Media Arts Watch Lab - www.arts-numeriques.info - laboratoire de veille Arts Numériques - twitter @arts_numeriques - @processing_org - @DigitalArt_be - by @jacquesurbanska @_Transcultures
HeK is dedicated to digital culture and the new art forms of the information age. It is a place for creative and critical discourse on the aesthetic, socio-political and economic impact of media technologies. HeK shows contemporary art that explores and configures new technologies; it promotes an aesthetic practice that uses information technology as a medium, makes it vividly accessible and actively intervenes in its processes. HeK thereby addresses the pressing issues of twenty-first-century culture and makes an active contribution to their future evolution.
As an interdisciplinary venue, the institution engages with all aspects of the current arts scene and thereby crosses traditional genre boundaries between the visual arts, music, theater, dance, performance and design. Its insights into art production at the intersection of the arts, the media and technology draw a broad public. In a diverse program comprised of exhibitions, mini-festival formats, performances, concerts and educational opportunities, HeK picks up on current social issues and the challenges posed by increasingly ubiquitous digitization...
Nous avons là la mise en scène d'un système nerveux augmenté, un spectacle qui bas comme un muscle, une machine synesthésique, un tout intrinsèque, organique et numérique... Le cadre esthétique de la performance est dressé : des impulses, du nerf, et toujours la nécessité de repousser les limites des champs du cognitif. Nous interrogeant en filigrane sur les limites de perception de notre propre corps, les relations ambigües qu'entretiennent notre individu contemporain avec son environnement numérique : Sommes-nous des corps exponentiels ? Ou des corps esclaves ?
Le Clair Obscur cherche des modes de communication inédits entre l'ordinateur et l'acteur/danseur. Par l'interaction/ synchronisation de ce dernier avec des outils multimédias, le Clair Obscur interroge la place de l'être, humain, dans son environnement, et particulièrement un environnement numérique qui le dépasse.
18:00 – vernissage | Galeria Sztuki Współczesnej Bunkier Sztuki 20:00 – vernissage | Muzeum Sztuki i Techniki Japońskiej Manggha 21:00 – performance Recession 1024 architecture [FR] | Muzeum Sztuki i Techniki Japońskiej Manggha
12.10 | Wednesday
11:00 – 19:00 – exhibition of interactive installation | Contemporary Art Gallery Bunkier Sztuki 10:00 – 20:00 – exhibition of VR and interactive installations | Manggha Museum of Japanese Art and Technology 18:00 – VR works presentation, meeting with creators| Manggha Museum of Japanese Art and Technology
13.10 | Thursday
11:00 – 19:00 – exhibition of interactive installation | Contemporary Art Gallery Bunkier Sztuki 10:00 – 20:00 – exhibition of VR and interactive installations | Manggha Museum of Japanese Art and Technology 12:00 – 2nd International Conference Patchlab Generator 2016 | Pawilon Wyspiańskiego 20:00 – interactive spactacle | Manggha Museum of Japanese Art and Technology
14.10 | Friday
11:00 – 19:00 – exhibition of interactive installation | Contemporary Art Gallery Bunkier Sztuki 10:00 – 20:00 – exhibition of VR and interactive installation | Manggha Museum of Japanese Art and Technology 20:00 – AV Night 1 | Manggha Museum of Japanese Art and Technology 22:00 – AV Night 1 | Barka
15.10 | Saturday
11:00 – 19:00 – exhibition of interactive installation | Contemporary Art Gallery Bunkier Sztuki 10:00 – 20:00 – exhibition of VR and interactive installations | Manggha Museum of Japanese Art and Technology 10:00 – 18:00 – Madatac screenings | Manggha Museum of Japanese Art and Technology 15:00 – 19:00 – media lab | Pawilon Wyspiańskiego 22:00 – AV Night 2 | Forum Przestrzenie
16.10 | Sunday
11:00 – 19:00 – exhibition of interactive installation | Contemporary Art Gallery Bunkier Sztuki 10:00 – 20:00 – exhibition of VR and interactive installations | Manggha Museum of Japanese Art and Technology 10:00 – 18:00 – Madatac screenings | Manggha Museum of Japanese Art and Technology 15:00 – 19:00 – media lab | Pawilon Wyspiańskiego
With the emergence of ever new technologies which increasingly digitize human bodies and movements in space, such as biosensors, VR and the internet of things, we investigate how we sense the world around us, how technology extends and aestheticizes our sensing and in which way our sensing and the generated data is represented and used. What’s more, we question how our movement is considerably influenced by emerging technologies and related processes and procedures and how the human body trained in one way or another can contribute to or even shape the development of new technologies.
reSense.MOV is a festival that will debate current questions of the intersections of motion, sensing, performance and technologies in art and sciences curated by Byrke Lou and Marcello Lussana in collaboration with SPEKTRUM.
The event is rooted in the successful Free Software movement of the early 2000s. In conjunction with the Austrian-wide initiative Linux Weeks, servus.at was a co-organizer from the beginning with an event in Linz (LiWoLi – “Linux Weeks Linz”)
The cultural, artistic and socio-political focus of the association, which is still marked by the spirit of the Free Software movement, has been systematically expanded with a new cooperation with the Institute for Time-Based Media (Art University Linz) beginning in 2008. Social, societal and political aspects arising from the pervasion of technology in everyday life are shifted into the foreground.
Consequent to a local development, the term “freedom” has been transferred in this context to culture and art, thus engendering a new title: Art Meets Radical Openness.
Art Meets Radical Openness
Festival dedicated to Art, Hacktivism and Open Culture
“Art Meets Radical Openness” is a community festival, an open lab, and a meeting point for artists, developers, hactivists, and idealists involved with the culture of sharing and communal production. They are catalysts that spark new discourses and open up new directions of thinking. Free Open Source Software, open tools in general and the use of free licenses are the precondition and basis for the digital practice of a community like this, which impels social transformation. This tangible transformation goes beyond a digital practice and also changes our real life.
The 9th edition of the Bains numeriques biennial takes part in the 350th anniversary of the Academy of Science and proposes a crossing in the nearby worlds of art and sciences.
During the biennial, Enghien-les-Bains becomes a city where various artistic and scientific visions and imaginations merge. Once more, the biennial attempts to offer to its visitors a path of installations, exhibitions, live performances and concerts all through the city: lake, streets, squares and station. From places of the daily life revisited, the public will be transported in new living areas and venues.
Increased reality, imaginary mappings, immersive spaces, the works presented during these 5 days proposes us new perceptive paradigms. Our representation is modified, that of our body at first, then of the city and the world. By moving the physical marks, immersing in a mental space and experimenting new sensory strategies, the proposed artistic performances will be in connection with the scientific imagination, in particular that of the cognitive sciences..
Aurora cordially invites all emerging and established artists working with light, video, sound, digital, internet-based work and/or performance to submit proposals for Aurora in 2015: All Together Now. Proposals should explore innovative approaches to a free public art event that transforms the neighborhood of the Dallas Arts District (68 acres/19 city blocks of downtown Dallas, Texas). Buildings become projection screens and streets and parks into elaborate art installations. The proposed artworks should contribute to an immersive exhibition for visitors to experience art in unexpected places, while prompting an experience of awe through sensory disorientation. ...
A conference, performances, workshops, and a large-scale exhibition that gathers artists and philanthropists to discuss the impact of art and technology on culture.
After the successful completion of #ReviveTheGrand campaign, The Gray Area Festival will celebrate the opening of the historic Grand Theater as a Media Arts Center and Cultural Incubator in San Francisco. We welcome festival attendees for two days of conference, two nights of performances, a day of workshops, and an exhibition that extends two weeks past the festival dates.
The conference days will invite 300 thinkers and doers for discussions that uncover art and technology’s impact on culture. During conference nights, the presentation of audio and visual performances will celebrate electronic media with audiences of 800.
Finally on Sunday, 100 people will gather for a day dedicated to a collection of Creative Coding workshops for both beginning and advanced students.
The Gray Area Festival establishes San Francisco’s Grand Theater as an epicenter for forward looking art and technology in civic, educational, and aesthetic practice.
“404 International Festival of Art & Technology”, born in Argentina in 2004, is a non-profit organization which main objective is to promote artistic productions that bring together Arts and Technology, generating an environment where the artists can relate with the community.
Over a decade, it has been presented in different countries, such as Italy, Spain, Switzerland, Austria, Belgium, Taiwan, Argentina, and Russia.
“404 Festival””, the oldest festival of New Media in Argentina, launches its 12th open-call destined to artists and researchers from all over the world with the aim to spread and stimulate New Media creations.
The 15th edition of FILE – Electronic Language International Festival in São Paulo takes place this year from August 26 to October 5 at Centro Cultural FIESP – Ruth Cardoso. The festival occupies four spaces in this venue: the Art Gallery, the SESI Digital Art Gallery (building facade), the FIESP Space, and the Mezzanine, besides the pavement of the Consolação, Trianon-Masp, and Brigadeiro subway stations. Participation in all activities is free.
Le Festival international Exit est un festival d'art contemporain annuel créé en 1994 associant le théâtre, la danse, la musique, les arts numériques et des installations. Ce festival se tient à Créteil à la Maison des arts et de la culture.
The digital revolution was a dinner party but its afterglow is not. The once utopian promises of high-definition audiovisuals, real-time electronic communication and infinite storage possibilities are just some of the digital culture perspectives that are now widely disseminated. At the same time as these phenomena are still shrouded in the glossy aesthetics of the digital, their tarnished appeal cannot be denied in a world where 'big data' is also the 'big brother' of mass surveillance and where the 'cloud' is made of the metals and minerals of the 'earth' on which data centers are built. Far from immaterial and neutral, our post-digital culture is one where tech is deeply embedded in the geophysical and geopolitical. This is evident at the significant 'other sites' of digital culture such as e-waste dumps, mines, mass-digitisation companies and security agencies.
transmediale 2014 proposes the post-digital moment of 'afterglow' as a diagnosis of the current status of the digital hovering between 'trash and treasure'. afterglow conjures up the ambivalent state of digital culture, where what seems to remain from the digital revolution is a paradoxical nostalgia for the futuristic high-tech it once promised us but that is now crumbling in our hands. The challenge that this moment poses is how to use that state of post-digital culture between trash and treasure as a still not overdetermined space from which to invent new speculative thought and practice. Are there means of renewal in the excess, overflow and waste products of the digital afterglow?
Festival international et académie pluridisciplinaire, rendez-vous de la création et de l’émergence à Paris, ManiFeste-2013 replace la musique au centre des « arts du temps » (théâtre, danse, cinéma, arts numériques…). L’Ircam réunit pendant un mois, compositeurs et interprètes, metteurs en scène, acteurs, vidéastes, chorégraphes, danseurs, tous protagonistes d’une intrigue temporelle intégrant la technologie. À l’affiche, Gisèle Vienne et François Verret, l’opéra Aliados de Sebastian Rivas, un portrait de Yan Maresz, la figure du compositeur Heinz Holliger, la présence de la voix et de la percussion…
Set to BMI songwriter David Bowie’s iconic track “Heroes,” Creative Director Melissa Painter and her key collaborators have crafted a multidimensional experience using 2-D, virtual reality, and augmented reality headsets. The stage is the historic Theater at Ace Hotel in Los Angeles where the film component was created, and the plot…
In October of 2016 in Sassari and between the months of December and January in Cagliari KyberTeatro organises the third edition of International Theatre, Art and New Technologies Festival The Wonders of the Possible//UPGRADE.
LMDP Festival is the first of this kind in the whole of Italy. Its aim is to promote the interrelation between artistic and technological languages. The Kyber Teatro, spin-off of L’Aquilone di Viviana theatre company creator and manager of the Festival, addresses to Italian and International artists an Open Call to submit their projects on the theme “Interaction between arts and technology”.
You are kindly invited to submit your suggestions for the International RethinkArtDigitalFestival, taking place in Rethymno Crete, 9-10-11&12 September 2016.Artists may submit artwork falling into the following categories:
Digital Installations
Videomapping
3D printing objects
Videoart up to 15΄
Digital illustrations
Digital photographies
Performing arts with digital features
Animation videos up to 15΄
Artwork with digital elements
All those who are interested must submit their application forms by Sunday, July 31, 2016.
First initiated in 2004 by Croatian organization KONTEJNER | bureau of contemporary art praxis, Device_art is a triennial international festival exploring the relationship between technology, art, and utility. The project is focused on exploring and communicating an artistic medium, which takes the shape of a technological device in a critical, provocative, or playful manner. It aims at contextualizing and presenting works that are the result of creative tendencies located at the crossroads of art-design, gadget-hack, and hybrid technologies.
The fifth edition of the Device_art triennial will be presented in Montreal in close collaboration with at Eastern Bloc, featuring an exhibition and performances by Croatian, Slovene and Japanese artists: Martina Mezak, Vitar Drinković, Davor Sanvincenti, Margareta Lekić, Lightune.G, Marko Batista, Robertina Šebjanič, Ida Hiršenfelder & Aleš Hieng-Zergon, Saša Spačal, Takeshi Oozu, and Hiroo Iwata.
L’Observatoire de l’Espace lance « Hors lieu », un appel à projets de performances inspirées par l’expérience de la micropesanteur lors d’un vol parabolique. Le projet retenu sera présenté au festival Sidération en mars 2017. Le ou la lauréat(e) volera à bord de l’Airbus Zéro-G en octobre 2016.
Lorsque l’on considère les changements survenus au XXe siècle, on constate que l’aventure spatiale a été l’un des vecteurs de transformations culturelles majeures de nos sociétés. De fait, le rêve spatial s’est révélé comme un générateur important d’utopies et en conséquence un puissant moteur pour alimenter les désirs de changement des hommes. Mais si l’utopie spatiale a largement irrigué le XXe siècle, de quelle façon l’Espace au XXIe siècle peut-il encore contribuer à la constitution d’un imaginaire collectif ? Au prisme de la thématique de «l’Espace comme lieu d’utopies» et dans la continuité de sa démarche artistique, l’auteur ou collectif propose un projet de forme courte pour la scène...
Date limite de dépôt des dossiers de candidature : 6 juin 2016
Pour Johan Huizinga, historien néerlandais auteur de “Homo ludens”, le jeu est l’essence de toute culture, seul l’élément ludique rend possible l’existence d’une authentique civilisation.
Aujourd’hui le phénomène global de ludification de nos sociétés agit sur l’apprentissage, sur la consommation et sur nos modes de vie. Cette ludification portée par l’avènement des technologies numériques a rendu les frontières de plus en plus poreuses entre les jeux vidéo, leurs mécanismes et “nos vies” au travers de domaines aussi variés que la publicité, l’architecture, la mode, la médecine et l’art.
Comment le transfert des mécanismes du jeu influence-t-il notre bon vouloir ? Le jeu serait-il un objet de pouvoir caché, aliénant notre libre arbitre ? L’industrie des jeux vidéo a contribué avec son développement à l’émergence et la diffusion de nouvelles interfaces technologiques permettant de faire évoluer les claviers et souris vers une relation où le corps humain et ses mouvements sont l’interface. Les différents systèmes de commandes (Wii mote, Kinect, Leap motion, oculus…) utilisent des technologies de pointes, qui étaient jusque-là réservées à l’usage scientifique et à la recherche et qui sont devenues des biens de consommation.
Ces nouvelles interfaces, accessibles à tous, ont inspiré des nouvelles générations d’artistes impliqués dans des réseaux travaillant de façon ludique et spontanée avec ces technologies de masse participant ainsi à la création d’une nouvelle espèce humaine le “Digital homo ludens” qui transforme ces produits en outils de création.
Comment ces interfaces originales orientent-elles les relations homme/machine?
Propulsée par différents complexes militaro-industriels, l’industrie des jeux vidéo nous propose souvent une vision du monde orientée, produisant du divertissement à bas coût. On peut dès lors, émettre l’hypothèse que le jeu vidéo est aujourd’hui devenu ce que Guy Debord dénonçait à propos du “spectacle” “un des “'appareil de propagande de l'emprise du capital sur nos vies”.
Ces espaces virtuels et technologiques sont devenus des territoires à conquérir et à investir artistiquement afin de défendre une certaine “souveraineté technologique” comme définie par Alex Haché. La technologie issue des jeux vidéo offre une “manne providentielle” d’outils et de modes de création pour les artistes. Cette trousse à outils est en évolution permanente, elle rend accessible et utilisable un certain nombre de moyens hardware et software à des fins artistiques. Les artistes qui s’en emparent, transforment alors ce média de masse en l’utilisant à la création d’un nouveau langage. En effet, la “souveraineté technologique” est ici synonyme d’une forme d’indépendance technologique que les artistes mettent en œuvre dans leur pratique. A l’instar de la plupart des média artistiques, le détournement de ces technologies représente une possibilité d’apprendre et de construire son propre monde. Ce désir de compréhension accompagne une volonté artistique de réappropriation du devenir technologique de nos sociétés.
Ces artistes mettent en évidence et critiquent l'influence que peuvent avoir ces mécanismes sur nos vies, à l’inverse du techno-positivisme dominant, valorisant ses différentes propriétés curatives, éducatives, sportives… .
i/o/lab is an artist-run organization that started in 2001 and since 2005 has been located at Tou Scene. i/o/lab Centre for Future Art is an active advocate for the arts and new technologies in the region. i/o/lab delivers professional artistic projects that have strengthened the center's institutional status, both nationally and internationally. The organization is affiliated with the national network - Production Network for Electronic Arts (PNEK) and has gradually built up a large international network within the field.
The activity of i/o/lab is divided into two parts:
In the public space conveys i/o/lab art that touches new technology and science to the wider public in the region with art projects in the form of exhibitions produced as Article Biennale and Public Art Screens.
i/o/lab works with professional artistic research and development with a focus on art, new technologies and science and contributes as a resource through presentations, activities and as a partner in the field, both nationally and internationally. i/o/lab also contributes as a partner to regional institutions and businesses.
i/o/lab's expertise extends from production to dissemination and knowledge of art in new technology and science. The dimensions of i/o/lab is to provide innovative and artistic projects through creating meeting places between art and research to multiple audiences in the community.
i/o/lab's projects are partly based on the dissemination of art in public spaces.
Our mission is to apply art and technology to create positive social impact through education, civic engagement, and public programs.
We use digital tools to create art and design projects that benefit society. We test and scale projects with high impact potential, teach digital tools to support artists and technologists, and inspire our community by promoting meaningful new work.
We apply the promise and inspiration of digital art to a broader social context. Our programs are transforming cities into creative outlets, applying technology to solve problems, and shaping how art is created and consumed in the digital era.
Le festival Némo devient la Biennale internationale des arts contemporains numériques - Paris / Île-de-France.
D'octobre 2015 à janvier 2016, dans environ 30 lieux partenaires à Paris et en Île-de-France, seront proposés arts contemporains numériques, installations, expositions, spectacle vivant technologique, performances audiovisuelles, concerts, musiques exploratoires, workshops et rencontres professionnelles.
Transgresser : affirmer simultanément la limite et son effraction, la finitude et l’excès, la loi et le désir. Ce geste esthétique, philosophique et politique aiguise le festival et l’académie pluridisciplinaire de l’Ircam, ManiFeste-2014.
Quelles transgressions aujourd’hui qui ne soient ni l’avatar des années soixante-dix, ni le scandale éphémère s’abîmant dans la convention – une morne dialectique -, ni le subversif institutionnalisé ? Parmi les singularités sauvages de ManiFeste-2014, Pierre Guyotat porté par Stanislas Nordey, Georges Aperghis croisant Samuel Beckett, la voix de Michel Foucault ou encore la figure du chef-compositeur (George Benjamin, Péter Eötvös, Matthias Pintscher) transgressant la séparation somme toute récente entre interpréter et concevoir.
Que sommes-nous capables de voir et de dire, donc d’entendre, qui énonce pleinement notre temps ? La pensée de Foucault, prodigue en rupture d’évidences, constitue ici un ressort précieux. Trente ans après sa mort, le philosophe des forces du pouvoir, des strates du savoir et de la gouvernance de soi est « mis sur écoute » lors d’une rencontre internationale et d’une création sonore. Son célèbre panoptique, permettant de voir sans être vu, aura par ailleurs inspiré le spectacle multimédia Luna Park de Georges Aperghis, un dispositif de surveillance et d’autosurveillance à l’heure de la NSA. ...
AxS Festival 2014 | CURIOSITY explores the uncharted journey of artistic and scientific creativity — the question, the experiment, the discovery. From Pandora’s irresistible desire to look into the box, to NASA/JPL’s Curiosity roving on the surface of Mars, human inquisitiveness defines our species and resonates powerfully through all works of art and scientific inquiry.
In fall 2014 Pasadena Arts Council will present the sixth AxS Festival, a unique collaboration showcasing the interplay between science and the arts. The festival will feature works from artists responding to the curiosity theme, including dance and theater performances, multimedia and visual arts events, and provocative conversations by artists and thinkers . . . even a curiously amazing ArtScience fair for imagining minds of all ages.
AxS FESTIVAL 2014 | CURIOSITY TWO WEEKS OF ART, DANCE, MUSIC, THEATER, PERFORMANCE and PROVOCATIVE CONVERSATION
AxS Festival 2014 | CURIOSITY explores the uncharted journey of artistic and scientific creativity — the question, the experiment, the discovery. From Pandora’s irresistible desire to look into the box, to NASA/JPL’s Curiosity roving on the surface of Mars, human inquisitiveness defines our species and resonates powerfully through all works of art and scientific inquiry.
In fall 2014 Pasadena Arts Council will present the sixth AxS Festival, a unique collaboration showcasing the interplay between science and the arts. The festival will feature works from artists responding to the curiosity theme, including dance and theater performances, multimedia and visual arts events, and provocative conversations by artists and thinkers . . . even a curiously amazing ArtScience fair for imagining minds of all ages.
City Sonic 2013 - 07 to 21.09.2013 (opening 06.09 à 18.30)
After celebrating its 10th anniversary in September 2012 in several cities of the Federation Wallonia-Brussels, City Sonic festival, initiated by Transcultures, Interdisciplinary Center for Sound and Digital Cultures, in co-production with le manège Mons and in partnership with the City of Mons gives importance to the sound emergences (Belgian and European young talents) for its eleventh edition, which will focus on the city centre of Mons. The concept of innovation is more than ever at the heart of the festival with forty artists presenting new forms of instrument and creations to be found in unusual places, daring collaborations that multiply (artist/engineer, musician/poet ...).
The opening of City Sonic#11 begins with a guided tour by the artists on September 6th at 6pm leaving the site des Arbalestriers to the Salle Saint-Georges on the Grand'Place. The opening of this edition of City Sonic is also associated, for the event part, to the European project Park In Progress will occupy the site des anciens Abattoirs with a "European Night of young creation."
Park In Progress is a European mobility programme (supported by the Culture Programme of the European Union), which gathers together young artists and young professional creators taking part in the different stages of the production of an artwork, around a joint project that requests transdisciplinary experience.
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