DOCSLIB.ORG

Cyberarts 2019

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Cyberarts 2019 CyberArts 2019 Prix Ars ElectronicaPrix Ars Electronica · STARTS · STARTS Prize'19 Prize’17 ars.electronica.art/prixprixars.aec.at CyberArts 2019 CyberArts Prix ArsElectronica Prix ARS ELECTRONICA ARS Art, Technology &Society Art, Technology S+T+ARTS Prize'19 CyberArts 2019 Prix Ars Electronica S+T+ARTS Prize'19 ARS ELECTRONICA Art, Technology & Society Hannes Leopoldseder · Christine Schöpf · Gerfried Stocker CyberArts 2019 Prix Ars Electronica 2019 Computer Animation · Artificial Intelligence & Life Art Digital Musics & Sound Art · u19–create your world STARTS Prize'19 Grand Prize of the European Commission honoring Innovation in Technology, Industry and Society stimulated by the Arts Contents Prix Ars Electronica 2019 10 Christine Schöpf, Gerfried Stocker – Prix Ars Electronica 2019 12 Hannes Leopoldseder – Turning Point: At the Dawn of a New World COMPUTER ANIMATION 20 Extending Screens: Extending Vision – Statement of the Computer Animation Jury 24 Kalina Bertin, Sandra Rodriguez, Nicolas S. Roy, Fred Casia – ManicVR · Golden Nica 28 Ruini Shi – Strings 30 Cindy Coutant – Undershoot, sensitive data: Cristiano 32 Studio Job, Joris & Marieke – A Double Life 34 Tomek Popakul – ACID RAIN 36 Siyeon Kim / ARTLab – City Rhythm 38 Martina Scarpelli – Egg 40 Universal Everything – Emergence 42 Sam Gainsborough – Facing It 44 Lilli Carré, David Sprecher – Huskies 46 Michael Frei, Mario von Rickenbach / Playables – KIDS 48 Theo Triantafyllidis – Nike 50 Réka Bucsi – Solar Walk 52 Ismaël Joffroy Chandoutis / Fresnoy – Swatted 54 Romain Tardy – The Great Indecision Council ARTIFICIAL INTELLIGENCE & LIFE ART 58 Life’s Intelligence, beyond Human Cognition – Statement of the Artificial Intelligence & Life Art Jury 64 Paul Vanouse – Labor · Golden Nica 68 Špela Petrič – Confronting Vegetal Otherness 70 Adam Harvey – VFRAME: Visual Forensics and Metadata Extraction 72 Eduardo Reck Miranda – Biocomputer Rhythms 74 Anaïs Tondeur in collaboration with Rita van Dingenen and Jean-Philippe Putaud JRC, European Commission – Carbon Black 76 Nora Al-Badri, Jan Nikolai Nelles – Fossil Futures 78 Patrick Tresset – Human Study #4, La Classe 80 Adam Brown – [ir]reverent: Miracles on Demand 82 Anna Ridler – Mosaic Virus 84 Jiwon Woo – Mother’s Hand Taste (Son-mat) 86 Agnes Meyer-Brandis – One Tree ID – How To Become A Tree For Another Tree 88 Christina Agapakis of Ginkgo Bioworks, Inc., Alexandra Daisy Ginsberg & Sissel Tolaas, with support from IFF Inc. – Resurrecting the Sublime 90 Kris De Decker, Marie Otsuka, Roel Roscam Abbing, Lauren Traugott-Campbell Solar Powered Website 92 Mushon Zer-Aviv, Dan Stavy, Eran Weissenstern – The Normalizing Machine 96 Tagny Duff – Wastelands DIGITAL MUSICS & SOUND ART 98 Immersive Experiences and (Political) Silence. What are the Sound Realities now? Statement of the Digital Musics & Sound Art Jury 104 Peter Kutin – TORSO #1 · Golden Nica 108 Samson Young – Muted Situation #22: Muted Tchaikovsky’s 5th 110 Tomomi Adachi, Andreas Dzialocha, Marcello Lussana Voices from AI in Experimental Improvisation 112 Patrik Lechner – Anastrophe 114 Christian Skjødt – ÆTER 116 panGenerator – APPARATUM 118 Stine Janvin – fake synthetic music 120 Francisco López – MANTRAcks and Sonic Fields: A VirtuAural Duology 122 SHOJIKI – “Play Back” Curing Tapes 124 Speak Percussion, Philip Samartzis, Eugene Ughetti – Polar Force 126 Åsa Stjerna– Sky Brought Down 128 Evelina Rajca – Smart.ing Bodies 130 The SINE WAVE ORCHESTRA – The SINE WAVE ORCHESTRA stay 132 Alexander Schubert – Wiki-Piano.Net 134 Haein Kang – Wind from Nowhere u19–create your world 138 Every Day is Friday: Create your Future—Create your Present! Statement of the u19–create your world Jury Young Professionals 144 Alex Lazarov – DSCHUNGEL · Golden Nica 146 Tessa Aichelburg, Luis Hofmeister, Lukas Kaufmann, Paul Schreiber Rake – Minimize your Information 147 Students from HLW für Kommunikations- und Mediendesign der Kreuzschwestern Linz Gift of Nature 148 Antonia Beck, Tobias Gruber, Clemens Makoschitz, Tobias Micko, Sebastian Schreibmaier Tweakr.io – Drop your file, improve your work · netidee SPECIAL PRIZE 2019 150 Felix Nikolas Bauernfeind, Julian Josef Kienast – Augmented Reality Welding Assistant 151 Jaqueline Eder, Selina Maurovich, Kilian Mayer, Stephanie Stigler – Blue Moon 152 Katharina Maunz – ERROR_351 153 Students of the visual arts program at BORG Mistelbach – Fremdkörper #3 154 Sarah Reischenböck, Julia Schober – JUSA–HTL. A 3D Computer Game 155 Zoe Borzi, Johannes Fischer, Nicolas Glockner-Lösch, Nikolaus Heckel, Jonathan Steininger, Raphael Wohlgemuth – Kunst und Überleben 156 Thomas Speckhofer – LEGO Feuer und Wasser 157 Thomas Brych, Michael Franz Hitzker, Tim-Matthias Klecka, Markus Kurzmann – OpenDrone 158 Students from BORG Bad Leonfelden – Shape of you 159 Simon Mück – Surprise Me 160 Fabian Farkas, Jan Hofbauer, Hannah Koch, Tristan Nitzsche, Florian Weihs – Turenia Young Creatives 162 Students from NMS Hittisau’s CyberWerkstatt – Digitaler Mordversuch 163 Benjamin Aster – Plottegoino 164 3a class from NMS Liefering – Why war Rap 165 Film class of the SchülerInnenschule im WUK – Über Nacht – Eine neue Macht 166 Dungeon of Math – Simon Heppner 167 Katharina Landl, Mona Rathenböck– Nachhaltigkeit – Tagesablauf eines tierischen Vorbildes 168 Laurin Steinhuber, Amelie Steinhuber, Niklas Steinhuber – Der Gobi kommt 169 Mina Sophie Hackl – get_bullied! 170 Students of the “Grüne Familie” elementary school class, Europaschule Linz ABC-Coding (Activity Based Coding) 171 Prix Ars Electronica 2019—Jury Contents STARTS Prize'19 Innovation at the nexus of Science, Technology and the ARTS 180 STARTS—Science, Technology and the ARTS – Introduction 182 Poesis into Praxis: Hybrid Creative Activisms – Joint statement of the STARTS Prize Jury and the STARTS Prize Nomination Committee STARTS Prize'19 · GRAND PRIZE · Artistic Exploration 188 Bjørn Karmann, Tore Knudsen – Project Alias Rename your home assistant and make sure it never listens. STARTS Prize'19 · GRAND PRIZE · Innovative Collaboration 192 300.000 Km/s – Ciutat Vella’s Land-use Plan Big Data, KDD and Citizen Participation to Ensure Coexistence between Economic Activity and Citizens’ Quality of Life STARTS Prize'19 · HONORARY MENTIONS 198 Kate Crawford / AI Now Institute and Vladan Joler / SHARE Lab Anatomy of an AI System 200 Thydêwá – Arte Eletrônica Indígena 202 Eduardo Reck Miranda – Biocomputer Rhythms 204 BCL – Georg Tremmel and Shiho Fukuhara – BLP-2000 / Black List Printer 206 Fernando Bello, ICCESS & Salomé Bazin, Cellule studio – SimCath 208 Sabine Engelhardt – SLAP – See Like A Pony 210 Forensic Architecture – The Murder of Pavlos Fyssas 212 Jen Keane – This is grown. STARTS Prize'19 · NOMINATIONS 216 Mathias Foot, Janna Nikoleit, Franziska Rast, Stephan Schakulat – 30° 217 Alex Braga – A-MINT 218 Hakan Lidbo – Alterplex 219 United Visual Artists – Beholder 220 Tim Murray-Browne in collaboration with Dom Aversano, Susanna Garcia, Wallace Hobbes, Daniel Lopez, Tadeo Sendon, Panagiotis Tigas, Kacper Ziemianin – Cave of Sounds 221 Joon Moon – Hello, Shadow! 222 Institute for Sound & Music (ISM) – ISM Hexadome 223 Ayako Suwa, Evala, Yasuaki Kakehi – Journey on the Tongue 224 onformative, kling klang klong – Meandering River 225 Superflux – Mitigation of Shock 226 Jie Qi, Carol Lin, May Qi, Ira Winder – PatentPandas.org 227 Kris De Decker, Marie Otsuka, Roel Roscam Abbing, Lauren Traugott-Campbell Solar Powered Website 228 Studio Roosegaarde – SPACE WASTE LAB 229 Idalene Rapp, Natascha Unger– Stone Web – Expanding Space 230 Denny Koch, Johannes Schubert – Stop-Motion VR 231 CuteCircuit – SoundShirt 2.0 232 Thijs Biersteker – Voice of Nature 233 Tagny Duff – Wastelands 235 STARTS Prize'19—Jury 237 STARTS Prize'19—Nomination Committee 239 STARTS Prize'19—International Advisors PRIX ARS ELECTRONICA 2019 Prix Ars Electronica 2019 Christine Schöpf, Gerfried Stocker These are the facts and figures of the 33rd edition ular interest, as are projects that critically reflect of Prix Ars Electronica: 3,256 entries from 82 the cultural and social significance of AI and life countries in the categories Computer Animation, sciences, their ethical and philosophical dimen- Digital Musics & Sound Art, u19–create your world sion as well as the role of policy makers, govern- for young people throughout Austria, and in the ments, and industry. new category Artificial Intelligence & Life Art, While in the early years the Prix Ars Electron- introduced for the first time in 2019. ica was largely a search for a place within the Established in 1987 and based on an idea by fledgling area of media/computer art, it has now Hannes Leopoldseder from the Austrian Broad- evolved into an annual international trend barom- casting Corporation (ORF), Prix Ars Electronica has eter for a wide variety of artistic approaches. It become the world’s largest continuously held brings together artists and scientists from various competition for digital art. countries and cultures as well as creative people The year 2019 saw a number of innovations in Prix from diverse fields: developers of new interfaces Ars Electronica, including the splitting of the youth and artist-scientists exploring the area of life art category u19–create your world into two indepen- and artificial intelligence are joined by activists dent categories: Young Creatives (up to age 14) experimenting with social networks and sound and Young Professionals (age 14 to 19). This artists whose designs provide us with new audi- change reflects the significant increase in profes-
Load more

Recommended publications
  • Preserving New Media Art: Re-Presenting Experience
    Preserving New Media Art: Re-presenting Experience Jean Bridge Sarah Pruyn Visual Arts & Interactive Arts and Science, Theatre Studies, University of Guelph, Brock University Guelph, Canada St. Catharines, Canada [email protected] [email protected] ABSTRACT Keywords There has been considerable effort over the past 10 years to define methods for preservation, documentation and archive of new Art, performance art, relational art, interactive art, new media, art media artworks that are characterized variously as ephemeral, preservation, archive, art documentation, videogame, simulation, performative, immersive, participatory, relational, unstable or representation, experience, interaction, aliveness, virtual, technically obsolete. Much new media cultural heritage, authorship, instrumentality consisting of diverse and hybrid art forms such as installation, performance, intervention, activities and events, are accessible to 1. INTRODUCTION us as information, visual records and other relatively static This investigation has evolved from our interest in finding documents designed to meet the needs of collecting institutions documentation of artwork by artists who produce technologically and archives rather than those of artists, students and researchers mediated installations, performances, interventions, activities and who want a more affectively vital way of experiencing the artist’s events - the nature of which may be variously limited in time or creative intentions. It is therefore imperative to evolve existing duration, performance based,
    [Show full text]
  • Virtual Reality Paper Presentation
    PAIDEUMA Issn No : 0090-5674 VIRTUAL REALITY PAPER PRESENTATION PREPARED BY PRADEEISH.P K.S.R COLLEGE OF TECHNOLOGY, K.S.R KALIVI NAGAR THIRUCHENGODU PINCODE - 637215 Virtual reality (VR) typically refers to computer technologies that use software to generate the realistic images, sounds and other sensations that replicate a real environment (or create an imaginary setting), and simulate a user's physical presence in this environment. VR has been defined as "...a realistic and immersive simulation of a three-dimensional environment, created using interactive software and hardware, and experienced or controlled by movement of the body"[1] or as an "immersive, interactive experience generated by a computer".[2] A person using virtual reality equipment is typically able to "look around" the artificial world, move about in it and interact with features or items that are depicted on a screen or in goggles. Most 2016-era virtual realities are displayed either on a computer monitor, a projector screen, or with a virtual reality headset (also called head-mounted display or HMD). HMDs typically take the form of head-mounted goggles with a screen in front of the eyes. Programs may include audio and sounds through speakers or headphones. Advanced haptic systems in the 2010s may include tactile information, generally known as force feedback in medical, video gaming and military training applications. Some VR systems used in video games can transmit vibrations and other sensations to the user via the game controller. Virtual reality also refers to remote communication environments which provide a virtual presence of users with through telepresence and telexistence or the use of a virtual artifact (VA).
    [Show full text]
  • 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]
  • Painting in a Digital World: I Told You So
    AUTHOR James Faure Walker University of the Arts, Camberwell London, United Kingdom Painting in a Digital World: [email protected] I Told You So Over the past 10 years, the proportion of painters who use comput­ like say hello. The curator of new media will casually mention that ers in their work has been rising, and rising dramatically. They may painting is "over" as if it were a given among the digerati. Here is not all be expert users, and they probably know next to nothing a phrase from the SIGGRAPH 2005 Electronic Art and Animation about digital art or its origins, and nothing at all about its pioneer art­ Catalog: "... the now-weary exertions of the 20th century's picture ists. They will not have heard of SIGGRAPH. They read Frieze. They plane." Yet the pot-pourri of post-modernist styles suggests oth­ probably outnumber hardcore digital artists by a factor of 50 to one. erwise. That concept of progress in art, of one phase superseding So if we are to speak of the way things are going in "digital art," they another, whether tired or not - that's history. So "new media" is on a are part of the picture. somewhat anachronistic track: a one-way track. No going back! No mixing! It's all historically determined! Goodbye non-interactive art! In the 1990s, it was different. Only a handful of galleries (special- You're exhausted! Any attempt to integrate, to reconcile the disci­ ist digital art galleries) exhibited inkjet prints as fine art. Today it is plines of that wretched, tired-out 20 picture-plane, is doomed.
    [Show full text]
  • New Art Historical Resources on the Web [2]
    New art historical resources on the web [2] H-ArtHist Redaktion [1] The Archive of Digital Art 2.0 [2] Piktorialismus-Portal --------------------------------------------------------------- [1] The Archive of Digital Art 2.0 From: Prof. Dr. Oliver Grau <[email protected]> Date: 02.09.2014 Subject: ANN: The ARCHIVE OF DIGITAL ART 2.0 is online Krems The Archive of Digital Art (former Database of Virtual Art) has become the most important scholarly online archive for media art. In cooperation with established media artists, researchers, and institutions, it has been documenting the rapidly evolving world of digital art and its related fields for more than a decade and today contains a selection of thousands of artwork at the intersection of art, science, and technology. A New Tool Enables Collaborative Archiving With two large international grants, by FWF and ARC, the archive is evolving into a web 2.0 environment. The idea is to provide community features and user-oriented applications to enable a collective scientific exchange between artists, researchers and the public to foster interdisciplinary and global collaborative analysis and a proactive process of knowledge transfer. ADA invites scholars to create their ADA scholar profile, upload their pdf publications, announce upcoming events, lectures, conferences etc., and explore and research digital art collectively, as the archive is for research and teaching. Meta-Thesaurus Cross-links Media Art with Art History Furthermore the archive’s rich data collection - based on a 'concept of expanded documentation’ for media art - will be semantically cross-linked with classical art from the Renaissance to the present by a newly developed meta-thesaurus.
    [Show full text]
  • Cyberarts 2018
    Hannes Leopoldseder · Christine Schöpf · Gerfried Stocker CyberArts 2018 International Compendium Prix Ars Electronica Computer Animation · Interactive Art + · Digital Communities Visionary Pioneers of Media Art · u19–CREATE YOUR WORLD STARTS Prize’18 Grand Prize of the European Commission honoring Innovation in Technology, Industry and Society stimulated by the Arts INTERACTIVE ART + Navigating Shifting Ecologies with Empathy Minoru Hatanaka, Maša Jazbec, Karin Ohlenschläger, Lubi Thomas, Victoria Vesna Interactive Art was introduced to Prix Ars Electronica farewell and prayers of a dying person into the robot as a key category in 1990. In 2016, in response to a software; seeking life-likeness—computational self, growing diversity of artistic works and methods, the and environmental awareness; autonomous, social, “+” was added, making it Interactive Art +. and unpredictable physical movement; through to Interactivity is present everywhere and our idea of the raising of a robot as one's own child. This is just what it means to engage with technology has shifted a small sample of the artificial ‘life sparks’ in this from solely human–machine interfaces to a broader year’s category. Interacting with such artificial enti- experience that goes beyond the anthropocentric ties draws us into both a practical and ethical dia- point of view. We are learning to accept machines as logue about the future of robotics, advances in this other entities we share our lives with while our rela- field, and their role in our lives and society. tionship with the biological world is intensified by At the same time, many powerful works that deal the urgency of environmental disasters and climate with social issues were submitted.
    [Show full text]
  • COMPUTER ART As a WAY of LIFE
    COMPUTER ART as a WAY OF LIFE By Gene Youngblood hen I think of computer art I think of Chicago, and of four people there- Jane Veeder, Phil Morton, Dan Sandin and Tom De Fanti-who are pioneer- ring a visual art form that ultimately is not visual at all, but rather the cre- ation of language, and of conversational "envi- ronments" out of which will emerge our future images and the images of our future. Together Wwith Steina and Woody Vasulka in Santa Fe, they inspired me, taught me, and changed me profoundly over thelast tenyears. With infinite patience and dedication, with the passion of vi- sionary seekers, they guided me ever deeper into the digital domain and caused me at last to understand that computer graphics is some- thing more than art, that it is a kind of practical philosophy, a way of life, a way of being in the world anda way of creating a world to be in. No story reflects this more vividlythan that of Jane Veeder, an artist-programmer whose life and work epitomize both the unique computer- art community in Chicago and a personal path- way of growth and discovery that will become representative of the life of the artist in our time. In my opinion, Veeder stands with Ed Em- shwiller and Larry Cuba as one of the most gifted computer artists working in America to- day. Relatively unknown until recently, she is beginning to get the recognition she deserves. Her 1982 animation Montana is the only work of computer graphics in the Museum of Modern Art's video collection, and her interactive paint program/arcade game Warpitout-the sensation of the SIGGRAPH '82 Art Show in Boston-will later this year be installed at the Ontario Sci- ence Center in Toronto, one of the most presti- gious science museums in the world.
    [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]
  • Onassis Stegi You and AI: Through the Algorithmic Lens
    Onassis Stegi You and AI: Through the Algorithmic Lens Curated by Irini Mirena Papadimitriou, Creative Director, FutureEverything Commissioned and Produced by Onassis Stegi 24 June - 25 July, 2021 Pedion Areos - Athens Throughout history, humans have imagined how artificial intelligence might transform society. How intelligent machines could make us more efficient, productive and predictable. What began as a dream has today become a reality. AI is everywhere. From personal and home devices and rapidly expanding into public space. But as AI starts to shape our everyday lives, who shapes AI? And how are we affected by machine decision making we might not even be aware of? You and AI invites you to explore work that challenges our fantasies of AI and opens up critical discussions about the increasing implementation of these systems and their impact on human subjectivity in the social, working and democratic contexts. Unfolding through three thematic areas, it is investigating ideas around AI, civic space and participation, how we perceive the world and are being seen through algorithms, and questioning the meaning of intelligence within AI. Thematic Area 1 - AI, CIVIC SPACE, PARTICIPATION & DEMOCRACY In a world dominated by algorithms and where AI is always watching – is everyone included? Or does the machine decide who should be seen and heard? The first thematic area, AI, civic space, participation and democracy, presents works that show worlds through artificial, invisible systems and new digital bureaucracies. Worlds that are increasingly quantified and categorised by algorithmic systems, and where everything is redefined, accepted or excluded based on machine decision making systems and automation.
    [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]
  • This Book Is a Compendium of New Wave Posters. It Is Organized Around the Designers (At Last!)
    “This book is a compendium of new wave posters. It is organized around the designers (at last!). It emphasizes the key contribution of Eastern Europe as well as Western Europe, and beyond. And it is a very timely volume, assembled with R|A|P’s usual flair, style and understanding.” –CHRISTOPHER FRAYLING, FROM THE INTRODUCTION 2 artbook.com French New Wave A Revolution in Design Edited by Tony Nourmand. Introduction by Christopher Frayling. The French New Wave of the 1950s and 1960s is one of the most important movements in the history of film. Its fresh energy and vision changed the cinematic landscape, and its style has had a seminal impact on pop culture. The poster artists tasked with selling these Nouvelle Vague films to the masses—in France and internationally—helped to create this style, and in so doing found themselves at the forefront of a revolution in art, graphic design and photography. French New Wave: A Revolution in Design celebrates explosive and groundbreaking poster art that accompanied French New Wave films like The 400 Blows (1959), Jules and Jim (1962) and The Umbrellas of Cherbourg (1964). Featuring posters from over 20 countries, the imagery is accompanied by biographies on more than 100 artists, photographers and designers involved—the first time many of those responsible for promoting and portraying this movement have been properly recognized. This publication spotlights the poster designers who worked alongside directors, cinematographers and actors to define the look of the French New Wave. Artists presented in this volume include Jean-Michel Folon, Boris Grinsson, Waldemar Świerzy, Christian Broutin, Tomasz Rumiński, Hans Hillman, Georges Allard, René Ferracci, Bruno Rehak, Zdeněk Ziegler, Miroslav Vystrcil, Peter Strausfeld, Maciej Hibner, Andrzej Krajewski, Maciej Zbikowski, Josef Vylet’al, Sandro Simeoni, Averardo Ciriello, Marcello Colizzi and many more.
    [Show full text]
  • Petra Gemeinböck
    Petra Gemeinboeck | Short Curriculum Vitae 2010 | 1 Petra Gemeinböck email: [email protected] | www.impossiblegeographies.net SHORT CURRICULUM VITAE | 2010 EDUCATION 2004 Doctor of Technical Sciences Program of Visual Culture, Faculty of Architecture, Vienna University of Technology Thesis: “Negotiating the Virtual: Inhabiting Architectures of Emergence and Remoteness” 2003 Master of Fine Arts in Electronic Visualization Electronic Visualization Laboratory, School of Art and Design, University of Illinois at Chicago 2000 Diploma degree (MSc) in Architecture Faculty of Architecture, University of Stuttgart PROFESSIONAL DEVELOPMENT 2007 Graduate Certificate in Higher Education, Faculty of Education, University of Sydney PROFESSIONAL EXPERIENCE TEACHING 2009—pres. Senior Lecturer in Interactive Media Arts College of Fine Arts, University of New South Wales 2004—2009. Lecturer (Assistant Professor) in Digital Media Design Lab, Faculty of Architecture, Design & Planning, University of Sydney 2003—2004 Lecturer (Assistant Professor) in Media Practice and Theory Department of Media and Cultural Studies, University of Sussex 2001—2004 Visiting Lecturer Faculty of Architecture Vienna University of Technology 2002—2003 Visiting Artist / Lecturer Faculty of Architecture, University of Stuttgart RESEARCH AND INDEPENDENT WORK 1999—2000 Visiting Artist Competence Centre Virtual Environments (CCVE), IAO Fraunhofer Stuttgart 2001—2002 Research Assistant Electronic Visualization Laboratory, University of Illinois at Chicago 2000 Collaborator on ‘Architecture
    [Show full text]