Ars Electronica: a Unique Platform for Digital Art and Media Culture © Ars Electronica

Total Page:16

File Type:pdf, Size:1020Kb

Ars Electronica: a Unique Platform for Digital Art and Media Culture © Ars Electronica Ars Electronica: A unique platform for digital art and media culture © Ars Electronica • Innovation • Attractiveness of the territory • Internationalisation • Urban regeneration • Education • Cross-sectorial collaboration Context Linz is the third-largest city of Austria and the capital of the state of Upper Austria. The population of the city is 193,814, and that of the Greater Linz conurbation is about 271,000. Steel and industrial chemistry have made Linz one of Austria’s most important economic centres. But today, Linz also offers a broad spectrum of cultural events and a great number of cultural institutions. In 2009, together with Vilnius (Lithuania) Linz was European Capital of Culture (ECOC). More than 2.5 million people visited the city that year. Several newly constructed cultural venues reinforced Linz’s image as a dynamic city of culture and industry. To ensure that Linz maintains its success after the ECOC year (“Linz 2009”), the city decided to evaluate and to redesign the Cultural Development Plan elaborated in 2000. The new Culture Development Plan underpins the necessity of a continuous cultural development after Linz 2009. In addition to setting up new cultural infrastructures, the city decided to expand subsidy programmes in the spirit of a very inclusive concept of culture, and developing formats that offer the general public low-threshold access to art and culture. Challenges In the 1970s, Linz was an industrial and provincial city whose economy was based on the industry. The decline of the industry and the poor image of the region, associated with a poor cultural offer, made Linz look for alternatives. Linz had no cultural traditions, but it has technological traditions. The main industrial company, Vöst Alpine AG, successfully reinvented itself after a bankruptcy as a specialised, international, technological business. In the process that led to the creation of the Ars Electronica Festival, the will to differentiate the cultural offer from the ones of Vienna and Salzburg made it possible to specialise in technology and cutting-edge projects . Ars Electronica Ars Electronica is a museum and research facility The Prix Ars Electronica has been a forum for artistic on the north bank of the Danube that has become a creativity and innovation since 1987. The competition significant world centre for new media arts, attracting is organised by Ars Electronica Linz GmbH and ORF’s a large gathering of technologically-oriented artists Upper Austria Regional Studio, in collaboration every year. Ars Electronica is a platform that organises with the OK Center for Contemporary Art and the four main activities: Brucknerhaus Linz. The Prix Ars Electronica is one of the world’s premier awards honouring creativity and The Ars Electronica Center (AEC) opened in 1996 as innovation in the use of digital media. a prototype of a “Museum of the Future.” Its mission is to use interactive forms of mediation to facilitate Winners are awarded the Golden Nica statuette, the general public’s encounter with virtual reality, prize money ranging up to €10,000 per category and digital networks and modern media. After two years an opportunity to showcase their talents during the of construction works at an approximate cost of €30 Ars Electronica Festival. The categories in 2015 are million, the new AEC opened in January 2009. It now Computer Animation/Film/VFX, Digital Musics & has 3,000 square meters for exhibitions, 100 square Sound Art, Hybrid Art and [the next idea] Vöst Alpine meters for research and development, 400 square Art & Technology Grant competition. In 2014, a new meters for workshops and conferences, and another prize was introduced: a Golden Nica honouring 1,000 square meters of public space for various types the Visionary Pioneers of Media Art. Pixar in 1987, of events. Wikipedia in 2004, and WikiLeaks in 2009 were all honoured with a prize. The FutureLab is a model of a new kind of media art laboratory in which artistic and technological innovations engender reciprocal inspiration. Ars Electronica FutureLab focuses on the future at the nexus of art, technology and society. The FutureLab’s wide-ranging activities include designing and engineering exhibitions, creating artistic installations, and pursuing collaborative research with universities and joint ventures with private sector associates. The lab’s team consists of about 25 members from different disciplines such as architecture, biology, chemistry, graphics, informatics, art, media design, © Ars Electronica media technology, music, physics, sociology, telematics, etc. There are always several exhibitions running simultaneously in the AEC. The permanent exhibition “New Views of Humankind” examines how human beings and the world they inhabit have changed, how we influence our environment, and what the world might look like in the future. Attendance figures for the AEC now exceed all other museums in this city. The Ars Electronica Festival is known for being interdisciplinary. International experts from the arts and science fields meet a broad audience of highly diverse backgrounds and interests. Since 1979, the festival has featured exhibitions, performances and events designed to foster an artistic and scientific confrontation with current social and technological changes. The most recent edition took place in September 2014. © Ars Electronica Budget and financing Impact Ars Electronica is managed as a not-for-profit Quantitative impact: organisation. The sole purpose of its profit-oriented work is to provide funding for its public service With a total of 158,428 visitors in 2014, the Ars activities, i.e. for the centre, festival and prix. Part of the Electronica Centre led all Upper Austrian museums in institution budget is provided by the City of Linz, the attendance. More than 2,000 school classes enjoyed Province of Upper Austria and the Republic of Austria, hands-on educational experiences. but Ars Electronica also earns its own revenue. In The Ars Electronica Festival is today the most 2014, total revenues rose by about €200,000 to €13.1 important new media festival worldwide with million. The self-financing quotient was 60%. approximately 75.000 annual visitors. A highly diverse array of artistic and cultural institutions, universities and private firms from all over the world use the festival as a presentation platform. The 2014 edition of the festival attracted approximately 85,000 visitors, and 579 artists, scientists, technologists, musicians and sound artists, entrepreneurs, and inventors from 59 countries were actively involved. They all have shaped and realised 427 individual events. The Ars Electronica FutureLab has received various national and international awards. For instance, in 2011, the Ars Electronica Linz GmbH was awarded the Upper Austrian communications “Caesar” award in the “Event” category for the exhibition tent “Linz Changes”. Over 122,500 people visited the exhibition, © Ars Electronica which provides unusual and fascinating insights into the living space of Linz. Qualitative impact: In the 1990s, thanks to the festival, the city became more internationalised as talents from all over the world came to Linz. Several hi-tech companies are now established in the region. Linz has become an example of an industrial, clean, ecological, cultural and international city. In 2014, Linz was designated UNESCO City of Media Arts. Today, the annual Ars Electronica Festival and Prix Ars Electronica showcase and honour excellence, and deliver essential impetus to media culture worldwide, while the Ars Electronica Center and FutureLab are driving forces for innovation both in research and development as well as in education throughout the region. © Ars Electronica Sustainability Launched in September 1979, Ars Electronica was Tips rapidly successful and attracted worldwide attention. Art, technology and society remain the philosophy of Work across disciplines, invest in innovation this platform. Ars Electronica is a pioneer in the field and focus on societal issues as a way to while constantly seeking to reinvent itself. engage with the population. Through Ars Electronica, Linz managed to differentiate The innovative aspects of Ars Electronica itself through innovative culture-led strategies led to its success: interdisciplinarity, social (despite its much smaller size) and now competes issues activism, and pioneering in technical with Vienna in terms of tourism and attractiveness. and cultural fields. Management level and partners Ars Electronica is considered a new model of collaboration to take place between the culture, and business sectors and universities. Each partner brings different strengths and competences to collaborative projects. For instance, partnerships between Ars Electronica and the local schools and universities form a rich pedagogical network and lead to innovations. Students benefit from worldwide exchange programmes, and researchers and artists in residence promote creative exchanges . Ars Electronica also regularly collaborates with museums and will be present in Mons (Belgium), the European Capital of Culture for 2015. © Ars Electronica Links : Contact : www.aec.at Michael Badics, Senior Director www.aec.at/aeblog/en [email protected] www.cultureforcitiesandregions.eu.
Recommended publications
  • December 2 & 3 2020 Online
    INTERNATIONAL SYMPOSIUM December 2 & 3 2020 Masaryk University, Faculty of Arts Brno, Czech Republic online Speakers: Amy Alexander Hans Bernhard Sarah Cook & Roddy Hunter Wendy Coones & Oliver Grau Jana Horáková Michal Klodner Barbora Kundračíková Alessandro Ludovico Alex McLean Organized by: PhD study programme Digital Culture and Creative Industries Team: Svatava Doubková, Jana Horáková, Ivan Koutný Contact: [email protected] INTERNATIONAL SYMPOSIUM DIGITAL CURATOR Wednesday, December 2 10:00–10:10 Symposium opening, day 1 10:10–10:50 Wendy Coones & Oliver Grau: Digital Curation in a Living Archive - History and Future of the Archive of Digital Art 10:50–11:30 Alessandro Ludovico: Curating Media Art in Physical Spaces, Online, and on Printed Pages 11:30–13:00 Lunch break 13:00–13:40 Alex McLean: Archiving Live Code 13:50–14:30 Hans Bernhard, UBERMORGEN: The Next Biennial Should be Curated by a Machine 14:30 Symposium closing, day 1 Thursday, December 3 09:00–09:10 Symposium opening, day 2 09:10–09:50 Amy Alexander: “Always Only Once.” The Paradox of Preservation: From Expanded Cinema to Performative Algorithms 10:00–10:40 This contribution was unfortunatelly canceled. 10:50–11:30 Sarah Cook & Roddy Hunter: Networked Art Practice after Digital Preservation 11:30 - 13:20 Lunch break 13:20–14:00 CZ archives: Jana Horáková: Do neural networks dream of videoart? Media Art Live Archive for Vašulka Kitchen Brno Barbora Kundračíková: CEAD New Media Archive state funded institutions and new media storage Michal Klodner: National Film Archive Prague 14:00–15:00 Discussion 15:00 Symposium closing, day 2 Full Program Wednesday, December 2 10:00–10:10 Symposium opening, day 1 10:10–10:50 Wendy Coones & Oliver Grau: Digital Curation in a Living Archive - History and Future of the Archive of Digital Art In the past five decades, Media Art has evolved into a critical field at the intersection of art, science and technology.
    [Show full text]
  • Cyberarts 2021 Since Its Inception in 1987, the Prix Ars Electronica Has Been Honoring Creativity and Inno- Vativeness in the Use of Digital Media
    Documentation of the Prix Ars Electronica 2021 Lavishly illustrated and containing texts by the prize-winning artists and statements by the juries that singled them out for recognition, this catalog showcases the works honored by the Prix Ars Electronica 2021. The Prix Ars Electronica is the world’s most time-honored media arts competition. Winners are awarded the coveted Golden Nica statuette. Ever CyberArts 2021 since its inception in 1987, the Prix Ars Electronica has been honoring creativity and inno- vativeness in the use of digital media. This year, experts from all over the world evaluated Prix Ars Electronica S+T+ARTS 3,158 submissions from 86 countries in four categories: Computer Animation, Artificial Intelligence & Life Art, Digital Musics & Sound Art, and the u19–create your world com - Prize ’21 petition for young people. The volume also provides insights into the achievements of the winners of the Isao Tomita Special Prize and the Ars Electronica Award for Digital Humanity. ars.electronica.art/prix STARTS Prize ’21 STARTS (= Science + Technology + Arts) is an initiative of the European Commission to foster alliances of technology and artistic practice. As part of this initiative, the STARTS Prize awards the most pioneering collaborations and results in the field of creativity 21 ’ and innovation at the intersection of science and technology with the arts. The STARTS Prize ‘21 of the European Commission was launched by Ars Electronica, BOZAR, Waag, INOVA+, T6 Ecosystems, French Tech Grande Provence, and the Frankfurt Book Fair. This Prize catalog presents the winners of the European Commission’s two Grand Prizes, which honor Innovation in Technology, Industry and Society stimulated by the Arts, and more of the STARTS Prize ‘21 highlights.
    [Show full text]
  • Prix Ars Electronica 2021
    Now open for submissions: Prix Ars Electronica 2021 (Linz, 13 January, 2021) Projects can be submitted to the Prix Ars Electronica 2021 from now until 3 March in the following categories: Computer Animation, Artificial Intelligence & Life Art, u19 – create your world, and Digital Musics & Sound Art (now featuring the “Isao Tomita Special Prize”). This year, entrants will also have the opportunity to submit their projects to the new “Ars Electronica Award for Digital Humanity,” made possible by the Austrian Federal Ministry for European and International Affairs. All projects and works submitted for the Prix Ars Electronica can also be nominated for the STARTS Prize. An overview of the Prix Ars Electronica 2021: Computer Animation … ... is open to independent art and science works, as well as commercial high-end productions from the film, advertising and entertainment industries. Artistic originality counts as much as excellent technical performance. Submissions may include experimental approaches based on expanded interpretations of computer animation that go beyond the screen in both artistic and technical terms. Digital Musics & Sound Art ... ... is looking for contemporary digital sound productions from the broad spectrum of “electronica”: from works that combine sound and media, to electro-acoustic or experimental computer compositions, to sound installations. Regardless of media or genres, the focus is on the musical and sonic qualities of the submitted works. … and the Isao Tomita Special Prize This year’s jurors will be the first to award the 5000-euro Isao Tomita Special Prize in the category Digital Musics & Sound Art. The prize is named after the Japanese pioneer of electronic music who died in 2016.
    [Show full text]
  • Scarica Qui Il Numero Del Journal in Formato
    DIGICULT Digital Art, Design & Culture Fondatore e Direttore: Marco Mancuso Comitato consultivo: Marco Mancuso, Lucrezia Cippitelli, Claudia D'Alonzo Editore: Associazione Culturale Digicult Largo Murani 4, 20133 Milan (Italy) http://www.digicult.it Testata Editoriale registrata presso il Tribunale di Milano, numero N°240 of 10/04/06. ISSN Code: 2037-2256 Licenze: Creative Commons Attribuzione-NonCommerciale-NoDerivati - Creative Commons 2.5 Italy (CC BY-NC-ND 2.5) Stampato e distribuito tramite Peecho Sviluppo ePub e Pdf: Loretta Borrelli Cover design: Eva Scaini INDICE Loredana Menghi Plug’n’play Festival, Audiovisual Club Salento ........................................................ 3 Marco Mancuso Il Cinema Verita’ Di Pierre Bastien ............................................................................. 6 Bertram Niessen Atom: Floating Audiovisual Design .......................................................................... 14 Monica Ponzini Rafael Lozano-Hemmer: Relational Architecture ................................................. 19 Alessandro Massobrio Silenzio, Le Declinazioni Della Sound Art .............................................................. 29 Claudia Moriniello Ankersmit, Side By Side ............................................................................................ 32 Eleonora Oreggia Sostenibile Non-proprieta’, La Risposta Di Estudio Livre ................................... 40 Francesca Valsecchi Hackmeeting 2007: Ten Years Nerdcore ..............................................................
    [Show full text]
  • JUL 2 3 2003 Archives LIBRARIES Table of Contents
    Experiments in Corporate Collaboration: The Case of the Ars Electronica FutureLab by Stephanie Davenport B.A. French Studies (1994) University of Pennsylvania Submitted to the Department of Comparative Media Studies in Partial Fulfillment of the Requirements for the Degree of Master of Science in Comparative Media Studies at the Massachusetts Institute of Technology May 2003 © Massachusetts Institute of Technology All rights reserved Signature of A uthor................................................ .... ..... ............. Department of Compafative Media Studies May 9, 2003 Certified by..........................................................................Wang Professor, Chinese Cultural Studies Affiliated Faculty, Comparative Media Studies Thesis Supervj or Accepted -by................................................. j . .. .. .. .. .. .. .. .. .. .. .. .. William Uricchio Professor & Acting Director, Comparative Media Studies MASSACHUSETTS INSTITUTE OF TECHNOLOGY JUL 2 3 2003 ARCHivEs LIBRARIES Table of Contents A bstract ............................. ................. ................... ........................................ ..... 3 A ckn ow ledgemnents ....................................................................................................................... 4 List of F ig u res ....................................................................................................................... 5 In tro du ction ................. ...................................................................................................
    [Show full text]
  • Ars Electronica Archiv
    Timetable with Program Highlights AIArtificial Intelligence The Other I ARS ELECTRONICA Festival for Art, Technology and Society POSTCITY Linz, September 7–11, 2017 www.aec.at/ai Future Festival of the Next Generation 20171 ORGANIZER Ars Electronica Linz GmbH & Co KG is a company of the city of Linz COOPERATION PARTNERS ACM Siggraph Kepler Salon—Verein zur Förderung von Wissensvermittlung Anton Bruckner Privatuniversität Kinematics GmbH BFI Oberösterreich Kitchen Budapest BORG Bad Leonfelden Klimabündnis Österreich Gmbh— BOZAR Centre for Fine Arts Brussels Regionalstelle Oberösterreich bugnplay.ch Krmpf Krmpf Studios C3 KNOWLEDGE CAPITAL Campus Genius Award Kunstuniversität Linz–Universität für künstlerische Central Linz und industrielle Gestaltung Centre for the Promotion of Science LABoral –Centro de Arte y Creación Industrial Crossing Europe Landesgartenschau Kremsmünster 2017 CUBUS Landesmusikschule Steyr DIG gallery le lieu unique DISK Berlin / CTM Festival Lehramt Bildnerische Erziehung–Kunstuniversität Linz Education Group LENTOS Kunstmuseum Linz ETH Zürich Mariendom Linz Etopia mb21 European Media Art Network MIT Media Lab European Theatre Lab: Drama goes digital Moviemento Europe for Festivals, Festivals for Europe EFFE OÖ Familienbund European Southern Observatory (ESO) QUT Queensland University of Technology European Space Agency (ESA) Resonate eutema Salon 2000 Experience Workshop Science Gallery Dublin FAB Verein zur Förderung von Arbeit und Beschäftigung Stadtbibliothek Linz FACES Stadtwerkstatt Fachhochschule Oberösterreich—Campus
    [Show full text]
  • 25 Years of Ars Electronica
    Literature: Winners in the film section – Computer Animation – Visual Effects Literature: Literature : Literature: Literature (2) : Literature: Literature (2) : Blick, Stimme und (k)ein Körper – Der Einsatz 1987: John Lasseter, Mario Canali, Rolf Herken Cyber Society – Mythos und Realität der Maschinen, Medien, Performances – Theater an Future cinema !! / Jeffrey Shaw, Peter Weibel Ed. Gary Hill / Selected Works Soundcultures – Über elektronische und digitale Kunst als Sendung – Von der Telegrafie zum der elektronischen Medien im Theater und in 1988: John Lasseter, Peter Weibel, Mario Canali and Honorary Mentions (right) Informationsgesellschaft / Achim Bühl der Schnittstelle zu digitalen Welten / Kunst und Video / Bettina Gruber, Maria Vedder Intermedialität – Das System Peter Greenaway Musik / Ed. Marcus S. Kleiner, A. Szepanski 25 years of ars electronica Internet / Dieter Daniels VideoKunst / Gerda Lampalzer interaktiven Installationen / Mona Sarkis Tausend Welten – Die Auflösung der Gesellschaft Martina Leeker (Ed.) Yvonne Spielmann Resonanzen – Aspekte der Klangkunst / 1989: Joan Staveley, Amkraut & Girard, Simon Wachsmuth, Zdzislaw Pokutycki, Flavia Alman, Mario Canali, Interferenzen IV (on radio art) Liveness / Philip Auslander im digitalen Zeitalter / Uwe Jean Heuser Perform or else – from discipline to performance Videokunst in Deutschland 1963 – 1982 Arquitecturanimación / F. Massad, A.G. Yeste Ed. Bernd Schulz John Lasseter, Peter Conn, Eihachiro Nakamae, Edward Zajec, Franc Curk, Jasdan Joerges, Xavier Nicolas, TRANSIT #2
    [Show full text]
  • The Infrastructure Behind Ars Electronica's Success by Frank Dietrich, Frank@Teleculture .Com 1999(?)
    Ars Electronica Success 1 File: arst.doc 9/00 Article Number: 00103 The Infrastructure Behind Ars Electronica's Success By Frank Dietrich, frank@teleculture .com 1999(?) This year Ars Electronica marked its 20th anniversary making this festival for art, technology, and culture one of the longest running and most important of its kind. What started in 1979 as a small congregation of computer art insiders, expanded to a week-long multitude of events in a variety of venues all over the city of Linz, Austria and eventually turned into a world-class event endowed with a renowned prize, the Prix Ars Electronica. Highlights of the Anniversary Festival The festival kicked off with an academic conference on `Life Sciences', designed to discuss technical strategies and potential problems of genetic engineering. Even though it was partially sponsored by the Swiss chemical giant, Novartis, the program brought together proponents and opponents making for a lively, controversial debate. Jeremy Rifkin, one of the most vocal critics of genetic engineering practices, gave a stimulating presentation based on his new book, "The Biotech Century" . The topic of genetic engineering is sure to occupy us well into the next century. The mailing list moderated by Klaus Amman, Director of the Botanical Garden in Bern, Switzerland [klaus.amman@ sgi.unibe.ch] offers an opportunity to stay in touch with the scientific issues surrounding this debate. Dozens of on-line Web projects and interactive art installations were on display in the lobby of the conference center. The presence of the creators, allowed the chance to personally interact and understand the nuances of their creations.
    [Show full text]
  • Ars Electronica Ars Electronica Has Been Analyzing and Commenting on the Digital Revolution Since 1979
    Ars Electronica Ars Electronica has been analyzing and commenting on the Digital Revolution since 1979. Our focus is always on current developments and possible future scenarios at the nexus of art, technology and society. The visions, ideas and projects that Ars Electronica advances in collaboration with artists, scientists, technologists, engineers, entrepreneurs and social activists from all over the world are innovative, radical and offbeat in the best sense of these terms. Ever since its inception, Ars Electronica has continually broadened the spectrum of its activities and thereby developed a comprehensive approach to dealing with techno-cultural phenomena that is unique in the world today. Ars Electronica is a culture venue, educational institution and research facility. It is based in Linz, Austria and has earned an international reputation. ars.electronica.art Ars Electronica Center Museum of the Future, School of the Future Blending art, science and technology is the Ars Electronica Center’s approach to its role as a Museum of the Future and School of the Future. Here, biotechnology and genetic engineering, the neurosciences, robotics, prosthetics and media art constitute interactive experimental arrays that convey an impression of how our world and our everyday life could be in the near future. All of our exhibitions and presentations are oriented on this question, open up manifold perspectives on our nature and how we see ourselves, and show their potential future manifestations in tangible forms to effectively convey them to the general public. As a School of the Future, we also blaze new trails in science education and offer an extensive curriculum of pedagogical programs for all types of schools and grade levels.
    [Show full text]
  • Ars Electronica Lands in Barcelona
    ARS ELECTRONICA LANDS IN BARCELONA Barcelona has become one of the de-localised venues of the Ars Electronica Festival, the most important event in the world dedicated to the interconnections between art, technology and society. The 41st edition will take place in Linz (Austria) and 120 other cities around the world from 9 to 13 September. Barcelona’s participation will take the form of a programme that highlights the diversity, richness and dynamism of the creative scene in Barcelona and Catalonia, born from the convergence between art and technology. The initiative has been promoted by the Institut Ramon Llull, NewArtFoundation / BEEP Collection, Hangar (Barcelona Centre of Visual Arts Production and Research), Universitat Oberta de Catalunya (UOC/ISEA Barcelona) and OFFF Barcelona, with collaboration from Sónar + D, Arts Santa Mònica and the Catalan Institute of Cultural Companies (ICEC). Following two years of participation in Ars Electronica through the BEEP Collection, the internationally renowned Catalan collection dedicated to electronic and digital art, in this edition, Barcelona is taking part with a proposal that exposes and highlights the multi-faceted, heterogeneous, interconnected nature of its community. The proposal for the Ars Electronica Garden Barcelona revolves around the Garden Barcelona Show, an exhibition at Arts Santa Mònica, which will bring together the latest productions by and additions to the BEEP Collection and pieces produced at Hangar, thanks to grants awarded to Mónica Rikić for New Home of Mind, Roc Parés for Doble Consciència and Santi Vilanova for Forms – Screen Ensemble. All three projects were selected through a public application process for production and exhibition grants organised by the Institut Ramon Llull, NewArtFoundation and Hangar, in collaboration with the BEEP Collection.
    [Show full text]
  • Catalogue and Musik” (Degenerate Music) Opened in Documentation of Sound) Should Düsseldorf
    zagreb | 2018. XVIII. SVJETSKI KONGRES SAKSOFONISTA ODRŽAVA SE POD POKROVITELJSTVOM MILANA BANDIĆA, GRADONAČELNIKA GRADA ZAGREBA | THE XVIII WSC IS HELD UNDER THE PATRONAGE OF MR MILAN BANDIĆ, MAYOR OF THE CITY OF ZAGREB gradonačelnik grada zagreba Poštovani sudionici, dragi gosti, Zagreb prvi put ugošćuje renomirani Svjetski kongres saksofonista. Domaćin ovogodišnjega 18. kongresa je naša Muzička akademija koja je u svijetu poznata po izvrsnosti svoje Zagrebačke saksofonističke škole koju je utemeljio profesor Josip Nochta. Tijekom 5 dana, na više od 400 događanja, na brojnim mjestima u gradu će se predstaviti i susresti vrhunski glazbeni profesionalci, studenti i amateri. Bit će to, uvjeren sam, praznik glazbe, prigoda za promociju različitih stilova i izričaja te za razmjenu ideja. Svojom otvorenosti za publiku Kongres će obogatiti Zagrebačko kulturno ljeto te će doprinijeti boljem pozicioniranju Zagreba i Hrvatske na svjetskoj karti kulturnog turizma. Zahvaljujem organizatorima na uspješnoj realizaciji Kongresa, osobito red. prof. art. Draganu Sremcu, umjetničkomu ravnatelju Kongresa i prodekanu za umjetnost i poslovanje Muzičke akademije Sveučilišta u Zagrebu. Svim sudionicima želim uspješno sudjelovanje i ugodan boravak u našem gradu! Gradonačelnik Grada Zagreba Milan Bandić Major of the City of Zagreb Esteemed participants, dear guests, Zagreb is hosting the renowned World Saxophone Congress for the irst time. The host of this 18th Congress is our Academy of Music, world- famous for the excellence of its Zagreb School of Saxophone, established by professor Josip Nochta. In the course of 5 days, in more than 400 events at various locations in the city, top music professionals, students and amateurs will present themselves and meet each other. I am sure that it will be a celebration of music, an opportunity to promote various styles and expressions and to exchange ideas.
    [Show full text]
  • The Practice of Art and AI
    Gerfried Stocker, Markus Jandl, Andreas J. Hirsch The Practice of Art and AI ARS ELECTRONICA Art, Technology & Society Contents Gerfried Stocker, Markus Jandl, Andreas J. Hirsch 8 Promises and Challenges in the Practice of Art and AI Andreas J. Hirsch 10 Five Preliminary Notes on the Practice of AI and Art 12 1. AI–Where a Smoke Screen Veils an Opaque Field 19 2. A Wide and Deep Problem Horizon– Massive Powers behind AI in Stealthy Advance 25 3. A Practice Challenging and Promising– Art and Science Encounters Put to the Test by AI 29 4. An Emerging New Relationship–AI and the Artist 34 5. A Distant Mirror Coming Closer– AI and the Human Condition Veronika Liebl 40 Starting the European ARTificial Intelligence Lab 44 Scientific Partners 46 Experiential AI@Edinburgh Futures Institute 48 Leiden Observatory 50 Museo de la Universidad Nacional de Tres de Febrero Centro de Arte y Ciencia 52 SETI Institute 54 Ars Electronica Futurelab 56 Scientific Institutions 59 Cultural Partners 61 Ars Electronica 66 Activities 69 Projects 91 Artists 101 CPN–Center for the Promotion of Science 106 Activities 108 Projects 119 Artists 125 The Culture Yard 130 Activities Contents Contents 132 Projects 139 Artists 143 Zaragoza City of Knowledge Foundation 148 Activities 149 Projects 155 Artists 159 GLUON 164 Activities 165 Projects 168 Artists 171 Hexagone Scène Nationale Arts Science 175 Activities 177 Projects 182 Artists 185 Kersnikova Institute / Kapelica Gallery 190 Activities 192 Projects 200 Artists 203 LABoral Centro de Arte y Creación Industrial 208 Activities
    [Show full text]