Media Arts Watch Lab - www.arts-numeriques.info - laboratoire de veille Arts Numériques - twitter @arts_numeriques - @processing_org - @DigitalArt_be - by @jacquesurbanska @_Transcultures
An immaterial artwork consisting real fire. The fire is continuously burning inside the space over the whole exhibition period. It seems like it is just the begin before the fire takes the whole space.
The heat and the flickering of the flames take the whole exhibition space into tension. It brings, on one hand the potential of destruction and danger of this element but also the domination over it, out.
Il y a vingt ans, Ben Goertzel, un scientifique américain, inventait le principe de l'intelligence artificielle générale (IAG). En 2012, il s'est fixé un nouvel objectif : créer le premier enfant-robot doté de l'intelligence d'un enfant de 3 ans, avec la capacité d'apprendre. Y parviendra-t-il ? Ben Goertzel a créé sa société, Open Cog, à Hongkong, où il poursuit depuis ses travaux avec son équipe.
The structure of language – musical at its origin – is the source of this installation. Based on texts and melodies originating from operas telling the Faust myth (the epic of human curiosity and desire), the installation explores the underlying contour of language.
The work is made of industrial objects. 102 screens and speakers creating an emergent space, arranged in repetitive patterns. Blowing up the virtual into space. Phrases and melodies of the vocalists are constantly reproduced using machine learning software. Powerful algorithms, which transform the way we act and think, omnipresent in our society and in permanent interaction with us. A new version of Faust is created, fragmented and with varying degrees of legibility, recreated in light and sound movements.
It is a game with the boundaries of perception. The point where language loses its meaning and becomes abstract. Language which is pushed to its limits, where nothing is left but pure rhythmic and melodic structure. It is the organic nature of language, imitated by a machine. This reveals the proper poetics – in all its absurdity – of the digital.
A production of Le Fresnoy - Studio national des arts contemporains lefresnoy.net Supported by Bipolar in the framework of RUNAWAY bipolar-production.com
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 ...
La programmation de cette émission a été composée par les soins de Philippe Franck, critique culturel et directeur de Transcultures qui la représente également en complicité avec Jacques Urbanska, artiste/concepteur multimédiatique et chargé des projets arts numériques pour Transcultures.
The Punishment is an installation in which a robot executes a preventive punishment for its possible future disobedience. A reference to Isaac Asimov’s laws of robotics.
Technologies are now merging at high speed, notably robotics and artificial intelligence. It raises a lot of questions about man-machine relation. Tainted with dark humor, this dystopian anthropomorphization also underlines the fears that robotics engenders. How automated do we want our world, our body to be? What physical, moral and legal framework should we use? What consequences for human life? Which post-work society should we build? Isn't it time to reinvent the school? At the turn of the century, questions related to automation are popping up in everyone’s mind. We will have to answers them collectively, if possible.
Le NøøMuseum est une oeuvre d’art numérique immersive et interactive développée par Yann Minh depuis plus de dix ans.
C’est un musée dématérialisé de science-fiction imaginaire consacré à la préhistoire de la cyberculture, et qui étend son réseau de galeries hypermédias connectées, dans différents secteurs du cyberespace. Les premières NøøGaleries ont été installées en 2004, dans l’espace vidéoludique du jeu Unreal-Tournament sous forme de “map” personnalisées, accessibles en réseau multijoueur.
Depuis, le réseau de NøøGaleries s’est développé dans les mondes persistants des open-sims, et de second life, en versions stand alone téléchargeables et installées sur les ordinateur des visiteurs, sur le web, et maintenant en version immersives pour l’Oculus Rift, les Google Cardboard IOS et Android, et autres dispositifs immersifs VR. ...
Panorama et Agora, les manifestations du Fresnoy et de l'Ircam, s'inaugurent simultanément, reflétant une convergence artistique entre deux écoles. Ainsi l'installation Tripwire est née de la rencontre entre la compositrice américaine Ashley Fure, achevant son Cursus de l'Ircam et Jean-Michel Albert, vidéaste étudiant au Fresnoy. Les dix-huit cordes, chacune actionnée par un moteur, se transforment en écran de projection. À ce système mécanique qui représente l'onde sonore correspond un espace sonore inspiré par le bruit des cordes dans l'air et leur potentiel harmonique. Les spectateurs viendront perturber la forme préprogrammée de cette installation. Coproduction Ircam-Centre Pompidou, Le Fresnoy ' Studio national des arts contemporains, avec l'aide à la création d'Arcadi. Avec le soutien de la Sacem (bourses d'étude aux jeunes compositeurs du Cursus 2). Dans le cadre du Festival Agora.
Coproduction Ircam-Centre Pompidou, Le Fresnoy-Studio national des arts contemporains. Avec l'aide à la production d'Arcadi.
Le 25 Novembre 2016, Transcultures collaborait avec Vidéographies pour organiser Vice Versa 3.0, un Forum consacré aux liens qui se nouent entre Arts, Sciences, Cultures numériques et Nouveaux Médias. Cette journée de… Numéro 10 / Arts de la scène et Développement numérique
Deux grandes thématiques ont structuré la journée : Nouvelles images numériques et Relations entre Arts et Recherche scientifique. Afin de poursuivre les réflexions abordées lors du forum, Vidéographies 4.0 diffusera non pas une mais deux émissions respectivement dédiées à ces deux parties.
Cette première partie se concentre donc sur les frictions qui se créent entre Arts de la Scène et Développement numérique. Cette programmation de qualité est composée par un de nos présentateurs préférés, Dick Tomasovic, accompagné par Jonathan Thonon, coordinateur du projet IMPACT – International Meeting in Performing Arts & Creative Technologies. Lancé par le Théâtre de Liège et ses partenaires de l’Euregio Meuse-Rhin, IMPACT a pour ambition d’inscrire les arts de la scène dans le domaine des nouvelles technologies, des arts numériques et médiatiques.
Diffusion sur La Trois La nuit du samedi 4 Février 2017 à 01:00 (une heure du matin) ainsi qu’en ligne durant 7 jours sur AUVIO
Conversations_on_chaos is a project which deepens on the idea of order as the emergence of chaos. It uses chaos theory and elements from dynamic system studies and experimentation in order to create a system where two machines hold a chaotic conversation about chaos. The installation is comprised of two Random Oscillating Electromagnetic Pendulums or ROEMPs (a modification of ROMPs - instruments used to study chaos theory and dynamic systems in scientific experimental setups) and a computer running a custom software which implements Markov's Chains algorithm in order to enable the machine with a human like language processing tool.
The installation works as an infinite loop with each cycle containing two main moments: the chaotic dynamics, when the pendulums operate and talk to each other via binary I/Os, and the data processing and text to speech engine operation, when the previously generated chaos becomes the voice for a human like conversation between the entities. After each cycle, the previously generated idea of chaos becomes the new starting point from which a new, and in a sense a more evolved concept about chaos, emerges. One way of thinking about this process is as thought generator which starts almost as a schizophrenic voice and evolves cycle by cycle into a rational artificial entity.
Lexus Art Series by Whitewall, art & innovation talks: "Virtual Reality: How will it influence Art and Design?" a discussion between Daniel Arsham and Cool Hunting's David Grave.
Jean Martin’s documentary Peter Vogel: The Sound of Shadows is a lasting document complementing the artist’s first solo exhibition in Britain. It provides viewers with a rich context to understand the artist and his works, whether or not they were able to visit the exhibition itself. The film offered an appropriately dynamic medium to explore and reflect on Vogel’s time-based, interactive objects, yet nobody anywhere in the world had previously made a full-length documentary about Vogel. Due to the artist’s age and health, it was imperative to take the opportunity to complement the exhibition premiere of his sonic interactive sculptures at the University of Brighton in 2011 with a comprehensive DVD.
Two prime research questions emerged: how best to demonstrate the ways in which time-based, interactive sound objects work; and what made Peter Vogel’s work pioneering and different?
Over the two-year evolution of this project, Martin’s method included filming Vogel in his Freiburg studio and elsewhere (including his solo exhibition in Paris, 2009) as he talked about what motivated him to create his interactive, dynamic works, given that he started out as a painter. Closely allied to this, Martin filmed examples of Vogel’s artworks in action, with the artist explaining his creative and technical approaches. Martin examined the context in which Vogel worked and his role in sound art history through an interview with Professor De La Motte, a leading German academic in the field. He explored aspects of sound theory and philosophy, including the roles played by interaction, chance and causality, and the practice (which can be termed the ‘aestheticisation of technology’) of showing the electronic circuitry in the artworks themselves.
In addition to the DVD, a comprehensive website devoted to Vogel’s work includes exhibition details, published essays and examination of key works.
When I was just starting out in 1992 to create interactive, or reactive as I dubbed them, graphics, there was a great deal of CD-ROM-based content emerging that seemed to miss the point of computational media.
With the digital media publisher Digitalogue, I created 4 books (the 5th never made it to print) that focused upon different aspects of the computer as related to the visual medium.
Rock Print is an investigation into the constructive principle of the physical phenomena of jamming, in which granular matter can change from liquid to solid and back again. Rock Print exploits this characteristic with a congruent construction system that: 1) is informed by a computational design and realised with robotic fabrication machinery, 2) can be constructed into highly differentiated and load-bearing structures at an architectural scale using low-grade bulk material, such as gravel, and 3) is fully reversible. The construction system works as follows. To be able to control where and how gravel jams, the density between the aggregates has to be decreased to a level that forces it to behave like a solid. This can be achieved by introducing tensile reinforcement, such as string, to confine the gravel. A robotic arm enables the precise placement of string according to a digital blueprint and as such informs the shape and performance of a specific architectural artefact. To reverse the construction, the string is pulled, leading to a chain reaction restoring the gravel and the string to their initial state...
Collaborators: Prof. Fabio Gramazio, Prof. Matthias Kohler, Prof. Skylar Tibbits, Andreas Thoma (project lead installation), Petrus Aejmelaeus-Lindström (project lead research), Dr. Volker Helm, Sara Falcone, Jared Laucks, Lina Kara’in, Michael Lyrenmann, Carrie McKnelly, George Varnavides, Stephane de Weck, Dr. Jan Willmann
Selected experts: Prof. Dr. Hans J. Herrmann and Dr. Falk K. Wittel (Institute for Building Materials, ETH Zurich), Prof. Dr. Heinrich Jaeger and Kieran Murphy (Chicago University)
Selected consultants: Walt + Galmarini AG
Supported by ETH Zurich, ETH Zurich Foundation Grant, MIT’s Department of Architecture, the MIT International Design Center, MIT (MISTI) Grant, Pro Helvetia Swiss Arts Council, swissnex, MISAPOR Beton AG
At the Bartlett School of Architecture, University College London – the UK’s leading and largest Faculty of the Built Environment – we are starting a new 15-month Masters programme Design for Performance & Interaction offering students an opportunity to learning about Design in 4 Dimensions. Students will design the performance and interaction of objects, environments and people using the latest fabrication, sensing, computation, networked and responsive technologies. Emphasis is placed on prototyping, from interactive objects and installations to staged events, and performance architecture.
M. Laurent Alexandre (Entrepreneur, DNA vision) au Senat le 19.01.2017 pour parler de l'impact de l'Intelligence Artificielle sur la société et l'économie française.
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
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.
In the 19th century a lot of devices, such as Thamatrope, Phenakistiscope or Zoetrope, that displayed images were invented.
These devices are unique in shape and process of how to display images itself. In the process of generalization and optimization,the shape and process of the display converged to a stereotyped figure such as flat , square or fixed.
It is one of the most efficient shapes to transmit information correctly, but it`s unsatisfying in terms of a device to create expression.
There should be a diversity and more room for creation. dis:play(bias) is a experimental trial to create devices dedicated to transmit not information, but expression. dis:play(bias) is based on the principles of polarization. LCD(liquid crystal display) consists of 4 layers, top polarizing film, liquid crystal, bottom polarizing film and backlight. dis:play(bias) also has 4layers, but top polarizing film is separated from LCD display. To separate top polarizing film from display, so that top polarizing film can be designed any shape. Images are visible only through cubes and plates attached polarization film on.
Chris Novello is a programmer and designer. He has backgrounds in sound, HCI, videogames, viral media, and critical design. He teaches in the Graduate Program in RISD Graphic Design and holds an MFA from Brown University.
"Codebending is the exploration of software with "patch points." Patch points expose the inner workings of computer programs, and allow for atypical connections between things like games, music making software, office suites, etc. illucia is a USB device with physical jacks that correspond to software patch points, which can be connected and disconnected using patch cables. Thus, illucia is a console for routing information between computer programs, and opens strange relationships across systems that don't usually interact - it turns systems themselves into play objects.
I've written several codebendable games/programs that open their inner workings via patch points. Fascinating and unexpected things happen when connecting otherwise-unrelated programs:
Video games can play other video games. Music synthesizers can control word processors. Feedback loops turn everyday software tropes into generative art. Simple AI is patchable. Anything controls (and can be controlled by) anything; in codebending, every system becomes an instrument with a unique voice, ready to control, and be controlled. illucia is a physical instrument to explore these kinds of connections - it is a way to treat systems as playgrounds." (Chris Novello)
Kamal Musharbash is a contributing writer to Trend Hunter, and loves the idea of sound art installations. These pieces give viewers a full sensory experience, complete with both visuals and audio.
One if his favorite sound art installations is The Wave of Matter art piece, a design with a magnet underneath millions of tiny metallic balls, which mimics the singing of the ocean when moved. The design is very simplistic, yet it creates an overwhelming audio sound. One would even think they are at the beach!
Kamal is proud of how he took his accomplishments at Trend Hunter, and used these skills in the world of fashion. By building these transferrable skills, he was able to be successful in this competitive industry that requires much tenacity.
The Unframed World – Virtual Reality as artistic medium for the 21st century" is the first comprehensive presentation of artistic projects using the Virtual Reality medium at House of Electronic Arts (HeK) in Basel, Switzerland. Curated by Tina Sauerländer, the exhibition features works by the artists Li Alin, Banz & Bowinkel, Fragment.In, Martha Hipley, Rindon Johnson, Marc Lee, Mélodie Mousset & Naëm Baron, Rachel Rossin, and Alfredo Salazar-Caro. In this video, we attend the opening reception of the exhibition.
The Unframed World – Virtual Reality as artistic medium for the 21st century, House of Electronic Arts Basel. Vernissage, January 18, 2017
The biennial festival NODE – Forum for Digital Arts gathers designers, creative coders, digital artists and creatives of the digital media scene since 2008.
NODE aims to foster a critical reflection within the creative coding scene. The forum is supporting the creation of an innovative and responsible movement by encouraging new collaboration, interdisciplinary exchange and open knowledge sharing.
The main goal of the forum is to empower individuals by encouraging them to experiment, prototype, and develop new things, to ask new questions and to provide answers.
Directed by speculative architect Liam Young and written by fiction author Tim Maughan and designed ‘Where the City Can’t See’ is the world’s first narrative fiction film shot entirely with laser scanners. The computer vision systems of driverless cars goggle maps, urban management systems and CCTV surveillance are now fundamentally reshaping urban experience and the cultures of our city. Set in the Chinese owned and controlled Detroit Economic Zone (DEZ) and shot using the same scanning technologies used in autonomous vechicles, we see this near future city through the eyes of the robots that manage it.
In 'Brume', the artist duo Michael Kugler and Sebastian Wolf investigate immateriality by coaxing fog into a semi-geometrical, self-organizing form. The viewer becomes a catalyst for disturbance, generating turbulences that not only illustrate the carrying power of the air, but upset a perceived equilibrium, and reveal the spatial and temporal volatility of such a phenomenon. 'Brume' operates in the margins between ubiquity and the finite, symmetry and the amorphous, transience and permanence, and gesturing at the paradox of immateriality.
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