a voice silenced—withinadialoguethat that hasyet hasbeen to with thesefamilies inordertoregain thelostpower oftheirvoice potential oftechnologythrough creative-practice, Viscollaborates portrayedbe withinthecontemporary socialethos.Usingthe intohow participation them intoanactive they would like to listening tothem,understandingtheirstories,andengaging reclaimsThis project theexperiences ofthesefamilies by attentive- and statistics ingovernmental reports. spouses [notofficially orphansorwidowers yet], are justnumbers Atpresent theausentes,theirchildren and/orof drug-cartels. were taken away by police-forces, by themilitary, orby members nor killedpresent: absentees [ausentes],that isthosethat of Mexico, that have that oneormore are members notkidnaped Specifically, Visfocuses onfamiliesrural andurbanareas inboth take placeinthesmallesthuman unit/group possible:family. contemporary Mexico. addresses Thisproject thetensionsthat

151 Artist Talks The cold atmosphere of the moor is the home of this feathered giant: The Condor, nowadays, the Condors death inthetopofsnowy mountains. greets its siblings: Tapir, spectacled bear and puma.The One guardian day is oflike the aAndean lifetime, Mountains since flaps its hisbirth wings in the between egg until frailejones, chusquea, cortadeira, and it Colombia Universidad deCaldas l GiroColectivo Artstico vulTur gryPhus composition sourced outoflightitself.composition sourced detected colors are further interpreted as sonic eventscombinations and diffused are in unveileda stereo field,as kinetic generating bands of a color.“hidden”Seen Running through the adigital digital image camera through however, software, due the to lower frame rate and image rendering, the hidden white light when observed with the naked eye. selected combinations of colors are turned on and off andthousands stable of light, times butevery when second, observed yielding with a acamera, static a colorcameras. composition Using “super is revealed. high frequency Using lighting”,additive mixing, transparent RGB|Gate iscrystals an audiovisual are illuminated installation with utilizingseemingly thewhite perceptual difference between the human eye and digital Turkey Cem Cakmak rgb|gaTe the visualenvironment life. where theCondor Quena, Charango and Tambora are mixed with the electronicThe landscape music; the of videothe moor and is live created imagea through mixis (VJ) electronicwork createthis music and mobileCollective; image; Artistic the typicalGiro El soundsby ofdance the soundscape of“ElPáramo deLetras” withtheperformance inColombia about thelife ofAndeanCondor.multimedia dramatic of proposal a is Gryphus Vultur warming. global of care take CO2, retain the vital place for the environment. They are like aare reserves in danger and of water extinction, filters, dueand tothey the workdecrease a sponges of their that habit. The Moors, the Condor’s house, are considered Bien Pueda project has been developed hasbeen Bien Puedaproject since 2011, reaching an Using photography theSiga ascapturingandevidencing tool, Colombia Extensión Cali Corporación Universitaria AutónomadeNariño– Rafael Ángel creaTion andfolkloricPreservaTion as sPaces forculTural exPression,graPhic andfruiTshoPs galleries, markeTPlaces on eachplace,through itscommon anddifferential factors. the mostrepresentative elements identifyingparticular pictures, results andconclusions,offering atourthrough thestoriesbehind spoken andvisualdisplay gives anoverall view totheproject’s States andPanama, basedon a retrospective spoken format, this with somecomplementaryexplorations, performed intheUnited compilationPresenting aselected from variousplacesinColombia, and where we are. and preserve thoseplacesthat survive ofwhowe asapicture are pottery, craftwork, religious Americanidentity; eachcity embrace These traditional vegetables, spaces,withtheirfruits, flowers, folklore, identity, foractivities, asareflection thebeliefs, costumes, for our culturalunderstanding itsimportance expression and based onitsaesthetic,chromatic characteristics, andobjective and similarspaces,toidentifycommondifferential factors, describing andanalyzingthegalleriesormarket stores places,fruit frompictures three different countries,withthe purposeof extensive ofgraphic work, body consistingofmore than2000

153 Artist Talks - theoldestgroup ofinvertebrates (Aristotleand onEarth A.)isanincubatorObject inhabited by thousandsofearthworms view haspotential”, Phenotype”. B.)“Vanitasity” andC.)“Virtual Flamingo +Infer. A.)“This iscomprisedofthree Theproject parts: We—The iscreated project Body ofElvin asacollective Common Poland lvin lamingo virTual PhenoTyPe a) ThisvieWhasPoTenTial,b)vaniTasiTy, c) We—The commonbody,2016-2017(TriPTych): model of the Common Body. oftheCommon model form A.)andB.)allthree togethera parts theobjects to both The combination ofaudioandgenerative visualiscloselyrelated A’sObject sensors. synthesizers, generating sonicspacebasedonsignalsfrom the world isarmedwithspecially designeddigitalsound The virtual C.)isafullygenerativeObject VR-world created invisualsoftware. without identifyingitsfuture colonizer. thehypothetical B.)isanattempt habitatObject todescribe transferred tootherobjects. the respectively arranged sensorsandthesignalscaptured are Vermicompost by theearthworms moves whichisproduced to Darwin devoted nearly30years ofhislife tostudying them). later Darwin recognized themasthebowels oftheEarth. How canpeopleenabledoverpower visuallysincebirth theirnatural ofspaceusingatrait perception physically real environment. ofthespacearound byperception them.They sensorimotorinputsthat mirror are a embodied knows, UpsideDown traits isanaimat challengingtheaudiences’subconscious that buildstheir surroundedSeeking topsychologically by be acompletelyotherreality thantheone audience USA Texas A&MUniversity Bhakti Duran uPside doWn what happenedtothemintheplaceswhere events place. took accompany thosewhohavevirtually affected directly been Violencewhileexplaining by theconflict. tooffer conflict Colombian anew intimate oneinwhichtheaudiencecan oftheconflict: perspective Empathetic Media,willfocus onhisrecent ofrecording project andsharingtestimonies ofthe reality360 videosandimmersive virtual generated by photogrammetry. Dan Archer, of director togenerateA journalisticproject empathy and forgiveness andperpetrators, betweenvictims using USA Empathetic Media Dan Archer Through virTualrealiTy consTrucTing resToraTive realiTiesofThecolombianconflicT manipulation ofthesphere intheaudience’s current reality. using binaural spatial audio,butalsothemotorcapability world through ofinfluencingthevirtual environmentof spacethrough theillusion ofrealism notonlyreproducing withinthisvirtual a dynamic installation participatory that essentiallyrewires thebrain tofocus ontheirperception alienated traitmeant totriggeroursubconsciously andbringittotheforefront. represents Theproject overshadowedessential toimmersionthat hasbeen for solong?Thespatial soundenvironment is

155 Artist Talks Colombia Universidad deCaldas and ComputationalBiologyofColombiaBIOS Center forBioinformatics Juliana GrisalesNaranjo Phenomenon inThecreaTive Process? arTisTs inTegraTe daTa andThebiological bioTechnology abouTThequesTion:hoWdo acceleraTe ProcessesofaPProPriaTion in arTs andeducaTion. ProToTyPesTo mulTisensory inTeracTion,medial research andproblem-solving capacities offuture generations. processes oftraining inbiotechnologyandthus strengthen the advantage of existing technologicaldevelopments toenhancethe That iswhy, inthecurrent scenario,itisimperative totake resistant tothenew environmental conditions. biotechnology that makes itpossibletoreturn crops that are more resources, whichleadstothedevelopment ofpractices suchas management ofresources,arable landandwater change crisiswillforce changeEconomicmanagementand the speciesofourbiodiversity toface afuture where theclimate themselves withthevalueofinformation that isstored in the government andthecitizenryunderstandempower that country like In amegabiodiverse itisimportant Colombia, and at world level, changeinbiologicalresearch. acrucial in theacquisitionofscientificknowledge, whichwillbringwithit biology correspond tothesetofscienceswithgreater projection Nowadays, itisstated that bioinformatics andcomputational analyze, manipulate, present andshare biologicalinformation. organize, science that tocollect, seekstoapplycomputational tools Biotechnology isrecognizedintheworld today asanemerging navigate reality city withavirtual helmetandhandcontroller. thevirtual recorded from thevariousstreets ofHongKong can Aparticipant city andthereconstructed model. through themanipulation ofspatial sound.Theimmersive environment integrates spatial sounds isanimmersiveSonic City environment installation focusing onthehumanofspace perception USA Texas A&MUniversity Bhakti Duran sonic ciTy and exhibition shown pieces.The documentarieswillbe during thefestival. commissionsand/ormuseums, intheframe ofartistic communication plansfor diffusion ofartworks This presentation willopenthediscussionabout strategies ofcollaborations and between artists the transformation ofpaintings intoinhabitable spacesthanks to3D/VRsoftware. “Las Meninas by Diego Velázquez” and “The temptations of Saint Anthony by Hyeronimous Bosch”, and all the historical process using digital image. Carlos Franklin will also present the case of VR experiences Darakchiev) focusing on the rebuilding of central Warsaw from Bellotto’s paintings and how we rebuild some excerpts of the episode “View of Warsaw from the Royal Palace by Bernardo Bellotto” (dir. J. experiences Unframed. The first subject is about creative documentaries. Carlos Franklin will present the animated documentary series Smart secrets of great paintings and animated documentary VR Carlos Franklin will introduce the work he has been doing during the last three years as director of France Carlos Franklin Pa smarT secreTsofgreaT PainTings andunframed:usingPicTorial sounds spatially buildtheworld around usinourbrains. foreground. Usingthisaudioguidancewillforce ourmindstothinkabout therelationship ofhow based solelyonvisualcues,wetrait letthesoundguideus.Thesubconscious isbrought tothe forth aimstoflipthisrelationshipCity around. Insteadofguidingourselves through ourenvironments The visualsusuallyoverpower any thoughtofwhat soundisdoingtousinourenvironments. Sonic ofthisourbrainand because isalways processing soundsspatially. feeling.This isavery subconscious Hearingisnotoneofourmajorsensesthat we caneasilyturnoff, way we spatially locate soundswithinourenvironment ofplacewe tellsourmindwhat are sort in. We ofourworlds defineourperception by ourrelationship tospace.Like sonar, ourown modified the Trimony

157 Artist Talks human framework, intrinsicandextrinsic musculature, andnervous normalanddisordered anatomyboth andphysiology. Given that the ofexistence.to normalfunction intraining Doctors are educated in is a complexThe human body system ofanatomical critical structures USA University ofIowa Peter Chanthanakone and Physiology immersive realiTyToolforlearninganaTomy technology and art are creatingtechnology and art new, future. rich and undeﬁned virtual This presentation willshow theways collaboration ofscience, asanalternate appplatform.use ofthesmartphone vocal fold opening,closing,andvibratory patterns, and4)exploring the cavity anatomy, etc.,3)developing realistic animations representing improving graphics tomore realistically represent tissuewalls, oral the vocal joystick tract by implementingtissueboundaries, control, 2) Further development includes1)improving usernavigation through of concept wasthe proof created. learning anatomy andphysiology. UsingOculusRift(Oculus VR,LLC), Chanthanakone teameduptodevelop animmersive reality for tool science specialistJosephKearney and3Danimator Peter The collaborative efforts computer ofmedicalexpert JerryMoon, conceptualize itinthree dimensions. foropportunity studentsto“interact” withit,nortoadequately simply viewing thisform ofmaterial doesnotoffer signiﬁcant represents augmentedby thenorm,andmay videos.Further, be For themajority ofstudents, viewing photographs andillustrations knowledge challenging. canbe innervation are noteasilyvisualized,helpingstudentsattain that

The useofnew mediaapplications canfocus andengagingly sensory features ofspatial interactions andemotionalexperiences. involvesartefact a physical site such as Chinatown, with intangible of culturalchallenging,especiallywhenthe heritagecanbe experiences andinterpretations. Theuseoftechnologyinservice New mediaoffer enormouspossibilitiesfor documentingcultural Canada Judy JheungStudio Judy Jheung comPosingyou_chinaToWn harmony andpeacewiththecurrent states ofChinatown. systems toadaptandemergewith new visionthat couldgenerate through whichvisual/sound qualitiesallow oursensoryprocessing an attempt toadvocate experience thevalueofaestheticart exploring cultural heritagethrough theuseofinteractive media, talkwilldiscussthestrategiesAn artist andtheoretic concernsin to experienceopportunities thepresent, andtoenvision thefuture. of-pastmemories, whileofferinginsights into-andreﬂections encompassing experiential interaction generates perceptual locative theall- media. Utilizing mediaandpublicprojection, experimental approach that integrates practice andinteractive art work-in-progress ComposingYou_Chinatown, project, adoptsan produce/re-present thecultural heritageinlinearfashion, the the life andtimesofChinatown, rather thanre-construct/re- In capturingtheplurality oftransitory momentsthat constitute arresting narrative. historical record withinanintimately coherent andviscerally convey theimmense richnessanddiversity oftheemerging Arts Zurich University ofthe Scott Jill abouT realiTy ProJecT an augmenTed Jellyeyes: comparative evolution. evolution,structural and based eye: co-evolution, development ofthecamera- the evolution ofthebiodiverse with three mainconceptsof augmented reality interaction through animmersive is toencourage postreﬂection The mainaimofJELLYEYES Switzerland -Australia

159 Artist Talks molds resemble “death museums found masks”that canbe inart that provide Thefacial theinteractive oftheartwork. aspect and are juxtaposedwithmanufactured technologicalcomponents technology. Theorganichuman forms have functionality noactive that progressively remove thehuman form andreplace itwith consistsofaseriesthreeThis project primarymediasculptures USA Anatol BologanandJinsilHwaryoung as self PosT-human The imagining human? The is WhaT will be archived onawebsitewill be andshared online. exploredvisual optionstobe Allthecreations by theparticipants. Post-Human Prototype 04andpresent avariety oftechnicaland “cyborg of provided components”willbe astheparts by theartists andtake parts using electronic photoswiththem.Additional able toassembletheirown headsbasedontheirnarratives cyborg technicism versus humanism. Attheconference attendees willbe and intendstoengageinthediscourseofhuman versus cyborg, ofourcontemporary culturetechnology aspart andconsciousness of questionsaswellThe artwork ashighlightstheimportance these interactive sculptures. captivation andfantasy from theviewer asheorshe explores technology. here istoevoke Theintentionoftheartist exploration, butareand anthropological made‘alive’ collections, withrecycled stakeholders and!codesignersofanInternetThings. unheard voices ofmore-than-human communitiesaround localWellington urbanwaterways as this researchexperiments for creatively withmethods engagingtheoftenmarginalisedand ‘Internet ofThings’hasmainlydeveloped around human, market -andtechnology-driven concerns, University Victoria ofDesign, Birgit Bachlerat ofWellington. theSchool Whilethebuzzterm Materialising anddesigner amore tanhuman InternetofThingsisthePhDresearchmediaartista New Zealand Birgit Bachler maTerialising amoreTan humaninTerneTofThings by silencingandreinterpreting thedata ofeveryday life. with limitlessvariation. Inthisway, thework renders theimmateriality ofsoundasa tangibleevent the chainsmotion,minglewiththose ofviewers andperipheral ambientnoisetogenerate activity redrawing remnants ofactivity through thegradual erosion ofpilessand.Theresulting soundsof theirownproduce audibleandvisualtranslation by oftheambientsoundsinroom displacingand the centre ofeachspeaker cone.Astheendsofextensions make they withthefloor contact physical affect oftheirsonicsurroundings through theoscillation offineballchainsthat drop from are transformed by aPure Data program tointosilentspeaker motion. Viewers experience the environment. Microphones are hung intheexhibition area tocapture ambientsounds.Thesesounds ImprintsoffersCymatic theexperience participants ofphysically engagingwiththeirsonic Canada Donna Legault cymaTic imPTinTs process ofagrassroots InternetofThings. toincludethecreativity forof searching methods ofmore-than-human communitiesintothedesign local Wellington waters andtheirmore-than-human ecosystem. Thistalkaddresses thechallenges interventions, toimaginenovel devicesand DIYelectronic asartistic ways with ofre-connecting These immersive walks aimtocollaboratively créate experimental prototypes for digitalnetworks forcartographies designinglocalisedIoTcontexts. GPS, humidity, luminosity, temperature, flow, contributetobuilding multisensory etc.participants andpipedunderground. Bycarryingavarietyculverted sensors,includingaudio,video, ofelectronic human andwalking perspective thevisibleandhiddenpaths oflocalstreams, whichare often areIn aseriesofworkshops, invited participants toexplore localwaterways from amore-than-

161 Artist Talks and politicalpotentialsofnetworked performance. This community ofcollaborators whoexplore theaesthetic,educational alongwith aconstantlyexpandingdozen telematic concerts of themedium.Indecadesince,Ihave inseveral participated failure, disasterthat was abeautiful for crucial my understanding My firstattempt at atelematic musicperformance was atotal USA and PoeTics Michael Dessen Polemics, ProPosals music: TelemaTic it continuestochangeanddisappear at analarming ratE. at riskoffallingsound andmusiccouldbe inaneternal ontologicalsquabble whilsttheworld around a lackofthingsthat matter. actually Inaworld areas ofhyper-appearances of certain andpost-truths, environmental philosophy, givingriseto may coupledwiththeconceptualismofcontemporary be art, inwhatBridges builtwithbuzzwordstwistedroots isessentiallyphenomenologyand bearing emerging themesfrom itspractice- basedresearch. ‘natural’ environment. Thispaperwilloffer anoverview andhighlightsome tothesemethodologies experience oflandscapethrough archive, composition,spatialised audiosystems, andgeopoliticsofthe theoretically by phenomenologyandpsychogeography, thisisacasestudy inasoundartist’s evidently andrelatively unthreatened environment. Withintheframework ofecoacoustics,supported the Yorkshire for Dalespractices andfocus tocopewiththesearch changeinan onspecificartistic The Yorkshire was SoundscapeProject conceived toretrace footstepsfrom 40years ago,within USA Tariq Emam of soundscaPeecologyandcomPosiTion frameWork The WiThin landscaPe of exPerience arTisT’s sound a To aPProaches mulTi-disciPlinary ProJecT: soundscaPe yorkshire The proposals for musicinanera oftelepresence. and writings/work by otherstopresent somepolemics,poeticsand presentation weaves on my togetherreflections own experiences

other geocultural zones. We shall reflect on space art and bioart, two fields that have been prominent prominent havebeen that fields two bioart, and art space on Wereflect shall zones. geocultural other with collaborations expanded for open and projects, supported EU within mainly place took which programmes, residence in artists and collaborations art-science in experience our on focus weshall Leonardo/Olats, organisation Franco-European non-profit the of presentation institutional this In France Leonardo/Olats Annick Bureaud pRogRaMMes (exaMpLes) LeonaRdo/oLats: aR America, having presented works inseveral countries. postdoctoral internships.Media Lab /BRisconsidered thelargestlaboratory ofitskindinLatin for thedevelopmenthas support as well andthesisprojects, ofdissertation asoffering spacefor fromResearchers variousareas of knowledge develop researchintheMediaLab, whichalso interfaces andsocialexperiences withtechnology. research axes, focusing ontherelationship betweenuserandsystem, computational technological art, coveringwith atransdisciplinary method, several areas ofknowledge. MediaLab works withsome de Brasília andtheFederal University oftheSouthandSoutheastPará. Thelaboratories work Media Lab /Brconsistsofthree laboratories, located at theFederal University Universidade ofGoiás, Media Lab is an academic network for research, development and innovation in interactive media. The Brazil USP Prado Cleomar deSousaRocha,SuzeteVenturelli andGilbertto /bR Media Lab in ouractivities. t- science coLLaboRations &aRtistsinResidence

165 Insitutional Presentations Manizales. Withthismaterial, we have arichrepository ofcreative produced andscholarlyresearch series ofsymposia,from for 1988to2017,from Calls Participation toﬁnalProceedings, to from Utrecht past 10years, aneffort undertaken tosystematically hasbeen gather allmaterialsby the produced thesymposiummaterialsteam eachtimeitisheld,archiving posesuniquechallenges.Duringthe Because ISEAisanomadicsymposium,organisedindifferent oftheworld andby part adifferent USA ISEA InternationalOnlineArchives im vanderlas, onnie itchelandTomasAsmuth isea syMposiuMaRchives:update andinnovative nextsteps within theandoutsideacademic framework. and extends accessible toabroad thephilosophy audienceboth ofopennesswiththeintentiontobe practices across epistemiccultures. Itfocuses onstrategies rather thanoutcomesofresearch activities communication andpresentation ofstrategies ofexperimental, research transdisciplinary andartistic journal publishedby RIAT andTechnology. Institutefor -Research Arts JRC concentrates onthe The Journalfor Cultures Research (JRC) isaninternational peerreviewed Open-Access (OA) Austria RIAT andTechnology –ResearchInstituteforArts Sophie-Carolin Wagner andAndrewNewman JouRnaL foRReseaRchcuLtuRes foundstate oftheISEASymposiumArchives canbe at http://isea-archives.org/. integrated information system. Audience suggestionsandinvolvement isencouraged. The current This presentation willdiscussthecurrent state oftheISEAarchive andplansfor aninnovative community.symposium andtheworld-wide arts electronic customizable andautomated information dissemination andmore interaction betweenthephysical the organisational ofthesymposiumandarchive. Thisinitiative structure offers possibilitiesof We have avolunteer teamextending thisarchive anddeveloping aninnovative between connection inthefuture. andotherartifacts artworks proceedings enhancedwith andcatalogues. resourcewillbe Thisvaluable andemergentart electronic with over 8000abstracts statements, hundreds offull andartist offullpapersandalargenumber the continuation (ISEA). oftheannualInternational Art SymposiumonElectronic science andtechnology.and individualsworking withart, Themainactivity ofISEAInternational is fostering interdisciplinaryacademicdiscourseandexchange amongculturally diverse organisations Founded in theNetherlandsin1990,ISEAInternational isaninternational non-proﬁt organisation UK ISEA International Sue Gollifer isea inteRnationaL experimentation and technologywiththelocalcommunity. inart is openallyear andwe from receive many artists countries, that work withpedagogy, researchand contributing tothecreative wellbeing oftheyouthand socialtransformation. TheResidencyprogram independent platform for a grand diversity oflearningexperiences. technologyandcommunities Art, Platohedro isacommunity laboratory inMedellin(Colombia). Since 2004ithasserved asan Colombia Platohedro Luciana Fleischman pRogRaM aRt andtechnoLogyincoMMunity: pLatohedRo’s aRtisticResidency andeasilyreplicated. opensource be Mutante.Lab Traveler, theMutante.Lab Seedandadigitalplatform. Allofthemhave designedto been development. TheMutante.Lab network consistsoffour different thebaselaboratory, modules: the and strengthening communitiesofdiverse kindswiththeaimofpromotingsustainable a truly social experimentation, andcreation Currently, innew mediaandarts. ourefforts are focused onbuilding culture,source experiences design,andplay. in2012,includesresearch, Ourwork, whichhasstarted areas inclusive, truly equitable andfun,framed intothephilosophy ofcollaborative work, open andLatin America.Ouraimistomake inColombia science andarts theaccesstoknowledge inthese Mutante.Lab isanetwork for thetransmission ofknowledge andcommunities strengthening around Colombia Mutante.Lab Natalia Rivera Medina Mutante.Lab –aRtsandscienceLaboRatoRy

167 Insitutional Presentations forward, integrating MuRetakes countries,people,museumsandobjects. placeinthefieldofcultural Visits tothemuseumrepresent apowerful strategy developed. tobe MuRetakes thisonestep Uruguay Cultural RingLatinAmerica-EuropeinUruguay Delma RodríguezMorales and technoLogicaLincLusion pRoJect foRtheinteRconnectionofknowLedgeconsideRinghuMan ReaL-tiMe stoRyteLLing thRoughadvanced. inteRnetnetwoRk.a MuRe, MuseogRaphynetwoRk.co-cReation stRategies foRbuiLding the issuesare printed,EEisalsofreely downloadable onlineasaPDFbasedmagazine. original soundfiles,video,additional photosandotherZeitgeist documentstoallourcoverage. While are more visualthantextual,articles butonlineyou willfindadditionalbackground material such as website magazine,newszine, anditspansacross part multiple; part several mediaformats. Often EE EE’s formatintriguing, wondrous intheongoinghuman ofmaking art. project is andthebeautiful theinteresting, thesubversive,One ofEE’smainpurposesistosupport theabject, thestrikingbut also the majormarket driven trends ofourtime. contributions to the field of emerging aesthetics, showing in a constant flux, challenging the field of art visual overviews Themagazinepresents major canbe. contributionstoallwhat art ofimportant NorwayEE -ExperimentalandEmergingArt -isapublication that gives arapid response toand Norway Norway EE -ExperimentalEmergingArt Zane CerpinaandStahlStenslie ee -expeRiMentaL eMeRgingaRtnoR the Cultural Funding (MinistryofCulture andEducation developed ofUruguay) tobe in2017. MuRe was created at Cultural RingLatin America-Europe inUruguay was andthis project by selected contents ofthecultural intervention project. research. Thispresentation willfeature themainstrategies, stakeholders involved andpre-production MuRe iscomposedoftwo ofcultural AProject projects: intervention ofeducational andaProject materialobject, andimmaterial, aimingtostimulate theco-creation process inICT. piece,heritage isconceived inabroad timeandspace.Theobject sense,art but share thesamevirtual that onlyexists ontheInternet.Participating institutionsandaudiencesdonotgeographically coexist, feature storiesofheritage,dialoguesandinteractions withthepublic.Participants create anexhibition MuRe´s aimistogenerate areal-time, advanced withdifferent Internetcircuit institutions.Itwould convergence andadvanced internetnetworks. way skills in order to contribute meaningfully to an interconnected local and global society. With an an With society. global and local interconnected an to meaningfully contribute to order in skills learning life-long with makers critical educate to methodologies and tools new provide to preparing and expansion curricular in investing is department The practices. sustainable and human-centered, responsible, socially on emphasis with design of study the to approach flexible and challenging, creative, a offers Department The Design. M.F.A. in and B.A. offering system, California of University the in department Design comprehensive most the is Department Design Davis UC The USA University of California,Davis Glenda Drew, Tom MaioranaandJiayiYoung design @univeRsityofcaLifoRnia,davis now. How toprepare students for suchinstability of the future? from few a years even field the within happen to going is what foresee to hard make it parameters societal and cultural as well as Technological sighted. short therefore also are demands such whether remains question open an but terms, short the in think must and can one how impact demands Such market. job the for students educate to demands Educations of Ministry Danish the follow to obliged is University Aalborg at technology.Educations and art within studies of formation the impacts that measure crucial another are opportunities technology.Job and art to relevant field wider the in changes technological and cultural both as such encountered, havebeen challenges Several andarchitectures. artworks designs, interactive prototypes, functional produce to order in skills necessary the with students the provide to given is emphasis Much Technology. and Art of field the in research to approach based practice and hands-on intense and comprehensive a offers study the Overall making. the in still and Scandinavia in unique young, years 8 is study The Denmark. in (AAU) University Aalborg at offered program Bachelors Technology and Art the of overview an give presentation The Norway Norway PNEK -ProductionNetwork ElectronicArt Stahl Stenslie the aRt&technoLogypRogRaMat aaLboRguniveRsity design andwearable technology. systems computing, physical media, interactive design, industrial design, data-based and network design, code-based kinematics, areas: following the expand to directions seeking are we particular, In conference. the at programs similar with network and exchange dialogue, to opportunities seeks department the design, in practices and theory emerging integrate broadly and deeply to outlook

169 Insitutional Presentations implemented inMexico. Cuajimalpa, Iztapalapaandtheyounger one,Lerma, UAM ischallenging how publiceducation is serving theurbanarea ofMexico City. Withfive campusesplacedinXochimilco, Azcapotzalco, The Universidad Autónoma Metropolitana [UAM] isapublicuniversity with47years ofhistory, Mexico Universidad AutónomaMetropolitana,Lerma Luz MaríaSánchezCardona univeRsidad autónoMaMetRopoLitana, LeRMaMexico woRk inpRogRess:thedepaRtMent ofaRtsandhuManitiesat Image Festival. The 1stFAD Biennialisagreat for DigitalArt opportunity allmakers present at theISEAandat the this sense,butonanew spatialized inthecities. scaleofactivities and aninternational exchange ofthinkers andmakers whoare habitual tothefestival, isplanned in society. betweenthecultural Theconnection spacesofthecitiesRiodeJaneiro andBeloHorizonte, through new media,placingthisthemeinacentrality andculture inthemidstof inthefieldofart Biennial,tendstobroaden thehorizonsofart The proposal ofthiseditioncalled theDigitalArt inBeloHorizonte/Brazil.pillars ofaction (Workshops, exhibition). performances lectures, andart FestivalSince 2007,theDigitalArt through New hasspread thethemes ofArt Technologies infour Brazil & Technology.) FAD – Digital Art Festival & SAD – Digital Art Symposium (Conteudo Art Tadeus Mucelli digitaL aRtbienniaL2018 oppoRtunities inbRaziL.fad -digitaL aRtfestivaL: 1steditionof collaboration andexchange academicISEAcommunity. withinthedigital+art opportunities, WeCommunications. would ourtwo like groups ourdepartment, ofresearch,checkfor tointroduce 4 generations itoffers ofstudentsstillontheclassrooms, thebachelorsprogram and Digitalarts andHumanitiesat UAM ofArts The Department Lerma hasonly4years ofcreation, withbarely in 2005 with the support oftheMinistryCulture –aimstofosterinterdisciplinary in 2005withthesupport high-caliber community. oftheuniversity, Asapart Graduate ofCulture Technology School –whichisestablished innovative universities by oftheworldwide REUTERSin2016,isawell-respected member science university inDaejeon, RepublicofKorea. KAIST, ranked being 6oftheworld’s asnumber most KAIST, formally theKorea Advanced InstituteofScience andTechnology, isapublicresearch This presentation Graduate introduces ofCulture Technology School ofKAISTtotheaudience. (GSCT) Korea Ji-Hyun LeeandIk-HwanKim gsct kaist,gRaduate schooLofcuLtuRe technoLogy both producing electronic art works andcollaborate art electronic producing acrossboth boarders. The institutionalpresentation aimsat existing presenting thevariousopportunities inNorway for Norway Stahl Stenslie pnek –pRoductionnetwoRkeLectRonicaRtnoR andlifeexhibition, andentertainment, art in analysis cultural phenomenaandtechnologicaladvance onthefields ofculturaland artefacts design, andCultural complexity aimstoprosper science.Through theinterdisciplinaryresearch,GSCT Visual contenttechnology, Soundandmusic technology, Interactive technology, Computational edge scienceandtechnology. researchingtechnologyfor hasbeen thecreation infive terms: GSCT talents andelevate cultural contentbusinessintotheworld’s future core industrybasedoncutting- way

171 Insitutional Presentations be targetedusingsegmentation databe from eachpartner, toenable deepengagementwithharder- commissions incommunitiesacross Europe that work with,andfor, audiences.Theseaudienceswill SHARE! bringstogetherestablished key institutionstodevelop European embedded mediaart -UKNetherlandsFranceGermany -Poland -Switzerland -Spain Croatia -Latvia inResidenceExchange) EMARE (EuropeanMediaArtist Krajewska, RasaSmiteandSabineHimmelsbach. Carlier, arinhlenschlger, naodic,iotrraesi,ioletta utlubasis Mike Stubbs,DanielHerrmann,PeterZorn,LesleyTaker, ArjonDunnewind,Isabelle shaRe!: cReative coopeRation euRopeLaRge pRoJect Creación Industrial,Kontejner, Foundation, WRO for MediaArt Center WRO Center, Art RIX-C, HeK. Partners: Werkleitz e.V., Gesellschaft FACT, y StichtingImpakt,Bandits-Mages,LABoral deArte Centro do this. SHARE! placesco-creation asthekey driver toempowering peopleacross thecontinentandbeyond to Thedigitalshifthasofferedtest new models. consumeanddisseminate; toconnect, new opportunities academics, existing audiencesandunderrepresented communitiesneedspacestocollaborate arts and learning from theseprevious andmeaningful way. inastructured projects professionals, arts Artists, Legacy key hasbeen tothesuccessofEMAN,andSHARE!offers and achancetowidenthebeneﬁts Europe Programme Prioritiesof:audiencedevelopment, transnational mobility anddigitisation. withintransnationalembedded European contexts. Theseprogrammes meetthethree key Creative SHARE! hascarefully designedprogrammes tocreate innovative commissions,whichare art (and disseminated), internationally. andindoingsoupskillthesector incorporates ofdiffering partners sizesandspecialistareas toensure practice that isdeveloped best resulting inextensive professionals peer learningbetweenarts andcreatives, transnationally. SHARE! will develop innovative commissionsthat digitalcapacity willdevelop across artistic thecontinent, chosenfor (whowillbe theirskillswithindigitalandnewto-reach groups. mediaarts) Theartists ´ He currently serves ofKnowledge asDirector Managementat theUniversidad Peruana deCiencias University (UK)andinUniversity ManagementandPolicy at theUniversidad (Spain). deBarcelona Perú. HeholdsaPostgraduate inManagementfrom Non-Governmental Organizations at theOpen Graduated inBibliotecologyandInformation Sciencesat thePontiﬁcia Universidad de Católica Presentation oftheresults tothedate oftheUPC. oftheknowledge managementmodel Peru Miguel Saravia univeRsidadpeRuanadecienciasapLicadas de La gestión deconociMientoeneLáMbitouniveRsitaRio: expeRiencia La UK Jorge Villacorta Jose-Carlos Mariategui, Max Hernandez Calvo and and eLectRonicaRtinpeRu(1995–2015) toMoRRow was nowtwodecadesofvideo President oftheSeminarioPermanente deInvestigación Agraria (SEPIA). Aplicadas. HeisalsoPresident oftheAsociaciónPeruana deBibliotecasAcadémicas(ALTAMIRA) and

173

include expeditions tolocalaquatic/wetland environments ad-hocMFCs“on-site” toconstruct asan wastewater explored willbe for useastheelectricity-generating componentoftheMFCs.Thismay such aslocalponds,rivers andeasilyattainable organicmatter suchascompost,aquatic plantsand builtandseveralhousings willbe exhibition andperformance strategies explored. willbe Sources (1) Exploration ofvariousmaterials anddesignstrategies for Several MFCarchitectures. different The researchwillfocus onthree primaryareas: Method and performing interventions anddemonstrations inpublicspace. We willtraverse thecity, organicmatters simplediyMFCsystems collecting for useinconstructing ortrailer,small vendor cart anddemonstration repurposed toserve asbioenergyconstruction station. In ordertoinvolve amobilelaboratory thepublicwithourresearch,we willalsoconstruct usinga essence, allowing to “express” thebacteria themselves sonically. used toinform thedevelopment ofasoniccompositionalsystem that isdictated by thesepatterns. In potential. Ifacomprehensive attained, patterns itwillbe understandingofthebioelectrical canbe synthesizer presets andCVgate signalsandstatistical regression variations topredict inelectrical generated We by thebacteria. willinvestigate theuseofpattern recognition/classiﬁcation totrigger patterns ofinterpreting theshiftingelectrical (3) Useofmachine-learningalgorithmsasamethod control voltage (CV) appropriate sources for thesynthesizers. signalsgeneratedamplify theelectrical andsoftware by thebacteria totranslate thesignalsinto to circuits Thiswillentailbuildingelectronic andtriggersources. usedasmodulation MFCs canbe designed software synthesizerbuiltinMax/MSPorPDsothat ﬂuctuations ofthe thebioelectrical toaEurorack-based synthesizersystem connected modular (2) TheMFCswillbe and/or acustom- installation/performance.

175 Special Events As a network of networks, we are reimagining our future with with future our reimagining weare networks, of network a As theexploding art/science/technologynurture globalcommunity. to effort an in curious the and leaders thought institutions, pioneers, to out We reaching are audience. our of needs the meet to mission and programs our redesign to efforts our inform to collaboration community of half a and year a to doors our opening weare years, next 50 overthe place and purpose our century. Torealize 21st the fully in weface challenges and works unique the represent to scope our expand wemust then messenger, the is media If enough. not is culture of provocateurs and innovators creative the capturing Today,and documenting momentum inrecent years. gained has field the and artist-academics, for publication definitive the been has Leonardo Foryears, 50 journal. scientific a of rigor peer-review the with artists for journal academic an Leonardo, was result The work. their in technologies developing and science use who artists of writings the on emphasis with artists, among communication of channel international an as serve to vision: unique a represented Leonardo venture, innovative groundbreaking, a As publishing. print offset time: the of media” “new the using by disciplines across working scientists and artists of community a of needs the solve to out set FrankMalina pioneer astronautical and artist kinetic ago, century a half A www.leonardo.info/50th-anniversary LEONARDO 50thCELEbRAtiON and they don’t takingsides. direction any from come can breakthroughs critical to lead that ideas the Because Why? reinvention. and rediscovery of journey this on us with along come Weto you forefront. invite the at you

177 Special Events The projects inthepresentationThe projects present visionsonpost-natural environments where technologyand discuss changingdefinitionsofwhat isnatural andhuman. ithasrecently presented. Thepresentation andartists of themes,projects that focusses onartists tothemeslikeConnecting Bio-Hacking andBio-Creation theImpaktFestival willhighlightaselection Frankenstein ofEden-ImpaktFestival, intheGarden theNetherlands Netherlands Arjon Dunnewind tALk: impAkt technology, mythology, andmagic. Wicked Problems. Curators Natalie KaneandTobias Revell willmaptherelationship between The 2017festival Haunted willtake anditsthemewillbe Machines& placefrom 25-29October digitising Impakt’sscreening history backto1988,whenthefirstImpaktFestival was organised. curated programmes featuring Lastbutnotleast,theImpaktArchive works on filmandvideoart. isaplatform madefor projects Impakt Channel where theinternetare art presented, alongwith has organizedresidency exchanges withMexico, Australia Canada, andmany othercountries.The residency ResidencyExchange programme. ofEMARE,theEuropean MediaArt Asamember Impakt presentations andscreenings centeringonagiven theme,movement, andImpakt Works, orartist a throughout theyear,Impakt organisesactivities includingImpaktEvents, aregular seriesof talks at locationstheNetherlands. inUtrecht, that includesexhibitions, filmscreenings, panels,performances, lectures, presentations, andartist technology. Theorganisations istheannualImpaktFestival, mainproject afive-day multimediaevent culture, andmediafrom academia,and variousanglesandwithinarange ofdisciplinesinthearts, inan interdisciplinarycontext.visual arts Initsprogram itexamines issuesaround society, digital Impakt presents criticalandcreative views oncontemporary mediaculture andoninnovative audio- informationon Impakt General A presentation by ArjonDunnewind, general ofImpakt director Jeroen vanLoon (NL),AgiHaines (GB)Ensemble(USA). andtheCriticalArt The presentation like willdiscusstheworks ofartists (NL), FlorisKaayk (NL),Kurt vanMensvoort developments. Byshowing thelikely andthepossiblethey encourage ustothinkabout thedesirable. this presentation address ethicalandphilosophicalquestionsraised by contemporary technological have inseparable.the human body become Devoid in oftechnophobiaandtechnofetishism, theartist specialization and masters in Plastic Arts at Chelsea College of Arts, London. Shewas ofArts, aprofessor College atspecialization Chelsea of andmastersinPlasticArts EcheverriClemencia lives andworks inBogotá.Shecompletedundergraduate and studiesinColombia Clemencia Echeverri Colombia Banco delaRepública Clemencia Echeverri andNicolásGómezEcheverri DEL tALk: iNAuguRAtiON OfthEExhibitiON“DECiRELLugAR.tEstimONiOs Respuesta. Shehas won prizes,mentions, national and international scholarships suchastheArts was onhisrecent work produced titledSin Museum.In2009thebook Universidad NacionalArt inBogotá,the Art theMuseumofModern and galleriessuchastheNational MuseumofColombia, Over thelast15years,hasheldnumerous exhibitions Colombia inmuseums andparticipations with thework Quiasmaingroup artists. withthree Colombian Festival Arts Electronic Austria; BogotaandLondon, Banquete, Madrid;ArsElectronica, Artrónica, Festivals Arts inElectronic Shehasparticipated suchasISEAinHelsinki-StockholmandTallin,Chile. forFilo at France, Itineranciaartists with10Colombian Venezuela, Argentina,Brazil, Uruguay and The work ApetitosdeFamilia Doble inBogotá.De Art at theVIBogotáBiennialMuseumofModern Intimaat theVIBiennialofHavana,Museum; Casa Cuba. ZnakiCzasuPoland; Foundation, Delfina of ContemporaryArt UKandUniversidad NacionalArt NoLonger(project Empty), England;Treno at Daros-Latinamerica Museum,Switzerland;Center andinmonocanalversionNational andsoundfor MuseumofColombia theBiennialofLiverpool de Herencia inFotografía para Fotografía, Bogotá.Thework Voz: resonancias delaprisión,inthe inBarranquilla. Thework Art FronteraMuseum ofModern intheMDE11,MedellínandJuegos Juegos deHerencia monocanalin Cosmovideografías Latinoamericanas, CENART Mexico andthe Gallery, Bogotá. of theworks ofVideoinstalaciónSupervivencias, JuegosdeHerencia yTreno at theAlonsoGarcés areview ofMedellín,premiere Art Coordenadas oftheinstallation inAntioquia.MuseumofModern Hall, Medellín.TheworkArtists’ Versión Libre LuisCaballero nominated andin intheVIConcurso New York.Center andat theNational Thework ofCartagena, Sacrificioat theFirstBiennialofArt VisualandMaterialRiver Culture, inContemporaryColombian curator JoséRoca.BardGraduate and international events, betweenwhichthey standout,thework Treno inWaterweavers The In thelastyears, shehasrealized ofvideoinstallation projects inseveral withparticipation national conditions. in installation, video,photography, soundandinteractivity basedondominantpoliticalandsocial Afterworking hasdevelopedColombia. inpaintingandsculpture, sincethemid-90s,Clemencia works inundergraduateArts andmaster’sdegree at Universidad deAntioquiaandUniversidad Nacionalde pA isAjE COLOmbiANO

179 Special Events measurement ofscienceandlanguage. and thenatural,the artificial andthesensoryinrelation tothesystems ofcategorization andthe perceptive experience ofthespace.Heworks andimagesthat withobjects reveal thetensionsbetween forthe paintingandsculpture- therepresentation hegoestovisualcodes ofthesensory and curatorHe works historian.Through the exploration sanartist, andart withdifferent media-mainly Nicolás Gómez York. for InstituteofCulture ofBogotá.Selected andtheDistrict theYaddoColombia ResidenceinNew Art London, andresearch-creation grants from theMinistryofCulture, theUniversidad Nacionalde ShehasreceivedColombia. Foundation national amongthemDelfina andinternational support, London,Council, theDaniel LangloisFoundation of andtheBiennialPrizeofArts ofCanada and thetreatment ofculturally orreligious orders,violence,etc. difficulties, crisisofPolitical representation, andparty injustice,inequalities, institutionaldeficiencies it comestothinkingabout thesolutiontogreat contemporary challenges, for example: social then, criticalthinkinghasdeveloped inseveral ways, givingtheimpression when ofsomediscomfort sociology. Itwas enoughtothinkofitastheregime opposedtocommunismanddictatorship. Since Until themid-1980s,democracy inthefieldofpolitical didnotseemtoconcernphilosophicalreflection France Michel Wieviorka tALk: NuEvOsLímitEsDE taken from: http://www.arteinformado.com/guia/f/nicolas-gomez-echeverri-45631 onMay 19,2017) institutions suchastheNational Museum,LaTertulia MuseumandBancodelaRepública.(Text was andhasworked and contemporary art Colombian on modern oncuratorial for projects various and Universidad delTolima (Ibagué).Heregularly publishesessays andhistoricalcriticalarticles profesorHe hasbeen at theUniversidad delosAndes(Bogotá),Universidad delaSabana (Bogotá) the Universidad delosAndes(Bogotá,2007). 2013), Valenzuela KlennerGallery(Bogotá,2013);SantaFe of Room Gallery(Bogotá,2012)and Project 2016), Pereira Gallery(Bogotá, Museum(2015),GaleríaNueveochenta Cero ,2014),DoceCero Art (Cali, 2016),Lokkus (Bogota, Proartes Gallery(Medellín,2016),Maca(Bogotá,SalónComunal University History from Goldsmiths (London,Science inArt 2010).Hehasexhibited hiswork in Graduated program from theArt oftheUniversity delosAndes(Bogotá,2008)andtheMasterof aswell andcontemporary asthedevelopment art, landscape inmodern andvalidity ofabstract art. work andinhisresearch work,Both inhisartistic hehas deepenedreferences totherural andurban LA DEmOCRACiA these projects, therethese projects, isalsoone,sponsored by theMinistryofForeign Affairs oftheItalianRepublic, in theRepublicofElSalvadorandAfricaBurkinaFasu anagricultural training Among project. cooperation for isaproject projects, therecovery andrestoration ofthehistoriccity ofElSalvador have developed been withintheframe ofinternational cooperation. Amongthemaindevelopment Roma Tre University track record hasanimportant ofTerza many Missione activities, ofwhich Italy Geatano Sabatini Di LiNguAECuLtuRA itALiANA tALk: ROmAtREE crisis hasnotturnedintoanopportunity. countries (justcomparingColombia’s GDPwiththat ofItaly),butthesystem isnotyet inbalance.The particular. andsomeLatin redistributed American Perhaps toChina globalwealthpartly hasbeen AmericansthiscrisiswasEurope adisaster:for andtheNorth theworkers andthemiddleclass,in And even in2008andnotyet more over. haschanged withtheglobalfinancialcrisisstarted For natural,productive, andanthropological diversity. cultural ofsymbols, homogenization,and interclassing new wealth, butalsoprogressive of destruction national toplanetarymarkets, whichalsoinvolved cultural changesandcostumes:interdependence sponsored twentieth-century commercial trade agreements. Asharpshift in theeconomy from Many thingshave changedintheworld sincetheera of“globalization” was openedwiththeUS- Italy Marco MaríaGazzano vALORizzAziONE DEisApERi“iNutiLi” tALk: ARtEEmAtERiE umANistiChE:L’uNivERsità pubbLiCANELLA lastsfor 20hours. module ofsynthesisonliterature, ofthelanguage,fourdidactics andhistoryofItaly;Each modules music,art Language andCulture, whichconsistsof:Four for thelearningofItalianlanguage,one modules with theIILA-Italo-Latin AmericanInstitute,for thecreation ofaTelematic oftheItalian Chair LA tERzA missiONE. LA CA tERzAmissiONE.LA tt EDRA tELEmAtiCA

181 Special Events the only reference model in the economy or in other aspects of humanattractiveness interaction; “Winners” and seduction. and heroes The “free market”, and Darwinianmodels competition by the Mass as itsMedia corollary, and the Networks are noof longersocial sharing developedafter on thethe Internet2008 crisis, - are some losing of the myths that base the new post-ideologicalHowever, culture although - myths the exalted real power as is not that of the governments but of the Banks and Web Multinationals, destroyed. being are ecosystem the of balance the for resources at 7 Times the planet’s GDP ...), the power of the mafias and the illegalcollapsed economy and many increased; developing And strategiccountries are suddenly depleting (theproduction value of andfinancial its consolidated capital now dynamicsstands of interaction with workerswealth and society,was concentrated commodity in prices5% of thehave population of the planet , financialof workers capitalism and diminished has shaken rights off acquired its over time (even a significantSocial inequalitiespercentage ofhave slavery increased emerges), both in the planet and in individual countries: increased exploitation therefore, necessaryfor inperspective, thestrengthening andpreservation ofthePeace. knowledge essential to the strengthening of a conscious, responsibleliberties, and truly and participatory those of thought democracy: and dissent above all. A body of mediation,that, conservationin democracy, and productionassumes an of almost “constitutive role”: thethe function,University irreplaceable, must be considered the preservation - irst of all of by itself, even respectfulbefore politicians of both differences or peoples- asand an memory- institution the University and scientificFor thisresearch reason are -in strategic. designing Anda new so development model: global and interdependent, but sustainable and resources (albeit few) needed to draft impartial and objective studies.position; On the other, only universities, academics and universityjournalists researchers - are have in athe position freedom to andcommunicate unpopular truths withoutOne puttingmust not (too forget much) that, at risk on theits one hand, only the professors - unlike politicians, industrialists and or constantfundingresearch-for decadesflattened initsfunctions? role could the University take again - that “public” in particular,been parless excellence tied than private for centuries to particular to the interests conservation, transmissionAt thisand productiontime of planetary of knowledge? chaos, What what contribution could the University give, that is, the institution that has “free market economies”to“market economy managers”. leadership, The global economy and its most conscious elites are tryingAnd despiteto trigger the aaggressive virtuous transition policies offrom multinationals and many powerfulsensitivity states in with the theirconsideration “populist” of “diversity” is widespread: biological,“sustainability” cultural, and natural,balance between productive, natural gender. resources, storage andIt useis discussedof raw materials,again, and market.it did not social happen in the West since the 1980s, ecology, anthropology, reactions to globalization built on intolerance, racism and religiousthe fundamentalism.management of social relations and between communities are emerging,equipment despite but alsothe recentexperimentation spread of at all levels; Even concepts suchethics as “compassion”in the analysis and of “solidarity”social phenomena; in “Innovation” is no longerinnocent just and synonymous neutral. Littlewith technological by little, it begins to re-consider theare importance not only (even considered economic, entrepreneurs, long-term) ofstrongmen, speculators; The Network itself is no longer considered understood” by itscontemporaries butvery useful(evenunderstood” economically)tomorrow. Andnotonly that is,spendable “not onthemarket. couldonlybe theseemingly“useless”today Notonly because andinpractices directions thatin search are notimmediately considered -economically“useful”, topreserve, knowledge itisveryIn thisperspective, passon,commentonandproduce important and criticalone. and itisneithereasynorpainless-tolinktechnologicalscientificknowledge withthehumanistic with different engineers,humanists, philosophers.Onemustlearn- Architects, roles andfunctions. administratorscapable studentsandteachers,both andtechniciansscientists, ofengagingboth We needtolearnnotonlythinkbut“thinktogether”, inacommon“conversation” toparticipate leaders ofnotonlyspecializedexecutives. power, theuniversities must,again,learn,asintheAbbeys of1000years ago,theprideofforming However, thenecessaryattention tothespecialistsandbeyond besides thesmalllogicofinternal Through aconstantly evolving always project, attentive totheneedsofcontext, ourproperty has upgrading ofAreas destined for degradation. through therecovery andreconversion ofexisting buildings,ontheplanningofterritoryand ofthesocialfabricproposed anditscommitmenthasfocused, asaconstituentpart inwhichitispart The “knowledge factory” isadearmetaphorinRomeTre. Sinceitsfounding, theUniversity hasbeen Italy Mario Panizza tALk: LA andhappy todoit. equilibrium interdependence, capable ofinterpreting, designing,andgoverning thefuture. Withthenecessary therefore also,asintelligentandinnovative workers. Again,like atime,even intheageofglobal in theirgrowth process, tohelpthemrecognize themaspeople,aware andresponsible citizens;And students asfuture workers, rather thantryingtorecover that ofpeople’s education: tohelpstudents Because theUniversity should notflatten oftraining somuchinthefunction (public,inparticular) How toultimately make thecompany more resistant tosuchprofound changes. disciplinaryortrans-disciplinarynecessarily -instrictly andtrans-cultural terms. at(from thesametimeand chemistrytocomputerscience). -both Notjusttolearnthinkandact “biodiversity” by linkingthemwiththe“hardsciences”of technologicalandscientificknowledge critical,philosophical,andanthropological ofecology knowledge, to cultivate, artistic, inasort fA bbRiCA DELLA CONOsCENzA E DELLA sOstENibiLitàuRbANA CONOsCENzAEDELLA bbRiCA DELLA

183 Special Events But what ismeantby theterm“sustainable” ifthisisappliedtotheacademic environment? development. three interdependentdimensions:environmental socialimprovement, protection, andeconomic that isrecognized inaconceptofgreat relevance that issustainability. Thisinvolves at least the transfer ofknowledge andsocialcommitment.Hencealsotheadoptionofacultural paradigm The unifyingideaofthispath issurely theTerza Missione,whosereference relate activities to represent thetransition totheformation ofdenseareas ofcultural activities. is capable oftransforming Ametaphoruseful,therefore, structures; theterritorythrough modern to Here istheideaof“knowledge factory”: that, aproject inthefullrecovery ofhistoricalmemory, adaptation,despite functional have transformed themintonew plantsStillkeeping their“personality”. enrichedwithbuildingsoncedestinedforbeen otherpurposes:little“university” silhouettesthat, ours, imposes. languages andscientificfields,butalsotodevelop that sensitivity that Arapidly changingsociety like insubstantialtermstoeducateupon toact andaccustomtheirstudentsnotonlytoconfront different Already orientedtothenature oftheirmissiontoresponsibility, academicinstitutionsare called a lifestyle. a priority framed precisely because withinashared strategy, backed by voluntary behavior, chosenas (education, research,governance, etc.)concepts,andtodisseminate itsvalues,targetinggoalsBecome world. TheUniversity iscommittedtointegrating themintoallitsinstitutionalandnon-institutional Taking thetermresponsibility meansrecognizing explicit academicimplications intheacademic territorial, withwhomhehasrelationships. of auniversity, faculty To train studentsandtointeract withalltherealities, social,institutional, suitable torepresent theinitiatives that togetherwithteachingandresearchmeasure thequality “sustainable” and“sustainability” withtheterms“responsible” and“responsibility” asthey are more shadow commitment.For ofthesubjective theComponent thisreason, Iprefer toreplace theterms “durable” and“feasible”, attention whichproject totheeffect carriedoutbutleave oftheactions in From itssynonyms emerge, ontheonehand,conceptsof“acceptable” and“bearable”, ontheother, of thereconciliation from themostvariedopticsandperceptions. creation,collective for whichlook togenerate multi-format contentsthat speak Universidad JorgeTadeo Lozano (Bogota), launchestheNarratón, aproposal of Universidad Javeriana (Manizales)and (Bogota)Universidad deCaldas MediaLabs net,created inNovember, 2016,from EAFIT (Medellin),Pontificia Colombia MediaLabs LA tALk: NARRAtóN: ¿CONtAmOs histORiAsALREDEDORDE contents amongotherformats. to relate itfrom sound,written,audiovisual, photographic andinteractive narrative andfrom thetechnicalandNarratón themeetingpoint will be callsfor postconflict newThe Colombian ways from the toldboth ofbeing RECONCiLiACióN?

185 Special Events visual magic. The naurikirma,MarioGuerrero Guerrero -Quimbaya -MarioGuerrero illustrator Cañas, ofthebook The Quimbaya right. Housing settlement. The Quimbaya diet,millennialformulas. The orphicinterpretationmodels -methodological The five tutelaryhills. The Taixaraka, orientation introspection, andbalance. lunar cycle -thefour sacred nights. Matriarcal: Culto Part II-AnielkaMa.Gelemur Reafirmación: delCabildo:Organización introspection. delaAntigüedad ydelPresente: Dioses supports. Los Números: Linguística: Territorialidad: andOrígenes Etnohistoria Part I-GuillermoRendón G. Colombia RendónandAnielkaMaríaGelemur Guillermo bOOk LuNCh:ELmistERiODELkiRmA,QuimbAyAs hOy General principles-PhoneticsLexicalGeneral -Grammatical Functions. Quimbaya, society, anactive alivingculture anditscurrent strengthening. Cardinal -ordinaloperational andarchaeolinguistic Cardinal -archaeological structure TheVirrey -Areliable document. Sinifaná, the moon goddess - lunar calendar - Symbols of the periods that form oftheperiods the -lunarcalendarSymbols Sinifaná, goddess themoon dignitaries-councils,meetings From totem to the only God -Tinarkama, From practice ofcollective totem totheonlyGod and AndrésBurbano. Participants: Publishing House: Translator: Academic Editors: Colombia Friedrich Kittler tECNOLOgíA bOOk LuNCh:NOhAy sOftwARE yOtROsENsAyOs sObREfiLOsOfíADE generate thestructure. to attached that totheothermodules togenerate willthenbe assembly rules module aconstruction joinedtogetherwithanadhesive following31cmx31cmx31cm. Theseunitswill be asystem ofsimple box unitiscorrugated cardboard of Theproposedof sixty construction (60)cubicconstructions. x 6mgenerated whichinturnare from composed theunionofsix(6)three-dimensional modules each. Theexercise consistsinthedesignofavolumetric system that occupiesaspaceof6mx workcollective dividedintofive isproposed groups with30peoplewhowillbe ofsixmembers system ofform generation andtransformation, basedonbiologicalandgeometricprinciples.A onalargescale,basedananalogous andcollaborative structure Design ofamodular construction Colombia ner ontcolrn wORkshOp: biOgéNEsis–LAbORAtORiO COLECtivO and current affairs. in theirhistoricaldimension,revealing paths andhorizonsfor researchthat surpriseusby Itsvalidity thinker, aswell asthediversity oftopicsandways ofaddressing thetechnologicalissuesofpresent oftexts aselection thatThe reader willfindinthisbook show development theintellectual ofa sciences. is probably Kittler’sfirsttranslation intoSpanish,fillingasignificantgapinourhumanities andmedia author, ofSpanishspeakers. whohasgoneunnoticedintheacademic circles Thisvolume offers what oftheMediaand DigitalHumanitieshaveArcheology expressed adebtwiththethoughtofthis influential thinkers ofthephilosophy oftechnologyandliterarythoughtsuchas criticism.Schools Friedrich Kittleris,intheopinionofmany scholars,thefounder ofmediastudiesandonethemost Mauricio González R. MauricioGonzález Felipe César Londoño, LilianaVillescas,JensHauser Alejandro DuqueandAndrésBurbano. Universidad deCaldas. LA

187 Special Events - Talk: deFrancisco Martha - AnillaCultural - Taller deOpera, Universidad deCaldas OthER EvENts: practice, across betweenscienceandart. Hicham Berrada willholdaworkshop basedontheirartistic for artists involved pigmentsandbinders. withsupports, practice, inthesamewaynaturally tohisartistic that bound apainteris The scientificknowledge that Berrada appliesinhisvisualexperiments is center ofthework, devoid ofhypotheses toverify orsubstancestounveil. and technologytoavisualsphere, where experimentation the becomes Berrada hastransferred shiftingitfrom science itsuse tothefieldofart, of lesserpurity, pure andspecialusedfor analysis techniques.Hicham according totheirpurity orspecificuse:reagents for analysis that are orseparateare oftenusedtodetect specificelements.They are classified Reagents are thebasisfor many related activities toappliedsciencesand and properties. interacts withanother. withdifferent Theresult isaproduct characteristics A reagent themomentit isasubstancethatchemicalreaction produces France Hicham Berrada wORkshOp: pA isAjEs REACtivOs

XIV ACADEMIC FORUM LATIN AMERICAN ART AND DESIGN Un acercamientoatravés dela Yto: delpigmentoalelectrón. PAPERS Colombia Universidad deCaldas César AugustoAriasPeñaranda de práctica caracterización decomUnidades periodismo dedatos. Chile CHILE TRANSLAB Valeria Radrigán obra Ko/aqUaesfera río pamplonita a partir delpaisaje sonorodel resignificación delterritorio cUando elríosUena. Argentina y Urbanismo(FADU) UBA Facultad deArquitectura,Diseño Groisman Martin withoUt plot data fiction.storYtelling Colombia Universidad dePamplona Cielo Vargas Gómez

193 Academic Forum Colombia ner ontcolrn Ever PatiñoMazo prodUcto morfológica eneldiseñode para exploración la analógicos YcompUtacionales sistemas generativos Ecuador Agropecuaria deManabí Escuela SuperiorPolitécnica Noguera and JuanJoséMartí FélixMendoza Ángel Guillermo sostenible enmanabí,ecUador para eldesarrollodetUrismo destino comofactor clave imagende gestión dela Colombia ontc ner ern and RaúlNiñoBernal Iliana Hernández-García artificiales biocreación, paz Yecologías creencias delosprofesores Colombia Universidad deCaldas Sean IgorAcosta conectividad estéticadela el diseñodela investigación-creaciónen la Colombia ner orgeTeo ono Felipe BeltránVega creador deimagen como recUrsoestéticodel percepciónvisUalhUmana la visión estética:exploraciónde Colombia Universidad deLaSalle Manuel H.Parga estrategia para sUevalUación el conocerendiseño:Una sobre elconocimientoY apoYo enconcordanciacon deprodUctos clasificación Colombia Universidad deCaldas Pedro AntonioRojasValencia estética ambiental encolombia Colombia ner ontcolrn María GinetteMúneraBarrios territorio el habitar, cU la técnica, diseño Yestéticasdela asir loinefable. prácticasdel Colombia Corporación Universitaria UNITEC Carlos Soto del desastre poética el pretextodeltexto:la Colombia ner ontcolrn and FaustoA.ZuletaMontoya Cadavid Gustavo A.Sevilla fUncionalidades diversas cognitivas deUsUarioscon característicasfísicas/ las el contextodeactividadY lt Ura Yel throUgh therelation of processes forcomposition algorithmic sYstemsandtheir Colombia – UNAB Universidad AutónomadeBucaramanga Universidad deSantander–UDES, Frank AlexanderRodríguez BeltránArismendiand Carlos Alberto del patrimonio consUmidores aprosUmidores “proYecto ciUdad”,de España Universidad deBarcelona Ricardo IglesiasGarcía para Unasociedadencrisis Utopías estéticas:fUtUribles Mexico Andamio and RolandoRodríguez Jessica A.Rodríguez stUdY: altamisa mediUm-bodY-image. caseof

195 Academic Forum Colombia Universidad deNariño Francisco RafaelAyala Gallardo realidad aUmentada ovirtUal a través deaplicacionesen edUcativa enentornosdigitales sU implementación lúdicaY departamento denariño,para regiónsUroccidentalla del chazade aUtóctono dela caracterización deljUego Rosa Torguet andMarielZasso Luis Astorquiza,MarcoKonopacki, translUcidez social ciUdadana bajoUnenfoqUede caixa mágica,arteparticipación Colombia Universidad MilitarNuevaGranada and CarlosAugustoBahamón Carlos AranzazuLópez gUion cUratorial mUseográficas conbaseenel el diseñodenarraciones Argentina Universidad NacionaldeLanús Alejandro Brianza el arteajeno problemática dereinterpretar el procesoderestaUración Yla Hernán Darío Castaño Castrillón Hernán DaríoCastañoCastrillón del trabajointerdisciplinario solidario comoejefUndamental eldiseño venga colabore: Colombia Universidad deCaldas Sebastián Rivera Ruiz polifónico desonidos ciUdadcomosistema la Colombia Instituto Tecnológico Metropolitano and EricaFlórez Esteban BetancurGutiérrez en tiemporeal desarrollo depiezasvisUales del software cinevivopara el de diseñoeimplementación cUstomized cinema,proceso Colombia Universidad deCaldas Zúñiga Sofía AlejandraHurtado transformador delmiedo el arteUnlengUaje Colombia Instituto Tecnológico Metropolitano el diseñadorcomoetnógrafo Colombia y Universidad SantoTomás Universidad deCaldas ner orgeTeo ono Diego AníbalRestrepoQuevedo asistido porcompUtador (acac) de aprendizajecolaborativo en comUnidades(virtUales) evalUación creatividad dela Colombia Karen MelisaRincónAlfonso bogotá” 2010-2017 organizaciones “hombrestrans ciUdaddebogotá, gráficos dela representabilidad demateriales el géneroendiseño. Colombia Universidad deNariño Omar FrancoCañón prodUcto. categoría: jUgUete determinante eneldiseñode ideacióncomofasela Brazil Universidad FederaldeGoiás Juan SebastiánOspinaÁlvarez

Brazil UFCE ilena Szafr design’ing #17- -stream’engrams @aUdio-visUal projet’ares aUdiovisUais#17 stream’engramas @ Colombia Catalina ArchilaandIsabelCruz de gifsanimados cUentos insólitos.laboratorio Colombia Universidad deCaldas Ayda NidiaOcampoSerna el arteYdiseño composiciones efímeras.desde Colombia Universidad SantiagodeCali Sandro JavierBuitragoParias docUmentales del“caliwood” norteamericano, enlos cinema veritéYelcinedirecto elementos deestilodel

197 Academic Forum el objeto) digitales (desdeelcUerpohacia de instrUmentosmUsicales cUerpo Ygestoen Colombia Luz AmparoArroyave Montoya manifestaciones artísticas colombia vista desdelas gUerraen vestigios dela Colombia Juliana GrisalesNaranjo bioinformática aplicado aconceptosbásicosde timodal para ciencia,caso la experiencia deaprendizajemUl- Y aprendizaje.diseñodeUna interaccióon, mUltimodalidad Colombia Universidad Agustiniana Andrea CarolinaRedondoMéndez praxis arte latinoamericano: visiónY Colombia Instituto Tecnológico Metropolitano Luis HernandoRodríguezCastaño la creacíon Colombia DICOVI Group Nolineal Ltda/Universidad deCaldas– Ricardo Rivera Berrío latinoamérica experiencias cinemáticasen op-era: Unhitopara las Colombia Universidad deNariño Maria CristinaAscuntarRivera digitales representaciones analógicasY de valor entrelas indUstrial: aproximaciones el bocetoendiseño Colombia Alfredo Gutierrez Borrero en cUrsodeserotros diseños otrosYpara UnmUndo Colombia Universidad deCaldas Enrique MedinaQ. edUcativa enaméricalatina brecha disminUcióndela la Y cienciascognitivas, para virtUal, inteligenciaartificial, aprendizaje basadosenrealidad diseño demodelos perspectivas críticassobreel Colombia Universidad deCaldas FernandoCoralBustos William pasto 2016desanjUan blancos carnaval andinodenegrosY fiesta YtradicióncU paisajes sonoros:jUego, Colombia Félix AugustoCardonaOlaya para innovación la social Una oportUnidaddeldiseño memoriaenlosartefactosla Colombia Universidad NacionaldeColombia Wilman StickPrietoBohórquez Un correctorcondiseño? ¿Un diagramadorconestiloo Colombia Universidad deCaldas and AdrianaGómezAlzate Felipe CésarLondoñoLópez paz intercU Yla tecnologíasparaUso delas la lt Uralidad lt Ural del Jesús AlejandroGuzmán animación concolombia intelectUal deldiseñode prodUcción rastreo dela Colombia ner ontcolrn Valentina MejíaAmézquita experiencia vivida investigación endiseño.Una lógicas diversasatravés de Colombia Fundación Universitaria del Área Andina Isabel IsazaEcheverry andMaria Juanita BlandonOlarte florida,risaralda media delriootún-veredala adUlto maYor cUenca dela de memoriahistóricaenel proYecto depreservación Colombia Universidad deCaldas and G.MauricioMejía Giraldo Carmenza Gallego diseñístico organizacional comoproceso transformación la Colombia la

199 Academic Forum la estrategiala delmovimiento Colombia Universidad deCaldas and G.MauricioMejía Juan P. Velásquez comportamiento para elcambiode principios Ymétodosdeldiseño de cU estrategias delas articUlación Colombia Niño Carlos EduardoMartínez cardiológica enseñanza biomética visiónartificialparala la Colombia Fernando A.ÁlvarezR. diseño intercU postconflicto: tecnologíaY Colombia Carlos SmithRovira lt Ura ciUdadanacon lt Ural enciernes William OspinaToroWilliam diseño criterios para Unateoríade Colombia Correa Jose DavidCuartas tecnologíasabiertaslibre Ylas hacKers: los padresdel software Mateo Barney del vitralalosbitsobYtes Nelson JavierEspejoMojica digitales hidridacióndeherramientasla proceso dediseñoatravés de pensamiento deldiseñadorYel potenciación delosmodos Colombia Universidad deCaldas

de biónicaYdiseñodelitm de investigaciónenelsemillero experiencia sobrelosprocesos de la POSTERS Hellen ZamudioCeballos Hellen creatividadde la simbólica diversidad biocU apropiación socialdela Colombia Universidad NacionaldeColombia Instituto Tecnológico Metropolitano, ValenciaAdriana Pertuz Gloria InésOcampoRamírezand del textoalespañol) presentación tradUcción dela gérard fromanger(análisisY michel foUcaUlt sobre pintUrafotogénica: la Colombia Instituto Tecnológico Metropolitano andHéctorAlejandroZuluagaCometa Fernanda HernándezGallego Erika SolangeImbettVargas, Luisa biónicaen la paz colombiana.Una la constrUcción lt Ural através Escuela deDiseño,Fotografíay Ruiz María XimenaBetancourt imagen identitaria através dela recUperación Yvisibilización tradUcción intersemiótica, Colombia Universidad SantoTomás and GabrielaWiesner Montaño Evelyn NataliaCamargoMárquez temprano Ytardío cU figUraszoomorfaslas dela desarrollo iconográficode Colombia Universidad MilitarNuevaGranada Vásquez Aponte Erika EstefaníaSilvaDelgado andDiego ivKa Colombia ogot orgeTeo ono Relcn Aol ner e lt Ura mUiscaenelperiodo

201 Academic Forum diseño gráfico Y la artesanía diseño gráficoYla identidad tolimensemedianteel para recUperaciónde la desarrollo demarcaregional Colombia Universidad AutónomadelCaribe César AndrésBohórquezCruzco barranqUilla simbólica enelcarnaval de máscara.identidad el ritoYla Antonio StalinGarcíaRíos arte Ydiseño doctorados colombianos de investigación-creación en Colombia Regional Tolima Educación SuperiorCUN, ororcn ncNconle Ana MaríaHernández revista expresionescUn Colombia Universidad deIbagué Andrea CarolinaCuencaBotero formador dediseñadores investigación docentedel Un rolmUltifacético enla Colombia Educación Superior(CUN) ororcn ncNconle Aura V. MúneraMonsalve Colombia Universidad deCaldas Universidad NacionaldeColombia/ Paula EscandónandG.MauricioMejía cambio decomportamientos a estrategias dediseñopara el evalUación heUrísticaaplicada Colombia and JorgeHernánMayaCastaño Viviana MolinaOsorio manizales más cUarto ordencasodeestUdio como artefacto dediseño ecosistemas deemprendimiento Colombia Corporación Universitaria Unitec Ángela CamargoAmado edUcación inicial contra elbUllYing en álbUm-libro: medidapreventiva Camilo Hermita séptima con la YUxtaposiciónla tercera dela la

of ISEA Chairman oftheBoard Ernest Edmonds Forum PresenTaTion: iseaeducaTion Canada the BoardofDirectorsLeonardo/ISAST Design University, Toronto. Member of and ofArt Professor OntarioCollege Nina Czegledy abya yala” knoWledGe TransFerinaya yala inTroducTion: “TheValue oF Colombia /Hungary Director ofInternationalImageFestival Rector ofUniversidad deCaldas- Felipe CésarLondoño Welcome UK -Australia International inTerculTural uniVersiTy Colombia Films. Production:Gustavo delaHoz DirectorGueêAncestra Documentary Paola LampreaCardona Woman Gueê, aTribuTeToTheTikuna Canada (McGillUniversity) (Simon FraserUniversity), Ph.D. MA BA, BSc(University ofCalgary), Eldon Yellowhorn oF lanGuaGes bloGsandThecharm blackFooT Colombia Professor Universidad deCaldas Indigenous ChairdeManizales - Universidad deCaldas/Intercultural / InterculturalIndigenousChair - Universidad NacionaldeColombia Gómez Alzate Javier LozanoEscobarandAdriana cauca, amazonía) communiTies (PuTumayo, nariño, rePresenTinG 6indiGenous maloca ProjecT. sTudenTs

205 Education Forum de Manizales-ProfessorUniversidad de Student ofLegalSciencesUniversidad and OscarSalazarGómez Luis NuivitaMamatacán ninudlamama book PresenTaTion: jakká- Colombia ethnic group Indigenous leaderoftheEmberaChamí Peace oftheGobernacióndeCaldas Oce onRghtct n moderator: educaTion ForPeace Colombia and PeaceoftheGobernacióndeCaldas Oce onRghtct Hernando Hernández educaTion ForPeace Colombia Caldas GabrielVanegas

Canada New Zealand Maori fromNewZealand Jo Tito insPire-raise Mexico Cuauhtotoatla, Tlaxcala,Mexico a360Grados-Nahuasof Arte José LuisRomeroandEmanuelTepal PracTice ProducTion andarTisTic TechnoloGy. reFlecTionson communiTy, arT,scienceand Colombia Minkalab Colombia moderator Plenary : GabrielVanegas

Muestra Monográﬁca de Media Art XVI Festival Internacional de la Imagen

Colombia-FranCe Year 2017

The decision to organize the Colombia-France Year 2017 was taken on January 25, 2015, during the ofﬁcial visit to France of President Juan Manuel Santos, by the presidents of both countries with the aim of strengthening bilateral relations and updating the perception of France in Colombia and of Colombia in France. French Government has organized the ambitious program of Cultural Years and Seasons for 30 years with different nations of the world, in the frame of its cultural diplomacy in order to promote cooperation not only at the level of governments but also citizens. This is the second time in Latin America, after Brazil in 2009. The programming of the Colombia-France Year 2017, includes all sectors (cultural,educational, economic, gastronomic, tourism and sports) and the main cities of France and Colombia. The priority of the Year is to show another side of each country, less known, more surprising for the general public. During the ﬁrst half of 2017 a contemporary and innovative France is introduce in Colombia, and from July to December a creative and diverse Colombia will be present in France. Colombia-France Year 2017 is organized in France by the Institut Français, the cultural agency of the Ministry of Foreign Affairs, and in Colombia by an inter-sectoral committee composed by Ministers of Culture, Foreign Affairs, Education and Trade, Industry and Tourism.

Anne Louyot French General Commissioner

Fabián Sanabria Colombian General Commissioner

FranCe guest CountrY 16th international image Festival - isea2017 manizales

For more than 30 years, France has been holding the Cross Year, a bilateral cooperation program considered as a project of excellence around the world, allowing cultural and academic exchanges through different events.

This year, Colombia is part of this program, which is for the ﬁrst time in a Spanish-speaking country and will be developed in two stages: one season France in Colombia until July, followed by a season Colombia in France until December.

In the frame of the Colombia-France Year, an initiative led by the French Institute, the Embassy of France and the Ministry of Culture of Colombia, the 16th International Image Festival - ISEA2017 presents France Digital, a panorama that brings together in Manizales the avant-garde of French digital creation as an opportunity to project its leadership in contemporary creation and innovation through art and digital technology, and to accompany Colombia on the road to peace.

There will also be the presence of participants and French guests, who come to the country as part of the calls and activities proposed by ISEA International and the Universidad de Caldas for the realization of this joint event. mediaartdesign.net France Dominique Moulon Digital CoeffiCient(CoefiCienteDeDigital) KEYNOTES to become theessentialmediumofcontemporaryto become art. manufacturing treatment. Inorder, beyond thetendencies, suchasmechanizationmeans. Imagesorsoundstoobjects, / digital would have contaminated theintegrality oftheartistic of thesixties,itwould have taken fifty years before finally, the with thetechnologiesthat we cantoday, dating from theend thepremises ofastrange/rareConsidering relationship ofart our relations withtheworld ofmachines. ‘open sources’, theminordertoinvite todivert ustoreconsider morality are empowered. from There thecultures are alsoartists contextualizing theminto‘whitecubes’. ofourco- Theobjects very materials oftheircreations for inbecoming thepurposeof Without omittingthosewho,from theInternet,extract the initial researchthrough enginestodeterminingalgorithms. whocarryouttheir withthe artists totally numericworld? Start Andhow otherwise,inthis unique contemporary coulditbe art. expressed indifferent ways accordingtotheplural practices ofa Duchamp,adigitalcoefficientMarcel ineachwork. Whenthisis There wouldtoday, be Hillaire summoning accordingtoNorbert Photo by: Stéphane Bissière

215 Keynotes faithful tocinema. constellations till its end inawork been whichhasnevertheless works (installations andCD-Rom),inventing new spacesandnew Hollow Men(2005),have developed assocalled multimedia to theseriesofworks which,sinceZappingZone (1990)toThe MarkerChris didnotexcel. mainlydevoted willbe Thislecture musicianeven, theremutimedia artist, are few fieldsinwhich Novelist, essayist, critic,publisher, filmmaker, vidéomaker, drawer, France Raymond Bellour Chris Marker,alltheMeDia/artstogether misouard.free.fr France Mathias Isouard # Hasard Pendulaire EXHIBITIONS 2016 sonore et sculpturale ©MathiasIsouardInstallation Stevens, Paris Mallet Villa Hasard pendulaire #6,exposition INFRAMINCE, durations, that willplay oftheexpectations oftheviewer. results inauniquevisualandsound composition,withindefinite between matter andsound.Onanarbitrary andanecdotalaction They alsointerrogate thelinksbetween spatial and musical; elasticity ofthespacetimethrough agenerative writing. sounds withswingsoftheclock,theseinstallations questionthe secondsoundcontent.Tuninganddetuning space, anartificial bydirectly acomputerwhichgenerates, inthesamelistening In addition,thesepercussive soundsare captured andprocessed rhythmics ofacousticsoundcorresponding tousedmaterials. strikes, throughout itsrace, the sculpture specific thus producing simple unconsciousgesture. Indeed,whenthrown, thependulum launcher, theinterpreter whodefinethecourseofthingswitha Performative, theseinstallations/ are instruments activated by a spatial partition. space. They are composedofapendulumthat oscillates above a sculptural installations, madeinharmony withtheexhibition Hasard pendulaire #(pendulumrandom) isaseriesofsoundand

217 Exhibitions and metaphysical, “Timée” thephilosopherdescribes asthe Timée, review ofPlaton’s eponym work. Between mathematical centerinAstrophysicsResearch ofLyon of intheproduction collaboratedGuillaume MarminandPhilippeGordiani withthe ofStPriest, Invited in2014theMeetingsArts-sciences www.guillaumemarmin.com France MarminandPhilippeGiordani Guillaume Timée Photo by: Jean-Baptiste Luneau astrophysics. delivers andpoeticinterpretation asubjective oftheorigins exchanges around andreﬂections thistheme,theinstallation MusicofSpheres. Basedon such acompletedbaptizedpartition harmonious musicalintervals.Theuniverse wouldordered be solar system where thedistancesbetweenplanetsamountto

into anightmare. placing theweb surfer ofahazingweekend at theheart that turns WEI ORDIEisanew immersive andinteractive, kindoffiction, Everything shouldhave was remained found. secret. Butabody They hadtwo days togetintegrated. Two days outofsight. France Résistance Films Sara Brucker Wei ordie Californium! you thepretenses? findoutwhat Explore liesbehind theworlds of contradictory multiplerealities. Guidedby amysterious will being, K. Dick.You play asElvinGreen, awritertrapped inpowerful, by thelife andwork writerPhilip ofAmericanscience-fiction andexploration search Californium isasubjective gameinspired France Marc Lustigman Californium another. footage they want towatch andtoswitchfrom onecamera to timeline. Asthestoryunfolds, usersare which free to choose during theweekend isre-synchronized andarranged ona Seazed by thepolice,every live imagerecorded by thestudents (media arT-arTisTTalk) (media arT-arTisTTalk)

219 Exhibitions sound creation. in horizontalscrolling isenrichedby parallax effects andaheady Made witheffectssmartphones. ofscalesandtransitions, thisapp Phallaina isthevery firstscrolling graphic novel for tablets and At thecrossroads betweengraphic novel andanimation films, France Bang Small Pierre Cattan PHallaina available oniOSandAndroid for anhourandahalfofreading. cognitive sciencesandmythology, thisfree French-English appis adventure alongthepath ofapersonaltransformation, combining her fieldofvisionisinvaded by ashoalofcetaceans.Intimate to understandtheoriginsherhallucinatory crises,duringwhich In aworld similartoours,Audrey enrolls inclinicaltrials. Shetries (media arT-arTisTTalk) France Upian Margaux Missika GeneraTion WHaT? in SouthAmerica? UNESCO andABU, soon withtheCBC...andmaybe andinCanada developed incountriesacross Asia-Pacific, of withthesupport the helpofEuropean Union,EBU, ASBUandCOPEAM.Itisbeing in8Arabic isnowThe project inproduction countriesin2017 with youth worldwide tocompare themselves. goesworldwide,2016, theproject for givingauniqueopportunity countries allover Europe, andin9French overseas territoriesin After launchingGeneration What? with18broadcasters in13 of young peopleandgive aninsightintotheirviews andconcerns. sociological studiesaround itaim at improving publicperceptions organisation. Theonlineresults ofthequestionnaire andthe engage withyoung peopleandtocollaborate withcivilsociety This campaigncreates amoment:Auniqueoccasionto and aspirations. which offers young peoplethechancetodevelop theirconcerns views andopinions.Thewebsite isenrichedby videocontent tosharepeople agedbetween18and34theopportunity their society builtaround anonlinequestionnaire that gives young isthoughtasasixmonths’campaign inmediaandcivil project andmindsofthe worldwidewindow youth. ontothehearts The together worldwide broadcasters. Generation What? opensa Generation What? isthefirstever trans-media bringing project (media arT-arTisTTalk)

221 Exhibitions La GénéraledeProduction Jérémy Poulloux delegates andofﬁcials confer, make promises andsecretly will hostthenext SummerOlympics.Inthehotel’splushcorridors, andpoliticsareworlds meetingthere todecidewhichcity ofsport Republic, arrives Personalities at theHôtelCarlton. from the 2017.HenriLaborde, President oftheFrenchIt isSeptember France TanTale the future ofFrance isinyour hands. deal withattempts at andmachinations corruption ofevery kind: sure that thenext OlympicGamesare awarded toParis. You must hero’, you willhave tonegotiate expertly tomake President oftheFrench Republic.Inthis‘story where you are the For once in theworld ofpolitics, itisyou whodecides! You are the history? what ifthisﬁrst,apparently trivialdecisioncouldliterally change or not?Thechoiceisyours: You are France’s headofstate! And telephone vibrates. Hisdaughteriscalling.Soshouldheanswer will make adifference? Thecountdown Thenhis hasbegun... What argumentscanheusetoconvince thepeoplewhoseopinion the spaciouslift.Whoshouldhesee? to theGames.Surrounded by hisadvisors, HenriLaborde enters onotherissuesthatbut itwillalsoimpact are seeminglyunrelated of Paris andMumbai,theonlytwo contendersleftintherunning, speculate. ThechoiceofOlympiccity willgreatly affect thefutures (media arT-arTisT Talk)

the ground, on the walls, on the surface of theornaments. domes, aEverything mute art unfolds, is of a vibrantwhispering fixity: of words, Tothe tiesSamarcade, an abstractcompose the and artvision decompose is clouded fleeting and motifs. deepenedRosenberg Everywhere, by the contact on ofDavid architecture by and its innumerableText pascalhaudressy.fr France Pascal Haudressy orGans investigations of theOuLiPo, prototypes that generates ofanart evolutionary structures. the software “Life Forms”, from which Merceapproximations Cunningham usedwith tothe elaborate others. It his is choreographiesalso possibleor Giacometti’s toor cite,the “additive”by virtue of moremethod distant that takes artisticThis the workaffiliations, figure may not evoke through the a dynamicdefinite andline, fractal but a focusseries ofof Julieentangled Mehretu’s drawing, the graphs butsomeevolvingstructure, forms. of Jorinde Voigt, of each point or pixel. Taken in an iterativeAlterations, process without transformations, end; The drawing deformations: produces“glitches” noThe more computer a (electronicfixed is obliged bug) to andconstantly some “bugs” recalculate thatTo willproduce the in coordinates turnthis inducenew pictorial uncontrolled matter, modifications at once ofchaotic the image. and orderly, Haudressy “spoils”similar tothewaves. Avibrantcomputers. silhouetteasinweightlessness. He introduces deformation, information: Flow of images andinspiration/expiration incessant calculations that of underliethe lungs, them. neuronal ASatori cyclical activity) visual: movement andthe drawing,gaze is rocked constantly by abeing double reconfigured. movement; Formation,That of the organ itself (diastole/systolematter ofprocesses cycles andrhythms, thanofanatomical accuracy. of the heart, rendering, they evoke medical tomography,background. but the comparison The works stops can here.also be With combined these in“drawings,” organthe form -heart, of diptychsbrain it isand moreor lung- triptychs. a is represented From the infirst pointisolation series of ofby works a specific presented color here.-red, Simplyblue or titled Agreen- hypnotic Organs, on aor black thismeditative is a set geometry: of “video-loop” this is how (loop) Pascal where Haudressy each characterizes what is thedissolve. source of the longer the starting point from which the “images”of anare abstract ordered, universe, but the cruciblemathematical where andthey spiritual imbricatedare formed based motifsand on rhythm aspire and the repetition; look, capture Where it Mosaicsandthe animateeye prefigure is itno of our a kaleidoscopepixelated images. movement. The fabricsWe are atand thetheir heart reflection of “moiré” effect,generating penetrating visions. the carpets and their

223 Soundscapes www.alexaugier.com France Alex Augier _nybble_ SOUNDSCAPES (Alfortville, FR). (Alfortville, Augier Studio(Paris, by Lamuseencircuit FR)andsupported by (Paris, Arcadi is coproduced FR),Stereolux (Nantes,FR),Alex quadriscopic imagefor atotalsynaestheticexperience. _nybble_ points ofsounddiffusion. Itoffers tothepublicaquadriphonic and composedwith4transparentvia aspecificstructure screens and4 The stagedesignallows theaudiovisual mediumtodeploy inspace fluctuation desired by theproject. oftheproposal andbringsthemusical musician intheheart geometric movements. synthesizerreplaces the Themodular system, natural both movements andmore orlesscomplex by agenerative visualwhere various forces impose,toaparticle Two polesofasamecontinuum.Theformal fluctuation ismade aesthetics fluctuates between“digital minimalismandorganicity”. _nybble_ isanaudiovisual, formal andspatial performance which Photo by: Quentin Chevrier and distorted drones, polyphonicnoisesandharshindustrial and distorted Vigroux’sis analoganddigitalinstruments, musicmadeofpure crossroads noise,andindustrialmusic.With ofelectroacoustics, ofworkVigroux’s multifaceted sitsat andchallengingbody the explorer Franck Vigroux. Croix isanew audioandvisualperformance by French sound www.franckvigroux.com France Franck Vigroux Croix which itrevolves. thefixeddynamics ofthemusicallwhilebeing pointaround the performance. Itprovides aquasi-literal visualization ofthe The generative system tothelive musicduring isconnected audio. Insilence,they reform thecross. which explode inspaceaccordingtothelevels ofenergythe The figure itselfisconstitutedofthousandsindividualpixels, Kasimir Malevitch’s consciousness. oftheartistic cross, symbol Schmitt. ThevisualsofCroix are centered around thefigure ofthe Croix’s generative created Antoine videohasbeen by artist rhythms. Photo by: Jérome Bouchet

225 Scheduled Interventions Happening “presage” SCHEDULED INTERVENTIONS Photo was taken from: www.hichamberrada.com/pagepresage2013.html I useheat, cold,magnetismandlight.” andcolors painter dominates Asbrushes theircolorsandbrushes. “I trytomasterthephenomenathat Iuseinmy works, justasa closely, different natural processes and/orclimatic conditions. In hiswork heexplores scientific protocols that imitate, very intuitionandknowledge,science, unitesboth scienceandpoetry. and The work from ofBerrada, hisstudiesinart whostarts www.hichamberrada.com France Hicham Berrada France andAntoineGonot Diego Ortiz VanisHing Walks the boundary betweentheviewerthe boundary andtheactor, betweentheaudienceandstage. andnew technologies,inparticular,arts theinclusionofmobiletechnologies onstage.Italsobreaks It isaform andimmersive ofparticipatory theater that aimstobreak thebarrierbetweenperforming Vanishing Walks proposes ofourrelation areflection without actors. through tovirtuality aspectacle repeat thelinesof commandconstantly, for theirfunction. inthishasbecome “consciences” donottrytorecover theirhuman conditionorescapefrom theirnew life, they simply Deprived ofhumanity, turnedintocomputerlanguagebutincapable ofdeveloping theirintelligence, intoexecutablesConverted through acomputerprogram, the“consciences” scriptlines. became without autonomy. But thisnew life, far singular, from being reduces themirremediably toaform ofcomputerlife lifecomputer machine,seducedby intelligence. thepromise intheform of animmortal ofanartificial their willtotransgress theirhuman condition,they found away todischargetheirconsciousnessina created inSecondLife before alternating Following theirencounters betweenthereal andthevirtual. favor existence. ofapurely virtual totheFurry Thecharacters belong community andtheirgroup was Vanishing Walks theevents describes that wrapping ledagroup ofpeopletorevel in intheirbodily events wrapping that infavor ledagroup ofpeopletoshedtheirbody existence. ofapurely virtual the appearance ofanew onthescene.Vanishing one-thespectators- actors Walks the describes stories are toldsimultaneously:thestoryofacommunity that isdisintegrating -withinthestory-and givingthemanadditionaldramaticthe writingofmusicorvideoprojections, “responsibility”. Two elements: from tolighting,music.Eachviewer videoprojections intervention issynchronized with As muchasthescenographic reading, factory thatthetablets supports toallthescenic are connected play, andatext “dialogued” read aloud. intendedtobe their tablet. Thishastheform ofaclassictheater text, for withthe stage direction, theindications of oftheshow.and restrictions Viewers follow ofatext theinstructions that appearsonthescreen of the theatrical performance. anexpression Thedevice isboth that determinestherules spaceandatool help oftablets. Taken together, viewers toadevice are inseparable that connected isgoingtobe from Vanishing Walks isashow Itis“acted” withoutactors. initstotality by thepubliconstagewith

227 Installations and Exhibitions Point Two that is part of the artistic activities oftheevent.Point activities Two oftheartistic that ispart 16th International ImageFestival -ISEA2017.Inadditiontothat, itbringsanexhibition calledZero For thisyear, theduoNONOTAK presents theinaugural performance calledLate Speculation ofthe Vorst, LaFabrique, Pavillon deBaudouin,Le Carré Générateur. Tokyo Grant Hyatt Hotel,l’Opéra deLyon, Batiment d’Art Theater ContemporaindeGenève, deNWE Nokia by Lumia(ISTANBUL). Theirworkexhibited hasbeen at institutionsandgalleriesincluding Festival (LITHUANIA), FUZFestival (PARIS), Lunchmeat Festival (PRAHA),KIKKFestival (BELGIUM), Stereolux (NANTES),Playgrounds Festival (TILBURG), Mirage Festival (LYON), Vision’R, Insanitus (MONTREAL), laNuitBlanche(PARIS), night(TOKYO), RoppongiArt Axcess Gallery(NEWYORK), Art NONOTAK have commissionedby theMappingFestival been (GENEVA), EM15ELEKTRA/MUTEK with aperformance, LATE SPECULATION, where they are thecreators andcontentsoftheproject. audiovisual installation at theMappingFestival inMay 2013.Insummer2013,NONOTAK comeup of space&sound,andNoemiSchipfer’s experience inkineticvisual.They presented theirﬁrst dreamlike environment meanttoenvelope theviewer, capitalizingonTakami Nakamoto’s approach In early2013,theytowork onlightandsoundinstallations, start creating anethereal, immersive and the lobby ofapublichousingbuildinginParis, NONOTAK was created inlate 2011. musician Takami tocreate Bigoni-Mortemard a mural by Nakamoto. in theArchitect Commissioned NONOTAK Studioisthecollaboration betweentheillustrator NoemiSchipfer andthearchitect www.nonotak.com France NOemi SchipferANdTAKAmi NAKAmOTO NONOTAK STudiO EXHIBITIONS INSTALLATIONS AND Text andphotowere taken from www.nonotak.com risky andexploratory ofnewartistsandemerging in search vision, An essential player level,An essential at thelocal amajor event at thenational electronic anddigitalcultureselectronic for 15years. Nuits Sonores claimsa level, NuitsSonores isinfullexpansion on aninternational scale. mixed, Nuits Sonores has been building a demanding panorama, buildingademandingpanorama, mixed, NuitsSonores hasbeen Nuits Sonores isacultural, artisticandurbanlaboratory in born with anambitious line,ofcontemporary, editorial independent, A space where andcultural ideas,artistic projects initiativesA space are aesthetics, always onthelookout for and innovative newuses Information provided by: nuits-sonores.co 2003 inLyon, France. practices.

229 Nuits Sonores France InertIa Polar Text andphotowere taken from: nuits-sonores.co standards oftechnoandclubbing. ledby theobviousdesire totakeartists risksby goingbeyond the scene. Apolymorphicexperience animated by different musician polyphonic andmysterious intheunderground techno born artists like isnotamusicalproject Polar Inertia theothers.Itisagroup of synthesizers, itisacentral figure inanew international electronic garde andtimeless,unitethem.Known for usinganalog talent liesinstaying at thecrossroads avant- ofthegenres, both isanemblematic figureRebotini music.Hisgreatest ofelectronic Author, composer, performer, andmixer, producer Arnaud www.rebotini.blackstroberecords.com France Blackstrobe Records arnaud rebotInI Text andphotowere taken from: nuits-sonores.co with hislatest audiovisual project. world. willappearfor ArnaudRebotini thefirsttimeinColombia, is theirpresence intheclubsandmostreputed festivals ofthe His live performances are applaudedinaunanimousmannerasit onthereturnscene that machines. oftheuseElectronic bets

231 Artist Talks Small Bang Small Pierre Cattan AnokuA ARTIST TALKS cosmovisions oftheSierra’s people. experience, expanded intoamuseuminstallation, todelve intothe realityand spirituality inacommunaldiscussion,andvirtual initiation story, aweb serieswhichengagesphilosophy, science platform experience: proposes adocumentary, intheshapeofan by aFranco-Colombianco-produced team,Anokuaamulti- Columbia’s Sierra Madre peopletothepublic.Writtenand andexperiencesof storytelling toconvey thecosmogony of whichcombinesdifferent project Anokua isathree-part forms France mother is looking haggardafterherlabour,mother islooking your father anxious you comeface toface withyour parents thirty-something (your see theworld andtheworld seesyou for theﬁrsttime.When As you emergefrom your mother’swomb inaParis hospital,you A VRmini-seriesin10episodes. France La GénéraledeProduction Jérémy Pouilloux our BABy Havana oneofthecultural capitalsoftheworld. break withsocialconventions andcreate new trends tomake Onthe edgeofthelaw, artists… punks, designers,andtattoo they ofCuba’ssearch new generation Skateboarders, ofrebels. graffers, series explores theisland’salternative culture andgoesoutin As Cubaopensuptotheoutsideworld, theCubaUnderground France I love transmedia Sara Brucker CuBA underground Welcome totheworld ofanewborn infant. they Can acceptyouequilibrium. asyou are? one where they mustmastertheirdistress andachieve anew Another lifefor isjustbeginning them,oneofhellandlove, misfortune? one that willmarkyou forever. Willthey able be tocopewiththis and already wary), they seea physical defect affecting your face,

233 Artist Talks within theextraordinary allows world ofthehuman the body machine, solvingpuzzlesalongtheway. Thismetaphoricaljourney body. Theplayer navigates insidetheindustrialpalaceofman- Kahn’s iconicillustrations oftheinner workings ofthehuman Homo Machinaisa2Dexploration gameinspired by DrFritz France Darjeeling Marc Lustigman Homo mACHinA understand andmanipulate inhisexploratory togoforth journey. intestines ﬁgure atrain ofconveyor –that theplayer belts must the lungstake theguiseofcopperpiping,stomachand hasitsown avatarof thebody -theeye afolding becomes camera, to ensure theproper operationEvery part function. ofevery bodily In HomoMachina,tiny workers are hardat work round theclock simple andevocative graphic system. player tomake senseofourinnerbiologywiththehelpKahn’s simulation setting. ofbasicincomeinaﬁctional multiplayer gameoffers digitalboard aplayful andinteractive income through life-size studies(USA,Finland,Kenya), whileour Our documentaryseriesobserves theconcrete effects ofbasic What would you doifyou were given money for nothing? France Upian Margaux Missika eArn ALiving

Jérémy Poulloux Transmedia immersiveUniversiTy PRESENTATIONS INSTITUTIONAL highlight Colombian webcreationhighlight Colombian inParis aswell. during ISEA2017andnext ILOVE October TRANSMEDIAfestival will work countries.InJune,theFrench inboth present delegation willbe French creators andpromote andColombian their andproducers exchange program onwebcreation todevelop collaborations between On theoccasionof2017France-Colombia Year, TIUholdsan which isheldevery year at LaGaîtéLyrique inParis. greatest ofpeoplethrough thefestival number ILOVE TRANSMEDIA, intothemarket; digitalcreationtheir insertion andtointroduce tothe accompany throughout theyear thecreation and ofstudentprojects TIU Lab -apedagogiclaboratory toprofessionalize and thesector digital transition; toreveal young talents ofwebcreation through the the audiovisual, world, videogameandlive action topromote their areobjectives tobringtogethermediaprofessionals, from particularly widely promote transmedia works inFrance abroad. Assuch,TIU’s was created in2011by French audiovisual inorderto producers The association TRANSMEDIAIMMERSIVEUNIVERSITY(TIU) www.transmediaimmersiveuniversity.com France La GénéraledeProduction

235 Insitutional Presentations industries. PXNintendsto: contributing tothedigitaltransition inFrance’s cultural andcreative PXNaimsatengaged inthefieldofnew mediaproduction. PXN isanonprofit organisation gathering independentproducers www.pxn.fr France Upian Margaux MissikaandJérémyPoulloux PXn − rights, − encourage themtocontinueworking inFrance, web designers,developers,artists, creatives, and etc.)inthesector − digital field, − funds,as well asthosedetermined onaEuropeansupport level, provided National by theCentre delaCinématographie andregional − to digitalcreation, − service broadcasters, − Promote international awareness ofFrench excellence. Defend theheritagestatus ofdigitalworks theircreators’ andprotect Participate inthetraining oftalentedindividuals(writers,graphic associations theactivity ofaudiovisual-production inthe Support to the reform Contribute of existing systems of aid for digital creation Urgetheauthoritiestosignificantlyenhanceresourcesallocated inassessingthedigital development Play strategies itspart ofpublic- www.lecube.com France Carine LeMalet LE CUBE,DIGITAL CREATION CENTER ART ANDTECHNOLOGY MARKET OF DESIGN, ELECTRONIC Association. totheGrandbelonging Paris by SeineOuest,andismanagedcoordinated theART3000 Created in2001ontheinitiative oftheIssy-les-Moulineauxtown council,Le isavenue Cube and “TheFirst”. interactive programmes, “Rendez-vous du Futur” withover whichwas 30numbers launchedin2010 than 70writershave already contributed(www.cuberevue.com); overlooked nottobe itsmonthly publishingitsmagazineon forwardIn 2011,itbegan thinkingabout thedigitalsociety, towhichmore for creators. young digitalart it offers creative anannualinternational residencesprize withthePrixCube, andassistsyoung artists education throughout minglingteachingwithinnovation. theterritoryviaprojects actions Inaddition, programmeco-working spaceandanarts (over 2,000scheduledevents), Le alsodevelops Cube digital As well asdigitalexpression designedfor activities everyone (over 5,000hoursprovided eachyear), a aspawning ground forto be experimentation, andacreative, “constant demo” workshop. It encourages creative approaches, while giving collective thought to transformations in society. It aims Le invites everyone Cube todiscover andpractise new forms ofexpression through fostering dialogue. within andoutsideFrance asaniconicforerunner inthesefieldssince2001. ofinnovation, intheheart firmly rooted education andthedigitalsociety. acknowledged Ithas been Le isapioneerintheFrench Cube cultural scene:anoutstandingvenue andcreation, for digitalart

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Keynotes www.olats.org www.annickbureaud.net France Annick Bureaud KEYNOTES prejudices. by unfoldingarea ofart-science someofourimplicitbiasand talk willaddress someofthequestionsraised by theblossoming Technology, this LASERParis—ofartworks, andonalargerbody FEAT/Future Me,I’manArtist, —such asTrust and EmergingArt and approaches, ofdesires andpolitics.Basedonrecent projects aesthetics orasingleideology. isanebulaeofpractices Art-Science qualify theother. Itisnotagenre, neitheramovement, noran where isa strange noneofthetwo construct Art-Science words science? Where isArtAndscienceinArt-

241 Keynotes Kuntzel, JeanOtth,Fujiko Nakaya, MasakiFujihata, Peter Campus. withAntoniMuntadas,MichaelSnow,contemporary art, Thierry Dzanarchivedz on series,digitalarchives andmultimediaprojects andeditorofthe thedirector 1996). Since1995,shehasbeen 1994and (Saint-Denis, Co-curator oftheBiennaleArtiﬁces Paume, Paris,2017). Kunst, Berlin,2006),Dzpetercampusvideoergosumdz(Jeude (Jeu dePaume, Paris,1993), DzSmileMachinesdz(Akademie der découpagesdz (EspaceElectra, Paris 1991),DzThierryKuntzeldz Curator oftheexhibitions Averty. “Jean-Christophe Collages, 2002). numériques (ÉditionsJacquelineChambon, Averty (Dis-voir, 1991),Déjouerl’image.Créations et électroniques are Vidéo,lamémoire aupoing(Hachette, 1981),Jean-Christophe Paris critic.Amongherpublications 1Panthéon-Sorbonne andart Anne-Marie DUGUETisEmeritusProfessor at theUniversity www.anarchive.net France Anne-Marie Duguet www.webodrome.fr/about.html France Florent DiBartolo ACADEMIC CALL digital archives study. and thedevelopment ofweb of applications carriedoutaspart His work alsoincludesthedesignofinteractive data visualizations web platforms. to data ﬂowsmedia artists that are gathered andcurated by social and mainpapersquestionthevisibility andaccessibility granted by Itsdoctoral artworks. thesis history andaestheticsofconnected University Paris-Est Marne-la-Vallée. Hisresearchfocuses onthe isAssistantProfessor atFlorent the DiBarto ofDigitalArts Photo was taken from: uvde.fr/

243 Creative Call France Jean-Marc choMaz CREATIVE CALL Photo was taken from: www.off-ladhyx.polytechnique.fr/people/jmarc/ 2013. LadHyX Hydrodynamics Laboratory from heco-directed 1990to and chairat theUniversity Paris-Saclay, andhasco-founded the professor ofResearch, fluids andbiomechanics.HeisaDirector global instability, thevortex breakdown, geophysical andstratified research encompassesareas suchasthedynamics ofsoapfilms, involvedbeen inart/science relations since1992.Hisscientific Laboratory ofExcellence LaSIPSdeUniversity Paris Saclay, hehas at CNRS,Professor at ofthe Ecole Polytechnique, andChair physicist, isanartist Chomaz Jean-Marc ofResearch Director 2012 aco-teacheroftheImproLab. research group at theCM&Twithmusiciansanddancersin she was afoundingoftheinterdisciplinaryimprovisation member ethics, andusingimprovisation for asatool experiments. In2011 basedresearchthinkingand gestuality toartistic introducing She openedinfall 2013theExploratorium onsonicandbodily Academy.Sibelius theHeadofthiscentre since2013. Shehasbeen for Helsinki, intheCentre Music&Technologyof theArts ofthe based inFinlandwhere sheteachesatsound artist theUniversity Marianne Decoster-Taivalkoski isaFrench interactive mediaand France Marianne Decoster-taivalkoski and how they arouse inusdynamic, sensualandmaterial images. physicality andmateriality ofsoundsinspecificspacesandplaces experimental andphenomenologicalapproach, focusing onthe sounds andlive Herwork electronics. withsoundsfollows an ensembleAquatrio oftheelectroacoust member for live water She performs improvised inspaceandisa soundswithobjects

245 Special guest SPECIAL GUEST Michel Wieviorka wasinParis born onAugustsociologistsat 23,1946.Heisoneofthemostimportant France Michel Wieviorka and emancipation, ofincreasing totheproject thecapacity for analysis andaction. new of atradition ThisManifesto objects. inwhich thesocialsciencescontributetoprogress ispart “global” andinmany countries,researcherspropose new approaches andgive risetonew challenges, of suchacommitment?What causewould meritthat they take that risk?Thesocialsciencesare now all countriesshoulduniteleaving oneSidetheirinnumerable differences, what wouldthemeaning be oftheLondon ofEconomics,inwhichitisarguedthat director ifsocialscientistsof School Calhoun, The firstissue(Paris, 2013)launchesaManifesto co-signedwiththeAmericansociologistCraig He isfounder oftheInternational anddirector magazineSOCIOpublishedby thepublisherFMSH. University ofPeru. President oftheInternational Association ofSociology. ofthePontifical HonorisCausa Catholic Doctor (www.fmsh-paris.fr), founded in1963 by Fernand Braudel. Between 2006and2010,Wieviorka was (EHESS). Since2009,Wieviorka managingtheFondation hasbeen MaisondesSciencesdel’Homme research centerfounded in1981by AlainTouraine ofHigherStudiesinSocialSciences at theSchool for SociologicalAnalysis theCenter He directed andIntervention (CADIS) from 1993to2009,a collaboration withFarhad Khosrokhavar (Paris, 2017). (Paris, 2013).ReturntotheSense:enddecline,Paris, 2015).Jews, MuslimsandtheRepublicin anddiffusiondigital imperative onthechallengeofTICEinTheconstruction ofknowledge -book La Diferencia -(Paris, 2004),Antisemitism(Paris, 2005),NineLessons inSociology (Paris, 2008),The European JurySpecialPrizein1989,TheSpaceofRacism(Paris, 1991),AgainstTerrorism (Paris, 1995), other languages.Amongthehighlightsare: Society andterrorism (Paris, 1988),whichwon theAmalfi translated Polish, among Portuguese, intoSpanish,English,Japanese,German, more books thanthirty difference, ofindividuality. construction andHumanities, Wieviorka ofArts istheauthor of Doctor violence, terrorism, racism, anti-semitism,democracy, multiculturalism andphenomenaofcultural Hisspecificlinesofresearchincludeissuesconflict, the individualsubjectivity ofsocialactors. the international level. globalthinkingandtheutility oftakingintoaccount Hisresearchvaluesboth 16th InternatIonal Image FestIval – Isea2017 Work team

Director Helpers Felipe César Londoño Ivonne Velásquez Sub-director Melissa Salgado G. Mauricio Mejía Ramírez Coordination - Assembly Exhibition Chairs Art Museum of Caldas Julián Jaramillo Arango William Ospina Andrés Burbano Walter Castañeda Alternate Rooms Coordination- Signage Sergio Sierra Exhibitions Liliana Villescas Margarita Villegas

Education Forum Coordination Exhibition Museum Center Coordination Nina Czegledy Olga Lucía Hurtado Adriana Gómez Gabriel Vanegas Exhibition Coordination - Sala de Estudiantes and Egresados de Diseño Visual General Production Juliana Castaño Paula López Cesar Arias Cristina Sabogal

Technical Assistant Exhibition Production Events Carlos López Santiago Rubio Daniel Castillo Assistants Sebastián González Laura Buritica Estefanía Sánchez Inventory Sergio Jaramillo Alejandro Alarcón

Helper Technical Montage Juliana Vallejo Cristian Quintero Lorenza Tabares Production Inventory Valeria Gómez David Candamil Sound Executive Production and Marketing Santiago Cardona Manuela Castaño Manuel Posada Tomás Ospina Assistant Isabella Soto Soundbridges and Listening Room Coordination Julián Jaramillo Coordination of Exhibition Projects Walter Castañeda Sound Events Production Juan Pablo Yepes Assistants Juliana Soto Assistants Pablo Ochoa LASO Eje Cafetero Nuits Sonores Production Design Image ISEA2017 Santiago Rubio Alexander Cano - www.alexcano.com Daniel Castillo Image and Communications Coordination Coordination of Academic Projects María Camila Hurtado Mauricio Mejía Ramírez Content Coordination Assistant Mariana Valencia Mónica Arango Contact France / Colombia Coordination of Academic Forum / Latin Roxane Delage American Art and Design Adriana Gómez Visual Design Luis Miguel Álvarez Coordination of Academic Forum Tables Camilo Marín / Consultorio de Diseño Diego Anibal Restrepo Mario Arias / Consultorio de Diseño Sergio Sierra Jefry Rojas/ Consultorio de Diseño Diana Hoyos ViveLab Manizales Jaime Alejandro Rodríguez Editorial Design Coordinator Assistant Julián David Patiño Viviana Grisales Editorial Design Team Workshops Coordination Diego Alejandro Giraldo Juan Pablo Jaramillo Santiago Benavides Luis Esteban López Production of Academic Events and Workshops Luis Osorio Jaime Echeverri Juan Sebastián Álvarez

Assistants Production Design John Fernando Velasco Yolima Sánchez Emmanuel Torres Spaces Design Coordination of Market of Design, Colectivo Dinámico Electronic Arts and Technology Laura Díaz García Support Engineer Sergio Flórez Production Paula Correa Press Coordination María Alejandra Gómez Support Universidad de Caldas Press Ofﬁce Entrepreneurship Unit Eccolo Comunicaciones from Universidad de Caldas Video registration Assistants Liz Katherin Cuenca Production Sebastián Valencia Sebastián Dolan

Interviews Registration Administrative Coordination Diego Espitia Sebastián Bermúdez Carlos Dussan Juan Paulo Ortegón Assistants Manuel Noguera Marcela Guerrero Jenny Flórez Academic Events and Soundscapes Doney Aranzazu Fiscal Auditor Jorge Eduardo Niño Juan Carlos Gallo Television unit from Universidad de Caldas Helper Nuits Sonores Natalia Ramírez Isabel Ramírez Angélica Delgadillo

Photographic registration Carlos Pineda

Photographer Sebastián Dahm

Academic Relations Coordination Claudia Jurado

Institutional Relations Coordination Carlos Adolfo Escobar Internationalization Ofﬁce from Universidad de Caldas

Protocol and Social Events María Helena Uribe

Registration and Accreditation Coordination Luisa zapata

Coordinating accompaniment Translation Liliana del Pilar Gallego Teachers Department Languages from Universidad de Caldas

Transport and Food Logistics Coordination Natalia Ríos UnIversIdad de Caldas management team

Felipe César Londoño López Advisors Rector Paula López Orlando Londoño Betancur Assistant to the Rector Academic Vice-Rector Patricia Salazar Luisa Fernanda Giraldo Zuluaga Innovation and Projects Vice-Rector of Research and Postgraduate Studies Paula Andrea Chica Cortes Planning and Systems Andrés Felipe Betancourth López Vice-rector of University Projection Diana Cristina Vidal Alvarez Internal control Patricia Elena Cárdenas Atehortua Administrative Vice-Rector Maria Alejandra Gómez Uribe Communications and Press Juan Guillermo Correa General Secretary

Alejandro Ceballos Márquez Dean of Facultad de Ciencias Agropecuarias

Marco Tulio Jaramillo Salazar Dean of Facultad de Ciencias Exactas y Naturales

Luis Fernando Castillo Ossa Dean of Facultad de Ingenierías

Gabriel Gallego Montes Dean of Facultad de Ciencias Jurídicas y Sociales

Claudia Patricia Jaramillo Ángel Dean of Facultad de Ciencias para la Salud

Héctor Fabio Torres Cardona Dean of Facultad de Artes y Humanidades

Board oF dIreCtors oF FUndaCIón InstItUto de InvestIgaCIones de la Imagen

Chairwoman of the Board of Directors Luz Adriana Trujillo Galvez

Legal Representative Cristina Sabogal Suárez

Leading Members Matilde Cuartas Villegas Clara Lucía López de Estrada Carlos Adolfo Escobar Holguín Liliana Villescas Guzmán

Alternate Members Paula López Chica Adriana Gómez Alzate Elvira Escobar de Restrepo María Victoria Vélez Montes

Fiscal Auditor Juan Carlos Gallo Robayo EVENT SUPPORTED BY THE MINISTRY OF CULTURE - NATIONAL PROGRAM OF CULTURAL CONCERTATION