Digital #MediaArt(s) Numérique(s)

The Barbican and The Trampery today launch alt.barbican and announce the inaugural cohort of five artists selected for the major new accelerator for innovative artists working at the intersection of art and technology.

Over 230 practitioners applied to the programme and the selected artists, Dries Depoorter, Henry Driver, Jasmine Johnson, Ling Tan and Magz Hall were all asked to respond to the theme of ‘the subversion of reality’ with proposals for a broad range of projects including mobile apps, projection mapping, voice manipulation and wearable technology; exploring subjects as diverse as privacy and surveillance, body image, representations of gender and globalisation.

Delivered in partnership with MUTEK, the British Council, and the National Theatre’s Immersive Storytelling Studio, alt.barbican is a response to an increasingly fluid creative landscape. As new technologies open up previously unimagined expressive possibilities, alt.barbican’s six-month programme presents a new model of artistic support, drawing from entrepreneurial startup culture, to help emerging artists develop their carres...

The British Science Festival and Brighton Digital Festival are looking to co-commission a new digital artwork that will be presented in a gallery space at the University of Brighton, Edward St Campus throughout the British Science Festival and Brighton Digital Festival (5 September to 13 October 2017).

We are particularly interested in works that explore and respond to themes of place: the shifting horizons of physical and virtual environments; the possibilities of technology to reimagine, reinvent and reinterpret space and place, and new opportunities to facilitate collaboration and connect people, place and things.

We are looking for an original artwork or a significant development of an earlier piece. Proposals can involve online work but a thought-out exhibition proposal must be included. Proposals should be aimed at a public audience and a focus on public engagement and participation will be viewed favourably.

Videographies - VICE<->VERSA 3.0 - Arts / sciences - La Trois RTBF (00h26) - Retransmission sur RTBF Auvio

Le 25 novembre 2016, Transcultures, Centre des cultures numériques et sonores, organisait, en partenariat avec Vidéographies, Vice Versa 3.0 – Horizons numériques, un forum consacré aux liens féconds qui se nouent entre Arts et Sciences, Cultures numériques et Nouveaux médias. Cette journée de réflexion s’est tenue, dans le cadre de la Saison des cultures numériques de la Fédération Wallonie-Bruxelles, à Liège (Média Rives RTBF) et a rassemblé des experts, des chercheurs et des professionnels belges et internationaux autour de divers enjeux de la création numérique d’aujourd’hui et de demain. En parallèle, Vice Versa 3.0 a également présenté plusieurs installations (dont Olga Kisseleva, Judith Guez, Elizabeth Meur-Poniris, Claire Williams), des démos (notamment Numediart, Hovertone, Le laboratoire Mint-Université Lille 1) et des « works in progress » d’artistes et chercheurs associés ...

Virtual Reality productions are on the rise. But is the medium even available? How can we start thinking about the accessibility and democratization of immersive production, creation and consumption?

About the Speaker:
Brian Chirls is Chief Technology Officer at Datavized, an NYC-based immersive design and technology studio. He is creator of the WebVR Starter Kit and a recognized innovator in the independent film world. He was recently the Digital Technology Fellow at PBS POV, a position funded by the Knight Foundation. He has developed innovative models for interaction, data visualization and content authoring in virtual reality. Brian has helped to create a new genre of interactive video pieces and software libraries that demonstrate ways to combine the interactivity and connectivity of the web with the aesthetic power of cinema and his work has been presented at CPH:DOX, IDFA DocLab, SXSW and Tribeca Film Institute.

With two decades of artistic practice exploring an understanding of the natural world through the medium of computational technologies, boredomresearch have become intimately aware of the sensitivity and vulnerability of complex systems, including those which support human life on earth.

boredomresearch have been expanding their interest in bio-inspired systems in a project Robots in Distress which considers our strategies for coping in a world increasingly destabilised by human activity. In collaboration with the Artificial Life Lab (Karl Franzens University, Graz Austria), who are employing bio-inspired robots to provide solutions operating in human polluted environments, in 2016 boredomresearch started building robots made from the same plastic waste that pollutes many marine environments. Their work with biologists and engineers offers a different perspective which challenges a broader concern over a tendency towards increasingly complex solutions to answer the challenges of environmental crisis. This has led the artists to extend cutting edge research in artificial neural networks augmented by artificial hormone production to create autonomous agents with the potential for despondency. As emotional robotics becomes a reality does it also reveal a vulnerability? As we incorporate the robustness of swarm robotics into our technological armory should we also be mindful that the most archetypal swarm of all, the honey bee, is an organism in crisis. In this presentation boredomresearch foster a new vision for technological innovation, one that recognises the fragility of the environment that sustains it.

LifeSpace Science Art Research Gallery is located in the School of Life Sciences, University of Dundee, Scotland, UK.

The Gallery is open during exhibitions on Saturdays from 11am-5pm, and during the week by appointment only (email lifespace@dundee.ac.uk)

The mission of LifeSpace is to engage artists and scientists in exciting new collaborations and to foster long-term cross-disciplinary activity that will provide these communities and the public with greater insight into the broad spectrum of life sciences research. This research-driven gallery space is curated as a collaborative partnership between researchers from Duncan of Jordanstone College of Art and Design and researchers from the School of Life Sciences. It enables an exciting opportunity for interdisciplinary art and science interactions as well as providing a location for curatorial exchange between staff, students, researchers and the general public.

BOM (Birmingham Open Media) is forging a new model of radical practice at the intersection of art, technology and science with measurable social impact.

By making sustained investment in a community of Fellows and developing strategic projects and partnerships, we test pioneering ideas that investigate the transformative value of the arts across education, health and society.

BOM is proactively addressing barriers to cultural participation, by connecting world-class practitioners with activist research and communities.

We are born from hacker culture. But unlike other hackspaces that are filled with tools and operate on a membership model, our building foregrounds public engagement with a free gallery and events space, and supports a curated community of practitioners to deliver our aims. ...

From AlphaGo’s historic victory against world champion Lee Sedol to DeepStack’s sweeping win against professional poker players, artificial intelligence is clearly on a roll.

Part of the momentum comes from breakthroughs in artificial neural networks, which loosely mimic the multi-layer structure of the human brain. But that’s where the similarity ends. While the brain can hum along on energy only enough to power a light bulb, AlphaGo’s neural network runs on a whopping 1,920 CPUs and 280 GPUs, with a total power consumption of roughly one million watts—50,000 times more than its biological counterpart.

Extrapolate those numbers, and it’s easy to see that artificial neural networks have a serious problem—even if scientists design powerfully intelligent machines, they may demand too much energy to be practical for everyday use.

Today, H&M will release a special-edition leather handbag featuring the likeness of Jeff Koons’s Balloon Dog (Yellow) in some stores and on its website. To celebrate (and, really, further publicize) the occasion, Koons will decorate the six-story facade of the Swedish retailer’s Fifth Avenue flagship store in New York City with images of his iconic sculpture.

The most expensive living artist as of a November 2013 auction, Koons is routinely noted for his shrewd, and sometimes unusual, business practices. But the former Wall Street commodities broker also has a knack for science and technology.

In fact, his works are often so cutting edge that some of the world’s leading museums have found themselves ill-equipped to handle them. (Asked why the Guggenheim never went through with its 1996 plan for a major Koons exhibition, former director Lisa Dennison admitted to the New York Times that “finding the technology to match Jeff’s vision became impossible.”)

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The Land Art Generator Initiative (LAGI) brings together artists, architects, scientists, landscape architects, engineers, and others in a first of its kind collaboration. The goal of the Land Art Generator Initiative is to see to the design and construction of public art installations that uniquely combine aesthetics with utility-scale clean energy generation. The works will serve to inspire and educate while they provide renewable power to thousands of homes around the world.

Par définition, la logique du fou échappe à l'entendement de celui qui ne l'est pas. Ainsi, comment appréhender les troubles psychiatriques (hallucinations, paranoïa, confusion...) d'une personne atteinte de schizophrénie ? Voilà un défi parfois très perturbant pour l'entourage des personnes malades, qu'il s'agisse de la famille, des amis, des collègues ou même des soignants.

Pour tenter de sensibiliser au vécu d'une personne atteinte de schizophrénie, le laboratoire Janssen a développé une application de réalité virtuelle (VR) qui propose de se glisser dans la peau d'un schizophrène. En enfilant un casque de VR Oculus rift, le "spectateur" est immergé à la première personne dans un scénario qui suit un malade sujet à des hallucinations auditives et des sentiments paranoïaques...

What We Do

• Arts-based science communications
• Fund public Art-Inspired-By-Science exhibitions and networking events Connect curators, artists, and scientists
• exploring collaborations Share #artsci #sciart news, trends, and funding opportunities

About the Founder

Bob Nidever is a composer, organizer of the 7,000 plus members International Scientist Artist Collaborations group on LinkedIn, and has a distinguished career in academia commercializing scientific discoveries.

Qu'est-ce que la biologie participative ? Que permet-elle ?

« La science n’a pas de patrie, parce que le savoir est le patrimoine de l’humanité », disait Louis Pasteur. Il était bien loin de savoir que sa citation posait les bases de ce qui deviendra, près de 2 siècles plus tard, le biohacking, ou biologie participative en français, un mouvement qui veut s’affranchir des brevets, des grands laboratoires privés et rendre les sciences du vivant accessibles à tous jusque, dans certains cas extrêmes, chercher à modifier son propre corps pour le bien commun.

Biohacking, qui sont les nouveaux explorateurs du vivant ? C’est le problème que La Méthode scientifique va tenter de résoudre dans l’heure qui vient...

L’exposition Le Rêve des formes, présentée à l’occasion du vingtième anniversaire de l’école du Fresnoy, est conçue comme un paysage imaginaire, un jardin monstrueux où se cultivent des formes périssables et des surfaces en germination, des organismes protubérants et de plates silhouettes.

Les artistes et chercheurs rassemblés dans Le Rêve des formes témoignent de leur rencontre avec de nouvelles possibilités de représentation, issues de découvertes scientifiques et techniques récentes, qui bouleversent notre façon de voir et de montrer. En renouvelant grâce à cela le champ du perceptible – nanotechnologies, imagerie de synthèse, scan 3D, stéréolithographie… –, ces nouvelles visualisations nous laissent présumer de géométries encore inconnues...

Artificial intelligence has done it again. Now that Facebook, Uber and Co. are suffering from an increasingly bad public image, the reinvention of Virtual Reality has already lost its allure, and the Internet of Things doesn’t seem to be able to get beyond the self-replenishing refrigerator, the thrill engendered by futuristic super-machines is dominating the headlines.

So what are we to make of artificial intelligence? Gigantic job eliminator? Or the next step in evolution, the one in which technology finally asserts its mastery over us? Or maybe the source of redemptive systems that develop new medications for us and operate on us, that invest and multiply our capital, and that even make better business executives because the boss is finally a more rational decision-maker? Artificial intelligence has many faces and they’re sure to pay attention to us all.

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For decades, futurists and science fiction writers predicted that smart machines would someday rival the intelligence of humans. Now, their forecasts seem to be coming true. Artificial intelligence, or AI, already exceeds human capability in certain fields. Machines can send and receive signals and analyze vast quantities of data faster than humans. They have learned to drive cars, manage stock portfolios and, through personal assistants such as Siri and Alexa, talk to us. In the not-so-distant future, AI may even augment our own brain functions. But as with all revolutions, the potential of AI raises concerns. Among the biggest: Some worry that that its growing capability may trigger the largest labor displacement since the Great Depression. This panel will explore the many ways artificial intelligence will shape our workforce, culture and institutions in the years to come.

Moderator: James Cham, Partner, Bloomberg Beta / Speakers:
Pascale Fung, Professor, Department of Electronic and Computer Engineering, Hong Kong University of Science and Technology ; Ben Goertzel, Chief Scientist, Hanson Robotics; Chief Scientist, Aidyia Ltd ; Hsiao-Wuen Hon, Corporate Vice President, Microsoft Corp.; Chairman, Asia-Pacific R&D Group, Microsoft

In 1995, MIT’s Nicholas Negroponte predicted that “being digital” would have us entering a realm increasingly unconstrained by the materiality of the world. Two decades later, our everyday lives are indeed ever more suffused by computation and calculation. But unwieldy materiality persists and even reasserts itself.

Programmable matter, self-assembling structures, 3D/4D printing, wearable technologies and bio-inspired design today capture the attention of engineers, scientists and artists. “BEING MATERIAL” will showcase recent developments in materials systems and design, placing this work in dialogue with kindred and contrasting philosophy, art practice and critique.

Panels on the PROGRAMMABLE, WEARABLE, LIVABLE and INVISIBLE—along with a concert, AUDIBLE—will explore new and unexpected meetings of the digital and material worlds.

L’exposition Cells Fiction, qui interroge l’univers du microcosme, présente les travaux de dix étudiants de Master, réalisés dans le cadre du programme de recherche Images, Sciences et Technologies conduit par l’Esä, Ecole Supérieure d’Art du Nord-Pas-de-Calais, en association avec le Centre d’art Espace Croisé et le laboratoire TisBio (CNRS, Université Lille 1). Pour réaliser leurs projets, les étudiants ont travaillé au sein du laboratoire de microscopie photonique Tisbio, à l’interface entre la biologie, l’informatique et la physique. Si certains ont étudié les minéraux ou les propriétés de la lumière, beaucoup ont travaillé à partir des cellules, humaines ou végétales, ces plus petites unités du vivant. Quelles informations contiennent-elles ? Leur division, qui s’opère à notre insu, peuvent-elles nous apporter des informations autres que strictement scientifiques sur nous-mêmes ? Peut-on les faire « parler » différemment : ont-elles un son, une odeur ? Les séances au sein du laboratoire se sont multipliées depuis sept mois, conduisant les uns et les autres à affiner leurs projets, à les nourrir de lectures scientifiques, à répéter les expériences et les phases d’observation. ...

In the 1980s, Joi Ito traded in library tables at the University of Chicago for turntables at Chicago’s Smart Bar. But his attempt to evade academia wouldn’t stick.

The two-time college dropout became director of the MIT Media Lab in 2011, making the 50-year-old an academic administrator at one of the most renowned universities in the world. Before that, he was an entrepreneur who started a number of his own companies and invested in the likes of Flickr, Twitter and Kickstarter. 

A proud supporter of “responsible disobedience” — the lab is awarding its first $250,000 Disobedience Award this July — Ito is in Chicago Wednesday as a Chicago Ideas speaker. He will appear with IDEO Chicago Executive Portfolio Director Neil Stevenson at an event to discuss Chicago’s role in “embracing culture, art and experimentation.”

Blue Sky talked to Ito — whose interdisciplinary media lab focuses on the creative use of digital technology, sciences, arts and design — about the disobedience mindset....

https://www.media.mit.edu/disobedience

Colliding Worlds: How Cutting-Edge Science is Redefining Contemporary Art tells the story of how artists, scientists and technologists are working together to create a new art movement. It is a journey behind the scenes into a bold new world and features a close look at the artists themselves: their creativity and what drives them, their struggles, and the drama of developing a new art form. Just like previous avant-garde art movements this one is up against a hostile art establishment intent on maintaining the status quo. Distrustful of science and technology and of how its products fit gallery norms, the art establishment remains mired in the last century.

Science, engineering, computers, and algorithms inspire these artists, just as nature, hate, love and death used to inspire artists. Instead of paint and chisel, today’s artists are at home with the new twenty-first century electronically-based media. With it they strive to depict the wonders of our age of information – representing huge data sets aesthetically, looking into what it could mean in the future when robots interact with humans, sculpting with sound, folding together concepts of art with physics, using living matter to manipulate inert materials to make new and beautiful forms, and investigating what it means to be human when we can have chip implants, gene transplants, and organs produced by 3D printers inserted into our bodies.

Le Centre Pompidou présente Mutations / Créations, une nouvelle manifestation, tournée vers la prospective et l’interaction des technologies numériques avec la création ; un territoire partagé entre art, innovation et science. Transversale, aux croisements des disciplines, mêlant recherche, arts et ingénierie, cette manifestation annuelle convoque, pour sa première édition, la musique, le design et l’architecture. Elle propose deux expositions – « Imprimer le monde » et « Ross Lovegrove » –, le Forum Art-Innovation, intitulé « Vertigo », ainsi que des journées d’étude et des ateliers.

Chaque année, des expositions thématiques et monographiques s’articuleront à une programmation de rencontres et d’ateliers qui feront du Centre Pompidou un « incubateur », lieu de démonstrations de prototypes, d’expériences artistiques in vivo et d’échanges avec les créateurs. Cette plateforme sera aussi un observatoire critique et un outil d’analyse des impacts de la création sur la société. Comment les champs de création se sont-ils emparés des technologies numériques pour ouvrir de nouvelles perspectives industrielles ? Comment interrogent-ils les effets sociaux, économiques, politiques, les limites éthiques de ces développements industriels ? Quels enjeux pour les mutations formelles dans les domaines de la musique, de l’art, du design et de l’architecture au regard des avancées des technosciences ?

Columbia’s Mortimer B. Zuckerman Mind Brain Behavior Institute recognizes the exciting potential of building bridges between art and science.

Art and science have more in common than you might think. Both value people who are willing to think creatively and experiment with new approaches as they explore how the human mind perceives reality. Though artists and scientists may sometimes speak different languages, there is much they can learn from each other.

Columbia’s Mortimer B. Zuckerman Mind Brain Behavior Institute recognizes the exciting potential of building bridges between these disciplines. In this spirit, Eric Kandel, MD, and the Zuckerman Institute have invited artist Jeff Koons to be the Institute’s first artist-in-residence.

How can new knowledge be created from already existing knowledge? How can the conclusion go beyond the premises?

This book brings together some of the profoundest mysteries of art and science: What is the nature of creativity? Why is seeing in all its many forms – insight, revelation, a distinctive point of view – so central to the greatest advances of the human intellect? How do we allow for boundless human creativity in the sciences and yet retain our belief in a single underlying reality?

Why are scientists so strongly attracted to visual images? From Galileo’s drawings to Feynman diagrams to modern brain-imaging techniques, it’s almost impossible to imagine science without pictures. To see is to understand. In this way scientists are like artists: both seek a visual interpretation of worlds both visible and invisible.

Insights of Genius explores the connections between Modern Art and modern physics in a wide-ranging study that takes us through the philosophy of mind and language, cognitive science, and neurophysiology in search of the origins and meaning of visual imagery.