121 vidéos
Espace vert, a link to life through experimentation
Anouk Daguin, Jean Marc Chomaz Espace vert is an installation-workshop that develops as it is presented and participated in. In a space resembling a chemistry laboratory, entirely lit with green light at 550 nanometers, participants are invited to experience the extraction process, crushing with a pestle, decantation with alcohol, filtration, evaporation, all in order to create the chlorophyll ink of a plant that they will have previously picked in the area. Under this green light, the participants create a set of botanical drawings of each plant, using the chlorophyll extracted from the plant itself as the only pigment. This green dye decomposes under white light, as chlorophyll is photosensitive to red and blue light. Only green light can preserve its color. A work on the nomenclature of colors is carried out collectively and the colors are listed. The participants are asked to share their personal connection to plants around a 'chat table'. This installation on the vulnerability of plants aims to provide an immersive space in which to come up with new narratives on the common imagination and trans-species relations, as well as relocating human-plant encounters to this new, green-lit environment, where memories can be shared, and new experiences had. __________ Anouk Daguin is an artist and has been a doctoral student in Art and Science for three years. An artist of encounters and gossip, she is inspired by the scientific process or tools that become the mediators of encounters. She explores, through participatory projects, the way interactions between humans, plants and microorganisms are woven in a defined setting: nursing homes, agricultural environments, institutional places to give birth to new narratives on the porositý of the world. Her research-creation work is supported by the Arts & Sciences Chair at École Polytechnique, École des Arts Déco - PSL, the Carasso Foundation, and the Biotechnology Chair at CentraleSupElec. Jean-Marc Chomaz is a physical artist at Ladhyx, CNRS-Ecole Polytechnique, University Paris Saclay, France, Jean-Marc's work explores the invisible space of colors, the spectrum of electromagnetic waves that travel in Time-space and connect us to the past, to the cosmos but also to the living world, plants, animals, men, Aliens. Sepia of a photo too long exposed to the sun or faded green of the clover that the pages of an old book leafed through distractedly release from their oblivion.
Anouk Daguin, Jean Marc Chomaz Espace vert is an installation-workshop that develops as it is prese...
Club Innovation & Culture CLIC France: Metavers and web 3.0 at the service of artists
Pierre-Yves Lochon Metavers and web 3.0 at the service of artists What could be the place of artists in the Metaverse? What could be the role of artists in the development of this new digital universe? Will it be a new tool for distribution and monetization or could it also become a platform for creating and imagining new artistic expressions? To answer these questions, the round table will invite an artist, a platform and a gallery. ________ Métavers et web 3.0 au services des artistes Quelle pourrait-être la place des artistes dans le Métavers ? Quel pourrait-être le rôle des artistes dans le développement de ce nouvel univers numérique ? Sera-t-il un nouvel outil de diffusion et de monétisation ou pourrait-il également devenir une plateforme pour créer et imaginer de nouvelles expressions artistiques ? Pour répondre à ces questions, la table ronde invitera un artiste, une plateforme et une galerie. ________ With / Avec : Pierre-Yves Lochon
Pierre-Yves Lochon Metavers and web 3.0 at the service of artists What could be the place of artis...
Light & Bodies & Perception in Public Space
Titia Ex During a lockdown, there was a supermoon over Europe. A beautiful light filtered through our surroundings, however, a paradox with the obligation to stay indoors when we should be going outside for our health. Light and health are fundamentally linked. Light is related to our well-being during the day and at night. The biological clock of humans and animals, greening, sustainability, public space, every-thing is related to light. Light is much more than a medium that enables us to see. It affects our health, our ecosystems and the places we live in in countless ways. Without reciprocity, we could not survive. We are eating and drinking light. Art of Light in public space For me, as a public art artist specialized in light, public space is not a saturated or static space, but a living organism. A continuous process of interaction between people and their environment. Light uses time and space as its material. Light art in public space does not begin or end in a physical form but is a transfer of energy. An infinite potential of relationships that permanently engenders new links between things and people. It can lift the space out of its anonymity and add new and unexpected connections or break fixed patterns of movement. It does not have to draw attention to itself, it provides sight of the space. Light, both natural and artificial, brings people together in urban spaces, emphasize the culture and identity of the city and shape the nightscape. Artistic research experience-based process The goal is to identify different light ecosystems, characters and qualities of the living environment. Defining functional, emotional and social dimensions, in order to experiencing what is of real value of light, rethink the relationship with nature and by focusing on bodies and perception rather than reason and intellect. In order to make people the owners of the light in their living environment. __________ Titia Ex (NL) creates a choreography in space, where art, technology and the receptive surroundings meet. Every environment has its own character, function and users. Her visual light & media sculptures immerse with their dynamic, mobile forms and interactive characters. In the course of light and dark, day and night, they reflect related changes of mood and create a poetic echo, adding a new layer of meaning. She is the creator of dozens of high-profile, large-scale works of light art in public space, including ‘Dolmen Light’ in the Hondsrugtunnel in Emmen (NL) (2015) and ‘Loom Light’, an interactive light monument in Eindhoven, NL (2022). Several installations travel around the world such as 'Flower of the Universe,' an interactive installation about the cross-pollination between humans and plants, and 'The Walk', recently shown at the Oude Kerk in Amsterdam and selected for the ISEA2023 in Paris. __________ 'The Walk' shows an intense, red glow of light a fascinating variety of colors and movements. The spherical shape and the change of light and color give the impression of a rotating planet. Based on Dante's Divine Comedy about the journey from the Inferno to Purgatory, an illusory story unfolds that gives a sense of catharsis and the transition from fire to light. Flames and figures with torches appear as a non-stop procession into infinity, searching for meaning and happiness. The spectator is invited to enter the procession, approach the sphere and walk around it without ever moving away from the light. In this form of interaction between spectator, space and object, the visitor is not only absorbed by a play of light and image, but is also a participant in a journey in search of light.
Titia Ex During a lockdown, there was a supermoon over Europe. A beautiful light filtered through o...
Exploration.135 (ocean history telecom invisibility)
Juliette Lusven, Max Boutin EN Inspired by bathymetric archives from the Atlantic Ocean, Exploration.135 investigates the relationships between the history of telecommunications, marine geosciences, and terrestrial imagery, through visual and media art. Articulating from the current undersea infrastructure of the Internet, this project interrogates our technological and environmental relationship to the world. Juliette Lusven is a transdisciplinary artist-researcher in visual and media arts who lives and works in Montreal, Canada. Her exploratory and processual approach is inspired by geosciences, perceptive and technological visualization processes in relation to terrestrial and oceanic space. __________ FR Inspirée par des archives bathymétriques de l'océan Atlantique Exploration.135 s'intéresse aux relations entre l'histoire des télécommunications, des géosciences marines et de l'imagerie terrestre avec les arts visuels et médiatiques. S'articulant à partir de l'infrastructure actuelle d'Internet, ce projet interroge notre relation technologique et environnementale au monde. Juliette Lusven est une artiste-chercheure transdisciplinaire en arts visuels et médiatiques qui vit et travaille à Montréal au Canada. Sa démarche exploratoire et processuelle est souvent inspirée des géosciences et des procédés de visualisations perceptifs et technologiques en regard de l’espace terrestre et océanique. __________ With the participation of Max Boutin, collaborator in the project, also artist researcher in visual and media art, member of Hexagram network.
Juliette Lusven, Max Boutin EN Inspired by bathymetric archives from the Atlantic Ocean, Explorati...
Same Old Story: Agential Realism in the Study of Colonial Histories
Hamed Rashtian, Gabriela Aceves-Sepulveda What are the possibilities of accessing the reality of history? How can we read history and what can we learn from it? In this paper, I will try to contemplate these questions by putting my ongoing research-creation project titled Same Old Story (2020-present) in conversation with literature to expand its theoretical framework. Informed by the ideas of U.S. feminist theorist Karen Barad about “agential realism”, I will elaborate on how this concept can be adopted in the study of history. To do so, after an introductory literature review, I will start with a detailed description of the project. Further, I will expand on the theory involved in Same Old Story under the three themes of Archive/Memory, Architecture, and Monument/Counter-Monument. These themes are chosen for discussion because Same Old Story incorporates them in its structure. Building from this discussion, I will elaborate on how to further expand my work, focusing on the possibilities and limits of revitalizing embodied realities in historical events and learning from them. __________ Hamed Rashtian is a visual artist and Ph.D. student in the School of Interactive Arts & Technology at Simon Fraser University. Hamed completed his Master of Fine Arts at Emily Carr University of Art and Design in Vancouver, researching the possibilities of an art installation in creating a dialogue between different colonial histories. He holds a Swiss Federal Diploma in Higher Education from the F+F School of Art and Design in Zurich. Hamed has held seven solo exhibitions in Iran, Switzerland, and United Arab Emirates and has participated in more than sixty group exhibitions in Iran, Switzerland, France, Germany, the United States, and the United Arab Emirates. Dr. Gabriela Aceves Sepúlveda is a Mexican-Canadian interdisciplinary media artist and cultural historian with a research focus in feminist media art history. She is Associate Professor in the School of Interactive Arts and Technology at Simon Fraser University where she leads criticalMediaArtsStudio (cMAS). cMAS is an interdisciplinary research-creation studio that produces work that interrogates how old and new technologies have and continue to shape our sense of self through a theoretical lens informed by media and feminist theory.
Hamed Rashtian, Gabriela Aceves-Sepulveda What are the possibilities of accessing the reality of hi...
4E cognition for symbiotic architecture?
Yann Blanchi With the aim of reconnecting humans to their milieu, we propose a conceptual tool to think of architectural apparatuses as actors within a continuum composed of both artificial and natural agents. For this we look at the cognitive sciences and particularly the 4E cognitive (embodied, embedded, enactive, and extended). We use examples from contemporary architecture to test our hypothesis and thus attempt to define what symbiotic architecture could be. __________ Yann Blanchi est docteure en architecture de l’Université Paris Cité. Ses recherches interrogent de façon systémique la triade humain-architecture-milieu à l’ère du paradigme de la coopération entre le naturel et l’artificiel. Elle croise le champ de l’architecture avec les sciences du vivant et les sciences de l’information.
Yann Blanchi With the aim of reconnecting humans to their milieu, we propose a conceptual tool to t...
Revolution Refridge: Domestic technology for democratic futures
Dani Ploeger Revolution Refridge is a low-cost, energy efficient refrigerator that responds to local cultural, environmental and eco- nomic conditions in North-East Syria, developed through a cooperation between artists and engineers. Drawing from the Rojava Revolution principles of self-reliance, communalist anti-capitalism and ecology, the fridge takes its starting point from sci-fi imaginaries that are rooted in local and regional traditions. __________ Dani Ploeger explores situations of conflict and crisis on the fringes of the world of high-tech consumerism. His objects, videos and software engage with the spectacles of waste, sex and violence and question the sanitized, utopian marketing surrounding innovation and its implications for local and global power dynamics.
Dani Ploeger Revolution Refridge is a low-cost, energy efficient refrigerator that responds to loca...
Curation as Research-Creation: Speculating on the Future of Art and Technology Festivals
Maurice Jones, Meaghan Wester, Marek Blottiere This paper explores a renewed approach to curation as research-creation (CRC) through its practical application in the annual art and technology festival. CRC envisions a shift in curation from a care for objects to a care for the emerging social relations of the curatorial project in a shared quest of meaning making. We set out with outlining the features of CRC as interdisciplinary, concerned with programmatic boundary objects, and centered around the unfolding event trajectory – the forms and methods that facilitate affective encounters. Following we outline how this approach to curation unfolds in practice through the case study of the Fest-Forward workshop series that speculates on the future of art and technology festivals. Concluding we summarize how this workshop series showcases the potential of CRC’s shift of attention from a mere presentation of artworks towards the facilitation of interdisciplinary and cross-cultural encounters that enroll artists, curators, and audiences. Marek Blottiere (he/him) is a student-researcher in Science Technology and Society with an interest in the development of AI in Canada. He holds a master's degree from the Institut National de la Recherche Scientifique - Urbanisation Culture Société, supported by the Quebec Research Fund - Society and Culture. He is now interested in the role of facilitation in the creation of meaning with interdisciplinary audiences. ___________ FR Marek Blottiere (il/lui) est un étudiant-chercheur en Science Technologie et Société intéressé par le développement de l'IA au Canada. Il est titulaire d'une maîtrise obtenue à l'Institut National de la Recherche Scientifique – Urbanisation Culture Société, soutenue par le Fond de Recherche du Québec - Société et Culture. Désormais, il s’intéresse au rôle de la facilitation dans la création de sens auprès de public interdisciplinaire.
Maurice Jones, Meaghan Wester, Marek Blottiere This paper explores a renewed approach to curation a...
Cosmo-Techno-Poiesis: Architecture of Environmental Control
Sebastian Gatz Architecture is not just a technological solution which mitigates energy losses but also a manifestation of ideology which separates the human body from the natural environment – or even reality. This paper explores architectural boundaries through different more-than-human aspects of memento mori. __________ Sebastian Gatz is an architect who works at the intersection of art, architecture and technology. Currently he is doing a PhD in Fine Arts at Konstfack, Stockholm. His research combines ficto-critical, metaphysical and posthuman methods to explore human-nature-technology relationships.
Sebastian Gatz Architecture is not just a technological solution which mitigates energy losses but ...
White Cube - Black Box: Investigating Bias in Museums and Algorithms
Sophia Brueckner White Cube / Black Box seeks to identify bias and the many ways bias gets introduced into and amplified within systems. A highly interdisciplinary team of data scientists, curators, designers, and artists used face detection and race classification algorithms to explore bias in algorithms and the University Art Museum’s collection of artworks. __________ Sophia Brueckner is a futurist artist/engineer who researches how technology shapes us. Inseparable from computers since the age of two, she believes she is a cyborg. As a software engineer at Google, she designed and built products used by tens of millions. At RISD and the MIT Media Lab, she researched the simultaneously empowering and controlling aspects of technology with a focus on haptic and social interfaces. Since 2011, Brueckner has taught Sci-Fi Prototyping, a course combining science fiction, extrapolative thinking, building prototypes, and technology ethics. The class and the students’ projects received international recognition and were featured by The Atlantic, Smithsonian Magazine, Wired, NPR, Scientific American, Fast Company, and many others. Brueckner’s work has been featured by Artforum, SIGGRAPH, the Peabody Essex Museum, Leonardo, Eyeo, ISEA, and more. She was an artist-in-residence at Autodesk Pier 9 and Nokia Bell Labs E.A.T. She is currently an associate professor at the Stamps School of Art and Design and co-director of the Center for Ethics, Society, and Computing (ESC) at the University of Michigan. Her ongoing objective is to combine her background in design and engineering with the perspective of an artist to inspire a more positive future.
Sophia Brueckner White Cube / Black Box seeks to identify bias and the many ways bias gets introduc...
ARt Chat - A Museum App combining AR, Art and Communication
Ivana Družetić-Vogel, Alina Fuchte, Marina Bauernfeind ARt chat is an application that enables museum visitors to place their own opinions, knowledge or even questions as comments virtually in the exhibition space. They can also discuss the artworks with others and interact even after leaving the exhibition. The application combines augmented reality, art and communication. __________ Alina Fuchte is the Project Manager of nextmuseum.io at NRW-Forum Düsseldorf. She studied Art History and Cultural and Social Anthropology in Münster and Amsterdam (B.A.), and Cultural Analysis and Education in Dortmund (M.A.). She completed a traineeship in the Department of Cultural Education at the Kunstpalast before joining NRW-Forum in 2020. Ivana Druzetic-Vogel (Research Associate, University of Applied Sciences) is a cultural anthropologist and museologist with work experience in cultural project management and creative industries. As part of the MIREVI team at the University of Applied Sciences Düsseldorf, she researches the intersection of art, culture and mixed reality technologies (https://mirevi.de/). Marina Bauernfeind (Project Manager nextmuseum.io, Museum Ulm) Marina Bauernfeind is the Project Manager for nextmuseum.io at Musem Ulm. She studied economics (B.A., MBA) in the South of Germany and Mumbai, India and is an expert on creative marketing. Her career started at the international publishing group Hubert Burda Media, followed by several years as a marketing freelancer before finally founding her own creative agency in 2014. With her switch to nextmuseum.io in 2020, she keeps pusuing her ideas for a digital future (museulmum.de/en/startseite/)
Ivana Družetić-Vogel, Alina Fuchte, Marina Bauernfeind ARt chat is an application that enables muse...
Towards an Intelligent IoT System for the Data-Informed Museum of the Future
Yannick Hofmann The intelligent.museum project is prototyping an intelligent IoT system for art and cultural institutions, utilizing data analytics from sensors and the internet to enhance the museum experience. The system will offer machine recommendations and data analysis for human decision-makers and also provide a technological framework for artists. __________ Yannick Hofmann strives to revolutionize the museum and make it a place of experience and experimentation, a social space where art, science, technology and public discourse come together. As artistic director of the intelligent.museum project, he has been prototyping hybrid formats and applications for the museum of the future since 2020.
Yannick Hofmann The intelligent.museum project is prototyping an intelligent IoT system for art and...
Towards a sympoietic relation with materials in interactive artworks
Nefeli Georgakopoulou, Dionysios Zamplaras, Sofia Kourkoulakou, Chu-Yin Chen In this paper we acknowledge the agency of non-human entities and argue against the binaries of subject/object, mind/body, nature/culture, science/art towards a new materiality. Technology has given us the opportunity to characterize and analyze material systems not only by their properties, but also by their potentialities. This leads to a sympoietic relation boundary between human-matter-machine interactions. _____ Nefeli Georgakopoulou is an architect, designer and a digital artist. She is currently conducting her PhD at Paris 8 University at INREV and is also a Research Associate in the Information Technologies Institute (ITI) of Centre for Research and Technology Hellas (CERTH). Her academic research focuses on the merge of science, technology and arts. Her work is based on concepts such as the use of materials as interfaces, mixed reality, robotic art, digital aesthetics and the use of AI in an artistic context.
Nefeli Georgakopoulou, Dionysios Zamplaras, Sofia Kourkoulakou, Chu-Yin Chen In this paper we ackno...
The Worlds of Entanglements: Reflection on Posthumanist Ontologies in Art&Science Projects
Maria Zolotova Posthuman subject is a new ontological entity and work-in-progress: they emerge as both a critical and a creative project within the posthuman convergence along posthumanist and postanthropocentric axes of interrogation. The article relates theories by Braidotti and Ferrando to the artistic experiments with nonhuman others, trees and fungi. _____ Maria Zolotova is a researcher and producer of projects in the intersection of art, science and technology. Her main interest lies in interdisciplinary and collaborative projects, in analysis how they open up new perspective, intersect with ecological and social systems. Maria lives currently in Austria and manages S+T+ARTS Prize at Ars Electronica.
Maria Zolotova Posthuman subject is a new ontological entity and work-in-progress: they emerge as b...
Centre National du Cinéma (CNC): Public Funding for the Digital Creation
Stefane Perraud, Sarah Arnaud, Chloé Jarry, Olivier Fontenay Public Funding for the Digital Creation - From the concept to distribution, what is the role of the public support? From the first stages of creation to the distribution of the artwork, how can the public authorities intervene in support of creators, producers, broadcasters, in order to strengthen the digital creation. In the particular case of Immersive Creation, what are the existing systems - particularly at the CNC - what roles do they play for creators. ________ Le soutien public à la création numérique - De la conception à la diffusion, quel est le rôle du soutien public ? Des premières étapes de la création jusqu’à la diffusion de l’oeuvre, comment les pouvoirs publics peuvent-ils intervenir en soutien des créateurs, des producteurs, des diffuseurs, afin de renforcer l’ensemble de la création numérique. Dans le cas particulier de la Création Immersive, quels sont les dispositifs existants = notamment au CNC - quel rôles jouent-ils pour les créateurs. ________ With / Avec : Stefane Perraud, artist / artiste Sarah Arnaud, production - Tchikiboum! company / production - société Tchikiboum! Chloé Jarry, production & distribution - Lucid Reality and Unframed / production & diffusion - société Lucid Reality et Unframed Moderator / Modérateur : Olivier Fontenay, Head of the Digital Creation Department, CNC / Chef du service de la Création Numérique, CNC
Stefane Perraud, Sarah Arnaud, Chloé Jarry, Olivier Fontenay Public Funding for the Digital Creatio...
Viable Planetarity (Post Growth Prototypes)
The artist's talk “Viable Planetarity” proposes to explore the symbiotic entanglement of our societies with the biosphere and the ways in which this pragmatic anchorage has become the core of an ecosystem of socio-political reinventions. Grounded in the artistic practice of the Disnovation.org collective, this proposal will test the virtues but also the limits of the notion of symbiosis. _____ Collective DISNOVATION.ORG works at the interface between contemporary art, research & hacking. Their artistic provocations seek to empower post growth imaginaries and practices while challenging the widespread faith that economic growth and technofixes will solve the ecosystemic disruptions they produced in the first place.
The artist's talk “Viable Planetarity” proposes to explore the symbiotic entanglement of our societi...
Tribute to Peter Weibel: Disremembering Peter Weibel: Reminiscences are more Interesting than Fact
Roger Malina
Roger Malina
Human Energetics in an Era of Post-Humanism
Christoph Brunner, Jonas Fritsch French philosopher of technology Gilbert Simondon is undoubtedly one of the key figures when it comes to conceptualizing individuation across physical, mental and social strata. In this article, we develop an overlooked aspect of Simondon’s work, namely how his ontogenetic project also implies an idea of a “human science” based on a “human energetics#, which – maybe in spite of its name – is an inherently transhumanist project opening fields of transduction across both disciplinary and experiential fields, with a particular emphasis on the role of technology. We present key concepts in Simondon’s work and relate them to lines of thinking on energies in the arts (Kahn) and post- colonialism (Wynter), exemplified through an analysis of Nigerian artist Otobong Nkanga’s video work “Remains of the Green Hill”. Our primary aim with the article is to continue a mobilization of Simondonian concepts and thinking for an experimental, transhumanist exploration in relation to its ethic-aesthetic and artistic potential. __________ Christoph Brunner, PhD, is Assistant Professor for Philosophy of Media and Technology at Erasmus University Rotterdam. He works on the politics of aestehtics in social movement and media ecologies. Jonas Fritsch, PhD, is Associate Professor in Interaction Design at the IT University of Copenhagen in the Department of Digital Design where he is heading the Affective Interaction & Relations (AIR) Lab. His work revolves around a creative thinking of interaction design, experience philosophy and affect theory through design experiments.
Christoph Brunner, Jonas Fritsch French philosopher of technology Gilbert Simondon is undoubtedly o...
Post-human motherhoods
Reflections on mother-offspring bonding as symbiotic individuation in Contemporary Art. Graziele Lautenschlaeger As part of an ongoing postdoctoral research on post-human motherhoods in media art, the paper examines selected artistic expressions of mother-offspring bonding and its relationships to different technological cultural basis. The introduction addresses the handling of the concept of mother and its related operations in the research scope. In the sequence, we suggest as standing points for reflection both the material basis of the placenta and the playfulness as elements shaping the mother- offspring bonding. They constitute fundamental aspects triggering affection in the potential symbiotic relationship established in mother-offspring bonding. The discussion is permeated by artworks examples, brought on demand to the text to feed the reflection. The notions of “natureculture” by Donna Haraway and the theoretical framework by Second-order Cybernetics are grounding references. The final considerations point towards the human and post-human aspects of motherhood revealed by the artworks, as well as to the need for concrete actions towards the reduction of the gender-based technological gap in media art, in order to increase the imaginary variability of the field. __________ Dr Graziele Lautenschlaeger (Rio Claro/SP, Brazil, 1983) holds a PhD in Cultural Studies from the Humboldt-Universität zu Berlin, a Master of Science in Architecture and Urbanism from the University of São Paulo and a Bachelor in Media Design, Image and Sound from the Federal University of São Carlos. With a transdisciplinary background and experimenting different media and languages, her artistic and academic production essentially draws on cybernetics, relational aesthetics, media archaeology and new materialism. Among her interests of investigation are: the notion of translation of materialities (transcreation), hybridization between organic and machinic elements, interface and interaction design, as well as relationships between spaces and narratives. Her most relevant publication is the book Sensing and making sense: Photosensitivity and light-to-sound translations in Media Art (2020). She is currently postdoctoral research fellow of the VALIE EXPORT Center / Kunstuniversität Linz.
Reflections on mother-offspring bonding as symbiotic individuation in Contemporary Art. Graziele La...
Structures of Emotion: Speculating an AI-Human Symbiosis
Avital Meshi, Treyden Chiaravalloti Structures of Emotion is a performance artwork that explores a symbiotic relationship between humans and Emotion Recognition Artificial-Intelligence (AI) algorithms. The piece utilizes a wearable computing device designed to enable the wearer to recognize emotions through two different perspectives: their own organic senses and the AI apparatus, which serves as an extension of the mind, connecting the human mind to a ‘collective consciousness’. Participants interacted with two performers; one wore the AI device, while the other relied solely on their organic abilities. The performance demonstrates how AI emotion recognition systems are still immature. However, it invites us to speculate on its potential role when it becomes more sophisticated. Additionally, it explores the ethical complexities of our entanglement with emotion recognition algorithms and imagines the danger of becoming dependent on them within a transhumanist future.
Avital Meshi, Treyden Chiaravalloti Structures of Emotion is a performance artwork that explores a ...
Introduction to the Symposium: Symbiosis by the ISEA2023 Academic Chairs
Emmanuel Mahé, Elena Papadaki, Maria Ptqk, François-Joseph Lapointe, Klio Krajewska
Emmanuel Mahé, Elena Papadaki, Maria Ptqk, François-Joseph Lapointe, Klio Krajewska
Fondation Daniel & Nina Carasso: Ecology of Practices
Valérie Pihet, Klaus Fruchtnis, Emmanuel Mahé, Maria Roszkowska Ecology of practices If we want to give ecology its rightful place, it is necessary to reconsider our approach to knowledge. Instead of limiting ourselves to an interdisciplinary or multidisciplinary vision, we should speak of ecologies of practices or compositions of knowledge. This perspective invites us to consider disciplines as part of complex and everevolving ecosystems with which they must negotiate and adapt. These ecosystems are made up of cultures, practices, professions, institutions, interests, motivations, procedures, statuses, and representations that are extremely diverse, and these disparate elements mean that there is no single model of composition. However, despite the inevitable singularity of knowledge composition projects, it is possible to share experiences to gradually build a common ground to cultivate. This task is vital, as composers need to break down the barriers of their practices and venture off the beaten path. It is not a matter of starting from scratch in the history of knowledge, but rather of inheriting it while finding ways to dehierarchize the relationships between arts, sciences, and society, and placing them at the center of our activities rather than on the margins. Écologie de pratiques Si l’on veut donner à l’écologie sa juste place, il est nécessaire de reconsidérer notre approche de la connaissance. Plutôt que de se limiter à une vision interdisciplinaire ou pluridisciplinaire, il convient de parler d’écologies de pratiques ou de compositions de savoirs. Cette perspective invite à considérer les disciplines comme faisant partie d’écosystèmes complexes et en constante évolution, avec lesquels elles doivent négocier et s’adapter. Ces écosystèmes sont constitués de cultures, de pratiques, de métiers, d’institutions, d’intérêts, de motivations, de procédures, de statuts et de représentations extrêmement diversifiés, autant d’éléments disparates qui font qu’il n’y a pas de modèle unique de composition. Cependant, malgré cette inévitable singularité des pro- jets de composition de savoirs, il est possible de partager les expériences pour construire progressivement un commun à cultiver. Cette tâche est même vitale, car les compositeurs ont besoin de décloisonner leurs pratiques pour les sortir des sentiers battus. Il ne s’agit pas de faire table rase de l’histoire de la connaissance, mais plutôt d’en hériter tout en trouvant des moyens pour déhiérarchiser les relations entre les arts, les sciences et la société, et de les placer au centre de nos activités, plutôt qu’en marge. __________ Moderator / Moderateur : Emmanuel Mahé, director of research at Ensad / directeur de la recherche de l'EnsAD With / Avec : Valérie Pihet, specialist in the relationship between the arts and sciences / spécialiste des relations entre arts/sciences Klaus Fruchtnis, Head of Art Citoyen France, Daniel and Nina Carasso Foundation / responsable de l’axe Art Citoyen France, Fondation Daniel et Nina Carasso Maria Roszkowska, artist, designer and co-founder of the collective DISNOVATION.ORG / artiste, designer ainsi que co-fondatrice du collectif DISNOVATION.ORG. Site internet : http://disnovation.org
Valérie Pihet, Klaus Fruchtnis, Emmanuel Mahé, Maria Roszkowska Ecology of practices If we want to...
OPENING CEREMONY
Speeches by the organising institutions and major partners 9h00 - Introduction et présentation de chaque intervenant par Eloi Choplin (animateur) 9h05 - Claude Farge, Directeur du Forum des images (invitant) 9h10 - Nils Aziosmanoff, Président du Cube Garges et producteur exécutif d’ISEA2023 9h15 - Michèle Boisvert, Déléguée Générale du Québec à Paris (partenaire) 9h20 - Emmanuel Tibloux, Directeur Général, et Emmanuel Mahé, Directeur de la Recherche de l’Ecole nationale supérieure des Arts Décoratifs 9h25 - Nadine Naas, Administratrice MAIF (partenaire) 9h30 - Klaus Fruchtnis et Marie Stéphane Maradeix, Fondation Carasso (partenaire) 9h35 - Erandy Vergara et Roger Malina, membres du board ISEA-International 9h40 - Fin de la séance d’ouverture - Début des travaux du Symposium
Speeches by the organising institutions and major partners 9h00 - Introduction et présentation de c...
A sympoietic ocean. Design research with/in the marine holobiont
Rasa Weber In the light of profound human impact on planetary systems, the global ocean, as a main source of life, is fundamentally transforming its interactions, flows and ecologies. These critical changes raise questions of other-than-human cohabitation on Earth, beyond the terrestrial ground also below sea level. In response to these radical ecological struggles, the design discipline seeks to reorganize its methodologies towards forms of multispecies collaboration with/in environments of anthropogenic change. In this paper, I argue for activating the evolutionary theory of Symbiogenesis, disseminated by biologist Lynn Margulis, based on the preliminary work of Mereschkowsky and Kozo-Polyansky. I am highlighting, how Symbiogenesis can serve as a point of departure for challenging and reinventing our disciplinary protocols in design. The ocean, as a prototypical space for symbiotic system relations serves as my experimental contact zone for shaping these multispecies encounters. Alongside a young generation of designers, the presented design research seeks to evade an extractivist mode of production in favor of developing process-oriented methodologies for interspecies design. A design research practice in underwater environments, together with sponges, algae, electrical circuits, marine biologists, fishes, cameras, limestone, polyps et al., gives rise to a new design strategy, which I suggest naming Sympoïetic Design. __________ Rasa Weber (designer, diver & researcher) is an experimental designer between Zurich and Berlin who explores the narrative and process-based potential of materials. Her design concepts are characterized by a strong narrative approach and critical ecological thinking. She regularly teaches at international universities and is currently a research associate at ZHdK and a Pre-Doctoral Researcher (ZHdK), associated with the Cluster of Excellence Matters of Activity. She works interdisciplinary in the fields of design, materials research, architecture, and design anthropology. In her practice-based doctoral research »Symbiocean« (supervised by Prof. Dr. Karmen Franinović, ZHdK and Prof. Dr. Karin Harrasser, University of the Arts Linz) she researches on the process of underwater mineral accretion and its sympoïetic potential for the ecological formation of marine habitats. At the intersection of marine biology, anthropology, and design, she explores the notion of Interspecies Architecture within her research on sympoïetic design processes with human, animal, and microbial actors in the ocean. She is one of the founders of They Feed Off Buildings, a design and architecture collective, in collaboration with Luisa Rubisch. As founder of the studio Blond & Bieber, she collaborated with textile designer Essi Glomb on bio-based material and color concepts.
Rasa Weber In the light of profound human impact on planetary systems, the global ocean, as a main ...
OPLINEPRIZE INTERNATIONAL
Michèle Robine, Philippe Bernard, Maurice Benayoun, Jean-Jacques Gay, ORLAN, Dominique Moulon, Evgeniy Chernyshov, Vidya-Kelie, Golnaz Behrouznia, Yann Minh EN Creation of a round table with the winners of OPLINEPRIZE INTERNATIONAL#14 around the theme SUBLIMATION / REIFICATION / SYMBIOSIS Round table around the OPLINEPRIZE 2022 winning artists surrounded by their curators for a round table around new technologies. In the presence of Michèle Robine, creator and president of OPLINEPRIZE, Maurice Benayoun, guest of honour, Jean-Jacques Gay, mediator, the curators ORLAN, Dominique Moulon and the laureates Evgeniy Chernyshov and Vidya-Kelie, Golnaz Behrouznia, Yann Minh. With: Evgeniy Chernyshov is a contemporary experimental artist, curator and founder of SYN Art Group. The artist works in the fields of scientific, light, sound, media, experimental and installation art. Golnaz Behrouznia is known for her multimedia work on the living, with forms that she has been developing since her time at the Beaux-Arts de Téhéran and the Création Numérique de Toulouse. Vidya-Kelie is a Franco-Mauritian artist, her double culture gives her the possibility of a vision of a connected universe, in parallel, with the promises of the digital as tools, materials or supports to serve her purpose. Dominique Moulon is an independent curator, art critic and teacher. He holds a doctorate in arts and art sciences and is a member of the French Association of Curators (CEA). Yann Minh Member of the Institut pour l'Etude des Relations Homme-Robot, Artist Researcher, graduated from ENSAD in New Media, but he prefers to describe himself as a NøøNaute Cyberpunk. ORLAN is an international artist who uses sculpture, painting, photography, video, installation, performance, biotechnology and body art to express herself. Jean-Jacques Gay is director of the festival accès)s( electronic cultures. Curator, producer, journalist, member of AICA and of the CITU team of the Laboratoire Paragraphe/Paris 8. Maurice Benayoun is a French digital artist, curator and theorist. He is also co-founder in 1987 of Z-A, a company laboratory that has played a pioneering role for 15 years in the field of new media, computer graphics and virtual reality. ___________ FR Création d'une table ronde avec les lauréats d'OPLINEPRIZE INTERNATIONAL#14 autour du thème SUBLIMATION / REIFICATION / SYMBIOSIS Table ronde autour des artistes lauréats OPLINEPRIZE 2022 entourés de leur curateurs pour une table ronde autour des nouvelles technologies. En présence de Michèle Robine, créatrice et présidente d’OPLINEPRIZE, Maurice Benayoun, invité d’honneur, Jean-Jacques Gay, médiateur, les curateurs ORLAN, Dominique Moulon et les lauréats Evgeniy Chernyshov et Vidya-Kelie, Golnaz Behrouznia, Yann Minh. Evgeniy Chernyshov est un artiste contemporain expérimental, commissaire d'exposition et fondateur de SYN Art Group. L'artiste travaille dans les domaines de l'art scientifique, lumineux, sonore, médiatique, expérimental, de l'installation, etc. Golnaz Behrouznia s'est fait connaître par un travail multimédia sur le vivant, avec des formes qu'elle développe, depuis son passage aux Beaux-Arts de Téhéran et à la Création Numérique de Toulouse. Vidya-Kelie est une artiste franco-mauricienne, sa double culture, lui donne la possibilité d'une vision d'un univers connecté, parallèlement, avec les promesses du numérique comme outils, matériaux ou supports au service de son propos. Yann Minh Membre de l'Institut pour l'Etude des Relations Homme-Robot, Artiste Chercheur, diplômé de l'ENSAD en Nouveaux Médias, mais il préfère se décrire comme un NøøNaute Cyberpunk. ORLAN est une artiste internationale qui utilise la sculpture, la peinture, la photographie, la vidéo, les installations, les performances, les biotechnologies et l'art corporel pour s'exprimer. Dominique Moulon est commissaire d'exposition, critique d'art et enseignant indépendant. Il est titulaire d'un doctorat en arts et sciences de l'art et membre de l'Association française des commissaires d'exposition (CEA). Jean-Jacques Gay es directeur du festival accès)s( cultures électroniques. Commissaire d'exposition, producteur, journaliste, membre de l'AICA et de l'équipe CITU du Laboratoire Paragraphe/Paris 8. Maurice Benayoun est un artiste numérique, commissaire d'exposition et théoricien français. Il est également cofondateur en 1987 de Z-A, un laboratoire d'entreprise qui a joué un rôle pionnier pendant 15 ans dans le domaine des nouveaux médias, de l'infographie, et de la réalité virtuelle.
Michèle Robine, Philippe Bernard, Maurice Benayoun, Jean-Jacques Gay, ORLAN, Dominique Moulon, Evgen...
Conceptual roadmap: translate media arts practice into theoretical
Maurice Benayoun
Maurice Benayoun
Ecotechnologies of practice: in-forming changing climates
Gisèle Trudel How do ecotechnologies of practice actualize? This paper traces the material/theoretical operations of an ongoing long-term research-creation project concerned with changing climates. It mixes in-formation of collectivities: trees, data visualizations, media arts, forest science research (Smartforests Canada, led at UQAM by Daniel Kneeshaw) and publics. An individuation of symbiotic modulations, the paper crafts a thinking-with Balsam Fir, Diana Beresford-Kroeger, cameras, Domingo Cisneros, Dendrometer, Erin Manning, Isabelle Stengers, Gilbert Simondon, Light Emitting Diodes, Numbers, Microphones, Recorders, Scaffolding, Sapflow, Sensings, Sensors, Speakers, Sugar Maple, Temperature, Yellow Birch. __________ Gisèle Trudel (Professor, École des arts visuels et médiatiques, UQAM) is an artist. She works under the name Ælab since 1996, an artist research unit co-founded with Stéphane Claude, who is a composer and sound engineer. Ælab’s commitment to collaboration and creative circulation of approaches and ideas are ways of thinking and doing that try to bridge different modes of inquiry. Their process-oriented investigations creatively engage art and technology as intertwined with philosophy. Dr. Trudel is a research member of Hexagram. She holds the Canada Research Chair MÉDIANE in Arts, Ecotechnologies of Practice and Climate Change (2020-2025).
Gisèle Trudel How do ecotechnologies of practice actualize? This paper traces the material/theoreti...
Ephemera: Bubble Representations as Metaphors for Endangered Species
Harpreet Singh Sareen, Yibo Fu, Yasuaki Kakehi The effects of a hierarchical relationship of humans with non-humans are now more pronounced than ever. Anthropogenic ecological stressors, including high levels of carbon dioxide, water scarcity, habitat fragmentation have led to disruption of climate systems, in turn endangering many local and global species. ephemera, is an installation formed by nucleation of CO2 bubbles in water, representing animals from all continents and ecologies currently under threat as per the IUCN Red list. These self- assembling bubble pictures are in a homeostasis at the beginning of the installation and shrink each hour to eventually disappear in a few days. The tension between the present endangerment and the urgency of the future action, manifests in the shrinking of these bubbles, invoking unnatural ephemerality due to the human effect. The fauna pictures in this installation, composed of carbon dioxide bubbles, symbolize the transitoriness of now threatened species. __________ Harpreet Sareen is a designer, researcher and artist creating mediated digital interactions through the living world, with growable electronics, organic robots and bionic materials. His work has been shown in museums, featured in media in 30+ countries, published in academic conferences, viewed on social media 5M+ times and used by thousands of people around the world. He has also worked professionally in museums, corporates and international research centers in five countries, is currently an Assistant Professor at Parsons of School Design in New York City and directs the Synthetic Ecosystems Lab that focusses on post-human and non-human design
Harpreet Singh Sareen, Yibo Fu, Yasuaki Kakehi The effects of a hierarchical relationship of humans...
Sensing Place: building symbiotic relations
Maria Michails In this presentation I describe a new working methodology to learning about land and ecological disruption through 'affective ecology' and kinship encounters with human and other-than-human inhabitants as collaborators. __________ Maria Michails is a Canadian interdisciplinary artist. Her installations and social practice bridge the arts, the natural and social sciences, and technology, focusing on civic engagement with environmental issues. Her current research finds her in cold places seeking multi-species encounters.
Maria Michails In this presentation I describe a new working methodology to learning about land and...
Cryptochrome (The Hidden Color)
Elias Maroso The talk refers to the creation process of the Cryptochrome (The Hidden Color) electronic installation, an artwork dedicated to the “magnetic vision” of migratory birds, presented at the 13th Mercosul Visual Arts Biennial in Porto Alegre, Brazil. __________ Elias Maroso is an artist and researcher. He creates objects, spatial interventions, and energetic devices, relating different media and study references. Doctor in Visual Arts from the Universidade Federal do Rio Grande do Sul, Brazil, emphasizing Languages and Contexts of Creation.
Elias Maroso The talk refers to the creation process of the Cryptochrome (The Hidden Color) electro...
To Know a Tree: Symbiotic Mutualism and Artistic Exploration against Anthropocentric Science
Peter Purg, Kristina Pranjić Looking across the art-science nexus, the contribution discovers an emerging symbiotic mutualism that goes against mere inter-species tolerance of the posthuman perspective. This new understanding of symbiosis may be described as a trans-action, both physical or factual in scientific terms, and arguably symbolical in the artistic sense. __________ Dr. Peter Purg is Associate Professor and New Media lead at School of Arts, University of Nova Gorica as well as dean of the School of Humanities. Next to scientific inquiries in interdisciplinary collaboration, crossover innovation and media art, his artistic interests range from narrative performances to intermedia installations in public-space.
Peter Purg, Kristina Pranjić Looking across the art-science nexus, the contribution discovers an em...
Squid Map
Jiabao Li "I worked with Kewalo Marine Biology Lab in Hawaii. While the scientists were studying the squid, I noticed that the squids in the lab sit in the boring white tanks all day long. So I wonder if I could make their environment more interesting by building a playground for them. I collect the white sand and black sand from Hawaii islands and make them into certain countries' shapes. While the squid was living there. He carries the sand from one side to the other and spreads it around. He swims back and forth between the countries, across the borders without a Visa. He buries himself under the sand and uses his cute little tentacles to push the sand on his face as a camouflage. Watching the squid reminds me of myself in many ways as an immigrant: moving between China and the US, carrying the baggage of two cultures, trying to assimilate to blend in, and found myself in this situation like the squid: he has white sand on his body but black sand on the top, sitting in the middle of black surrounded by white -- but feeling perfectly camouflaged. We build borders between our countries that can block natural animal migrations. Animals that would not care about the delineation between countries are forced to recognize the difference and take a side. After a month, the squid completely reinterprets our human-made maps and borders from the squid's perspective. The map humans have repetitively fought wars for, in the eyes of the squid, is drawn on their own terms." __________ Jiabao Li is an Assistant Professor at The University of Texas at Austin and a Harvard graduate. She creates works addressing climate change, interspecies co-creation, humane technology, and perceptions. Jiabao is the recipient of numerous awards including Forbes China 30 Under 30, and her work has been exhibited internationally, at Venice Architecture Biennale, Ars Electronica, Today Art Museum Biennial, SIGGRAPH, Milan and Dubai Design Week, ISEA, Anchorage Museum, and Museum of Design.
Jiabao Li "I worked with Kewalo Marine Biology Lab in Hawaii. While the scientists were studying th...
Hybrid Entanglements: a posthuman dramaturgy for human-robot relationships
Petra Gemeinboeck, Rob Saunders This paper introduces our collaborative Machine Movement Lab project harnessing movement to bodily empathise with abstract machines. It discusses our transdisciplinary performance-making practice and its diffractive posthuman dramaturgical frame for exploring and improvising with alternative human-robot relationships. __________ Petra Gemeinboeck’s and Rob Saunders’ collaborative research practice seeks to expand and trouble our relations with machines and explore questions of embodiment, performativity, agency, and creativity. Petra is an ARC Future Fellow and Associate Professor at CTMT, Swinburne University, AU, and leads the ‘Dancing with the Nonhuman’ project at the University of Applied Arts Vienna, AT. Rob is Associate Professor at LIACS, University of Leiden, NL, where his research is in computational creativity and creative robotics. Their works have been shown internationally, including at Ars Electronica, AT; International Triennial of New Media Art, NAMOC, CN; GOMA, AU; and FACT, UK.
Petra Gemeinboeck, Rob Saunders This paper introduces our collaborative Machine Movement Lab projec...
Towards a Methodology for Co-creating Artistic Acoustic Ecologies with the Great Lakes
David McFarlane The paper discusses the early stages of the development of a methodology for co-creating artistic acoustic ecologies with the Great Lakes. It explores some initial philosophical, technological, creative/musical, and ethical concerns involved in my PhD research-creation project entitled: “Sounds Like Music, To Me.” In the paper, the artist askes how we might come to understand these bodies of water as animated actors in their own rights, with their own unique subjectivities. In doing so, he hope to facilitate a greater understanding of human impact on, relationships to, and responsibilities toward the lakes and all other waters. ___________ "I am a visual artist, musician and creative director in the digital design industry, based in Toronto, Canada. I have been practicing professionally as an artist for 30 years and have exhibited my work across Canada. My conceptually informed artwork takes form in sculpture, photography, video, installation and site-sensitive performance work. I see my artmaking practice as a ‘rendering of ideas’ and seek to bring each work forth in whatever materials, means or processes are best suited for each idea. My work explores themes such as identity, territory and boundary, and most recently, I am concerned with making ecological art, rather than art about ecology. My activities as a musician include songwriting, composition for film, soundscape composition and live performance. I lead a band that plays my original compositions and I also perform in a free improvisation collective called The Smoking Mothers. I have been recording, engineering and producing my own music for over 30 years in a variety of settings ranging from a modest home studio to large professional studios. I have also worked as a Creative Director for over 25 years, leading large teams in the digital design field. As a creative and technology innovator I have specialized in brand identity design and digital strategy initiatives for many global brands. I am currently a second year PhD student at Toronto Metropolitan University. My research-creation project, by design, affords me the opportunity to combine and draw from my experience and abilities as an artist, musician, communications specialist and researcher."
David McFarlane The paper discusses the early stages of the development of a methodology for co-cre...
Robots on Humans: Symbionts or Parasites ?
Louis-Philippe Demers, Bill Vorn EN In this Artist Talk, we are presenting a variety of Robotic Art projects that we have realized in the last thirty years and that involve machines in very close contact with humans (performers, viewers, etc.). This symbiotic theme is at the heart of our new participative project Godspeed, a large-scale performance where the audience is invited to wear robotic extensions, augmentations and prosthetics. Based on what we call speculative rituals of the machine, Godspeed is our way to wish “good luck” to humanity once we reach the point of singularity. Bill Vorn, based in Montreal, is active in the field of Robotic Art since 1992. His installation and performance projects involve robotics and motion control, sound, lighting, video and cybernetic processes. He pursues research and creation on Artificial Life and Agent Technologies through artistic work based on the Aesthetics of Artificial Behaviors. He holds a Ph.D. degree in Communication Studies from UQAM (Montreal) for his thesis on Artificial Life as a Media. He teaches Electronic Arts in the Department of Studio Arts at Concordia University (Intermedia program) where he holds the rank of Full Professor. Louis-Philippe Demers makes large-scale installations and performances. He participated in more than seventy artistic and stage productions and has built more than 375 machines. Demers' works have been featured at major venues such as Theatre de la Ville, Lille 2004, Expo 1992 and 2000, Sonambiente, ISEA, Siggraph and Sonar. He received six mentions and one distinction at Ars Electronica, the first prize of Vida 2.0, mentions at Vida 12.0 and 15.0, two jury recommendations at the Japan Media Arts Festival, the Interactive prize for Lightforms 98 and six prizes for Devolution including two Helpmann Awards. Demers holds a Ph.D. on robotic performances from Plymouth University. He was Professor at the Hochschule für Gestaltung Karlsruhe, affiliated to the world renowned Zentrum für Kunst und Medientechnologie (ZKM, Germany). __________ FR Dans cette Artist Talk, les artistes présentent une variété de projets d'art robotique réalisée au cours des trente dernières années et qui impliquent des machines en contact très étroit avec des humains (interprètes, spectateurs...). Ce thème symbiotique est au cœur de notre nouveau projet participatif Godspeed, une performance à grande échelle où le public est invité à porter des extensions robotiques, des augmentations et des prothèses. Basé sur ce que nous appelons les rituels spéculatifs de la machine, Godspeed est une façon de souhaiter "bonne chance" à l'humanité une fois que nous aurons atteint le point de singularité. Bill Vorn, basé à Montréal, est actif dans le domaine de l'art robotique depuis 1992. Ses projets d'installation et de performance font appel à la robotique et au contrôle du mouvement, au son, à l'éclairage, à la vidéo et aux processus cybernétiques. Il poursuit sa recherche et sa création sur la vie artificielle et les technologies des agents par le biais d'un travail artistique basé sur l'esthétique des comportements artificiels. Il est titulaire d'un doctorat en communication de l'UQAM (Montréal) pour sa thèse sur la vie artificielle en tant que média. Il enseigne les arts électroniques au département des arts plastiques de l'Université Concordia (programme Intermedia) où il est professeur titulaire. Louis-Philippe Demers réalise des installations et des performances technologiques de grande envergure avec l’intelligence artificielle et la robotique en particulier. Il a participé à plus de soixante-dix productions artistiques et scéniques et a construit plus de 400 machines. Les œuvres de Demers ont été diffusées dans le monde entier et primées à Ars Electronica, Vida, Japan Media Arts Festival et aux Helpman Awards (Australie). Le parcours universitaire de Demers l’a conduit à l’École supérieure de design/Zentrum für Kunst und Medientechnologie (ZKM), à la Nanyang Technological University, à la Queensland University of Technology, à l’University of the Arts London, à la Central Academy of Fine Arts (Beijing) et à l’Applied Arts School de Vienne.
Louis-Philippe Demers, Bill Vorn EN In this Artist Talk, we are presenting a variety of Robotic Ar...
Towards Sensemaking in the Meshwork of Technology, Ecology and Society
Claudia Schnugg With Daniela Brill and Christian Stary To act, humans first need to make sense of the world. Thereby, sensemaking goes beyond accumulation of pure information of objects or rational knowledge production, but it encompasses additional information such as meaning, mindful engagement, socially embedded knowledge, cultural and work contexts. To navigate in diverse environment sensemaking becomes central to social settings, also to en-gage with technologies and understand dynamics in ecological environments. In a complex world where technologies are added components of everyday life and are envisioned as partial means to approach global challenges, social, technological, and ecological environments become intertwined. This meshwork of environments also means to bring together different kinds of knowledge as a base of sense-making through experience. In the Digital Sensemaking project we specifically look at digitization processes, the interaction with IoT Elements and Digital Twins through the lens of performance art to elaborate on the non-cognitive core constituents of sensemaking processes: em-bodiment, action-sense nexus, and temporality. We show that aesthetics can be found as an important dimension to bridge the cognitive and non-cognitive process and explore the role of art in this kind of research. It facilitates process and technological development in organizations entangling the social, technological, and ecological. __________ Dr Claudia Schnugg is a curator of art science collaborations and a researcher of the intersections of art and aesthetics with science, technology, and organizations. As social and economic scientist with an additional background in cultural science, her work focuses on intertwining artists and art projects with scientific research and technology.
Claudia Schnugg With Daniela Brill and Christian Stary To act, humans first need to make sense of ...
STAND BY/ME
Yu Zhang STAND BY/ME is an interactive installation that uses machine-learning models to generate speeches for Xi Jinping and Donald J. Trump, and uses randomness to build virtual conversations for political spectrum, while connecting the information flow with the lived reality of the Everyday. Visitors are exposed to narratives of both digital communism and digital capitalism that is randomly controlled. Next to the visual flow of randomly generated speeches, the work involves seemingly mundane, yet “super-charged” electrical household items, i.e., power sockets, as the actuality of human-technology confrontation. This work allows visitors to feel like they are on “stand by” and triggers questions about how technologism impacts individuals' views and information consumption, while people face randomly generated political speech as a quiet, mundane confrontation. __________ Dr. Yu Zhang has a background in fine arts and design. Over the past years, she has designed and researched interactive systems that respond to Everyday phenomena, environmental concerns, child-system interaction, online collaboration platforms, and uncertainty in data visualization. Her book “Coding Art”, co-authored with Mathias Funk, was published by Apress/Springer in 2021.
Yu Zhang STAND BY/ME is an interactive installation that uses machine-learning models to generate s...
CDA Enghien: Co-Evolution, Co-Creation & Man/Machine Improvisation - Dancing with a robot
Dominique Roland, Rocio Berenguer, Chu-Yin Chen Co-Evolution, Co-Creation & Man/Machine Improvisation - Dancing with a robot Resulting from a scientific and artistic cooperation, this project questions the way to set up symbiotic relationships between interacting systems, so that they can cohabit together. It questions the way to (re)present these relationships on stage through a performance between a dancer, a HRP robot and an Evolutive Virtual Ecosystem that surrounds them. Co-Évolution, Co-Création & Improvisation Homme/Machine - Danse avec un robot Fruit d’une coopération scientifique et artistique, ce projet interroge la manière de mettre en place des relations de symbiose entre des systèmes en interaction, afin qu’ils puissent cohabiter ensemble. Il questionne la manière de (re)présenter ces relations sur scène à travers une performance entre un danseur, un Robot HRP et un Écosystème Virtuel Évolutif qui les entoure. __________ With / Avec : Dominique Roland Director and founder of the Enghien-les-Bains Arts Centre since 2002, he created the International Digital Arts Biennial, Bains numériques in 2005 and the PIDS ENGHIEN, a festival dedicated to the digital creation of special effects in 2014. He coordinates the 22 digital art cities within the UNESCO Creative Cities Network. Directeur et fondateur du Centre des arts d’Enghien-les-Bains depuis 2002, il crée la Biennale internationale des arts numériques, Bains numériques en 2005 et le PIDS ENGHIEN, festival dédié à la création numérique des effets spéciaux en 2014. Il assure la coordination des 22 villes art numérique au sein du Réseau des villes créatives de l’UNESCO. Rocio Berenguer As a transdisciplinary artist, she explores how today's technologies and scientific discoveries redefine the use of our bodies, our relationships with others and our presence in the world. Through the prism of humour and poetry, her work considers political issues and slides from the collective to the singular, right down to the intimate. Artiste transdisciplinaire, elle explore la manière dont les technologies d’aujourd’hui et les découvertes scientifiques redéfinissent l’usage de nos corps, nos relations aux autres et notre présence au monde. Par le prisme de l’humour et de la poésie, son travail envisage les questions politiques et glisse du collectif au singulier, jusqu’à l’intime. https://rocioberenguer.com/info.php?lang=fr Chu-Yin Chen Artist and Professor at ATI, director of the Digital Image and Virtual Reality research team (INREV) of the Arts of Images and Contemporary Art Laboratory (AIAC EA4010) of the University of Paris 8. She is in charge of the M2 year of the Digital Creation master's degree. Artiste et Professeur à ATI, directrice de l’équipe recherche Image numérique et Réalité Virtuelle (INREV) du Laboratoire Arts des Images et Art Contemporain (AIAC EA4010) de l’université Paris 8. Responsable de l’année de M2 du master Création numérique. https://inrev.univ-paris8.fr/chu-yin-chen-pr
Dominique Roland, Rocio Berenguer, Chu-Yin Chen Co-Evolution, Co-Creation & Man/Machine Improvisati...
JELLYEYES - SYMBIOSIS, EVOLUTION, VISION
Jill Scott JELLYEYES allows the audience to explore the evolution of our camera-based eyes and the effects of climate change on symbiont behaviour in and artwork about the Barrier Reef environment. JELLYEYES is a tribute to Lynn Margulis and her research into a symbiotic theory of evolution (Margulis 1970) and her critical reactions to Neo-Darwinist theories that are based on population genetics. (See Film 2018) It is an augmented reality artwork based on the idea that all of life is deeply interconnected and collaborative has radical implications for how we look at ourselves, evolution, and the environment. Through this augmented reality platform, the audience can explore the more controversial evolution of chloroplasts in both our photoreceptors that help us to monitor light and in coral blue green algae which perform photosynthesis. According to Margulis and due to chloroplasts evolved from early interactions with cyanobacteria. The audience uses an embedded iPad to follow stories based on two characters and three evolutionary theories: structural evolution, co-evolution, and comparative evolution. How might climate change influence the evolution of species in the Coral Reef in the future? How can we “see” this environment differently? __________ Dr. Jill Scott is a media artist, a writer and art and science researcher. She is professor emerita at the Zurich University of the Arts (ZhdK) in Zürich and founded their Artists-in-Labs Program in 2000. Her own artwork spans 44 years of production about the human body and body politics. In the last 20 years she has focused human health based on research into symbiosis, molecular biology, neuroscience, botany, and ecology. She has had many international exhibitions in both art and science venues. She also directs LASER Salon in Zurich for the Leonardo Society USA and writes books on art and science (Springer and de Gruyter).
Jill Scott JELLYEYES allows the audience to explore the evolution of our camera-based eyes and the ...
Coping potential of creativity and art-practices in times of war
Guest Keynote: Viktor Ruban (Choreographer, Ukraine) - Culture diplomacy, fundraising, curatorship and art-therapy force project. Viktor Ruban If symbiosis is an essential notion, it is even more so in today's geopolitical context. War, terror and massive extinction of people in Ukraine by Russia is a global challenge shaping our global future at this very moment. In this situation performing artists in Ukraine keep on strong commitment to help in any possible way. Since the beginning of full-scale invasion in 2022 situation is forcing us to search for not only new ways of dealing with challenges creatively but to discover new ways of implementing our art practices and skills to completely new levels and spheres, like: resistance in information wars, culture ecology maintenance, new forms of fundraising and help with physical and psycho-emotional recovery same as military and civilians etc. During this session Viktor Ruban, will share information about part of initiatives that he initiated or is involved in, such as: European Culture Parliament and culture diplomacy challenges that he faces on different international events; Ukrainian emergency performing arts fund and funding challenges for independent scene of performing arts in Ukraine; international solidarity events and visibility of Ukrainian actual art scene – why it is important; actual creations in Ukraine and trends seen through the actual national theater prize season; and for the last part - about developing project for training “psychological first aid instructors for military from the front line” and Art therapy force project - range of activities implementing art-practices and work with creativity for psycho-emotional health recovery, coping with stress and panic attacks as well as preventing self-destructive behaviors and PTSD for diverse groups of people. It will be brief introduction of initiatives to map a range of implementations. Final part will be open for Q&A to go deeper into details about any of initiatives upon request of the audience. __________ Viktor Ruban is choreographer-researcher, curator, performer, educator, independent culture diplomat and culture activist. Initiator and ambassador of Ukrainian Emergency Performing Arts Fund initiative, he represents Ukraine in European Culture Parliament. He is also program director and co-founder of venue #KyivDanceResidency – platform for international studies in somatic, dance and performative practices, movement-based art and research. Ph.d. student in culture studies of Modern Art Research Institute of the National Academy of Arts (Kyiv, Ukraine)
Guest Keynote: Viktor Ruban (Choreographer, Ukraine) - Culture diplomacy, fundraising, curatorship a...
A Latin America Network for Art and Cybernetics: The Centre for Art and Communication
Jose-Carlos Mariategui At the end of the 1960s the Centre for Art and Communication (CAyC) was founded as an interdisciplinary experimental project that explored the relationship between art, technology and society. We discuss CAyC’s pioneering work through three main initiatives: Art and Cybernetics, Systems Art in Latin America and the International Open Encounters on Video. __________ Jose-Carlos Mariategui is the founder of Alta Tecnología Andina – ATA. His multidisciplinary research embraces media archaeology, digitization, archives and the impact of technology in memory institutions. Lecturer at LUISS (Rome) and a Senior Visiting Research Fellow at the Department of Media and Communications at the LSE (London).
Jose-Carlos Mariategui At the end of the 1960s the Centre for Art and Communication (CAyC) was foun...
Living with Kombucha. Flavor, Feminism, Free Culture, Ritual
Lucile Haute One and half year living with kombucha drew a path through several domains (gastronomy and food, health, textile design, social practices) and various locations (from bio-hack lab to kitchen, art performance, design school, and brewery lab), diverging from a disciplinary point of view in favor of a “global design” (Papanek) approach that embraces co-dependencies (Haraway, Tsing). __________ Lucile Haute is an artist, researcher and educator at University of Nîmes and at the École des Arts Décoratifs de Paris. Her research brings together spirituality, technologies and living together, beyond anthropocentrism. Synthesizing these issues, she wrote the Cyberwitches Manifesto.
Lucile Haute One and half year living with kombucha drew a path through several domains (gastronomy...
Prix Maif for sculpture: The Digital, Tool or Artistic Revolution?
Gaël Charbau, Émilie Perotto, Marion Roche, Grégory Chatonsky Le numérique, outil ou révolution artistique ? Les technologies numériques se sont installées dans de très nombreuses pratiques artistiques, depuis la peinture de chevalet d'après écran, jusqu'aux univers 3D uniquement accessibles par des prothèses de réalité virtuelle. Est-ce un nouvel eldorado pour la création contemporaine ? L'histoire de l'art, comme celle de la science, s'est en partie construite au rythme des évolutions techniques et technologiques. La maîtrise des cuissons pour la céramique, la fonte, ou le cristal, de la perspective pour la représentation, ou de l'impression 3D a offert aux artistes de nouveaux moyens de fixer de manière tangible leur imaginaire. Mais ces évolutions ont-elles fait progresser l'art, comme on pourrait le dire dans les domaines de la santé ou de la connaissance ? Trois artistes contemporains, lauréats du Prix MAIF pour la sculpture, sont invités à discuter de la place qu'occupe ces nouvelles technologies dans leur pratique au quotidien __________ Moderator / Modérateur : Gaël Charbau, Art Director / Directeur artistique Gaël Charbau regularly organises exhibitions in Europe and Asia and collaborates with various institutions and patrons. In 2014, he created the Emerige Revelations Grant with the collector Laurent Dumas, a programme to support young creation. He is artistic advisor for Universcience (Cité des sciences and Palais de la découverte), artistic director of the event Un Été au Havre and artistic director of the Athletes' Village 2024. Gaël Charbau organise régulièrement des expositions en Europe et en Asie et collabore avec différentes institutions et mécènes. Il a créé en 2014 la Bourse révélations Emerige avec le collectionneur Laurent Dumas, programme de soutien à la jeune création. Il est conseiller artistique pour Universcience (Cité des sciences et Palais de la découverte), directeur artistique de la manifestation Un Été au Havre et directeur artistique du Village des athlètes 2024. Intervening artists / Artistes intervenants : Émilie Perotto, Artist and winner of the 2022 MAIF Prize for Sculpture / Artiste et lauréate 2022 du Prix MAIF pour la sculpture Émilie Perotto practices sculpture, which she sees as the medium of encounter (mental and physical) between a human body and a plastic body in a defined space. In the context of the MAIF Prize for Sculpture, the artist questions what sculpture can contribute to new technologies through the prism of digital data. Émilie Perotto pratique la sculpture, qu’elle envisage comme le médium de rencontre (mentale et physique) entre un corps humain et un corps plastique dans un espace défini. Dans le cadre du Prix MAIF pour la sculpture, l’artiste se questionne sur ce que la sculpture peut apporter aux nouvelles technologies sous le prisme des données numériques. Marion Roche, Artist and winner of the 2021 MAIF Prize for Sculpture / Artiste et lauréate 2021 du Prix MAIF pour la sculpture In her philosophical and plastic research, Marion Roche is interested in the relationship with the body and the perceptive and affective changes brought about by new technologies. Her artistic work lies on the border between sculpture and digital art. She works in particular on immersive environments. Dans ses recherches philosophiques et plastiques, Marion Roche s’intéresse au rapport au corps et aux changements perceptifs et affectifs qu’entrainent les nouvelles technologies. Son travail artistique s’inscrit à la frontière entre sculpture et art numérique. Elle travaille notamment sur les environnements immersifs. Grégory Chatonsky, Artist and winner of the 2020 MAIF Prize for sculpture (in partnership with Goliath Dyèvre) / Artiste et lauréat 2020 du Prix MAIF pour la sculpture (en binôme avec Goliath Dyèvre) Gregory Chatonsky, a Netart pioneer, has been working since 1994 on the question of technologies and in particular the Internet, more particularly on the capacity of artificial intelligence software to produce, in a quasi-autonomous way, results that resemble a human creation. Grégory Chatonsky, pionnier du Netart, travaille depuis 1994 autour de la question des technologies et en particulier d’Internet, plus particulièrement vers la capacité des logiciels d’intelligence artificielle à produire de façon quasi autonome des résultats qui ressemblent à une création humaine. Photo: Datasculpture © Émilie Perotto pour le Prix MAIF pour la sculpture 2022
Gaël Charbau, Émilie Perotto, Marion Roche, Grégory Chatonsky Le numérique, outil ou révolution art...
Art, science and industry: a symbiotic milieu to rethink visions of the world
Edwige Armand, Anne Asensio, Don Foresta How do art and science participate in writing a world of signs and symbols? What do these two human faculties and capaci-ties seek and how do they differ radically? Science has progressively freed itself from its purpose (the search for the why) to model, imitate and master a world in an increasingly abstract manner. If science and art are performative, what world do they draw and what do they tell us (in terms of discourse) about the human? As science gradually becomes techno-science and produced by industries, does art have a singular role to play in the interrelation of these two poles, science and industry, in order to reinhabit the ethical questions and meanings that were originally in these other two creative capacities? Can it and should it? __________ Edwige Armand is an artist and a teacher-researcher in art and culture at the Purpan engineering school (INP Purpan) and is attached to the LARA-Seppia laboratory. Passionate about the history of science and art, and philosophy, she combines these different disciplinary fields around the question of techniques and sciences. The modifications of the relationship to reality, subjectivity and the body by techniques and sciences are central axes in her research-creation. The transversality of disciplines allows him to question more broadly the processes of creation and the transformations of representations that the arts contribute to. To revive the dynamics of art-science relations, she co-founded and has chaired since 2016 the association Passerelle Art-Science-Technologie, which works to bring these disciplines closer together, and she is also involved in the Transversale des Réseaux Arts Sciences. Anne Asensio, after executive and design management positions in the automotive industry, joined Dassault Systèmes in 2008 as Vice President Design Experience. She created the Design function of Dassault Systèmes and the Design Studio, bringing together a multidisciplinary team in innovation strategy through design, experience design and design research. Advocating a participatory approach to new technologies and virtual worlds, the Design Studio supports Dassault Sys-tèmes' customers in high-growth industries in their transfor-mation, digital and sustainable innovation needs towards virtuous design processes. Don Foresta is an art theorist using new technologies as crea-tive tools. Specialised in art and science, he has been a profes-sor at ENSAD and the Ecole Nationale Supérieure d'Arts - Paris/Cergy and a research fellow at the London School of Economics. He has spent 35 years transforming the network as an artistic tool and is working on the creation of a permanent high-speed network, MARCEL, dedicated to artistic, educa-tional and cultural experimentation . In 1981, he made his first online exchange between the Center for Advanced Visual Studies at MIT where he was a fellow and the American Center in Paris where he was director of the Media Art program. In 1986, as curator of the 42nd Ve-nise Biennale, he made the first computer network used by artists. He was named Cheva-lier de l'Ordre des Arts et des Lettres by the Ministry of Culture.
Edwige Armand, Anne Asensio, Don Foresta How do art and science participate in writing a world of s...
Useful Fictions
An experimental platform for creative co-production of artwork by artist-scientist teams. Jiayi Young, Jean-Marc Chomaz, Tim Hyde, Samuel Bianchini Useful Fictions began as a two-year collaboration between artists, designers, and scientists from the University of California, Davis, USA, and the Chaire Arts et Sciences of the École polytechnique and École nationale supérieure des Arts Décoratifs, France. In 2019, gathering a coalition of artists, designers, humanists, and graduate students to work with globally acclaimed climate scientists in their labs, the project culminated as a week-long multidisciplinary symposium at École polytechnique and a temporary public art project titled The Speed of Light (SOL) Expedition, which took place in Montmartre, Paris, France. The goal of the collaboration was to design and implement an experimental platform suitable for bringing artists and scientists together to exchange shared concerns of critical ecological and societal importance. The vehicle that carried the discourse forward was the creative co-production of artwork by the artist-scientist teams. In pursuit of shared inquiries, the teams worked side-by-side with an attitude toward embracing the complexity of the problem and modeling radical openness to research in which tools, laboratories, and studio work are shared between the team members. The project's framework emphasized examining the pars pro toto correlation between measurements and their interpretations. With a focus on examining the context and expanding concepts of ecological thinking through creative means, this project invites the rethinking of a human-centered narrative that dominates and defines contemporary cultural consciousness. We ask: "What controls the manufacturing of our systems of belief? What stories do we tell ourselves? Can we imagine differently?" At this roundtable, Useful Fictions lead collaborators will join as panelists to discuss their lab activities and outcomes. The panel will examine and discuss how these creative and critical approaches to the shared inquiry can inform contemporary debates surrounding values and new directions of art and science collaborations. The roundtable is also an opportunity to extend an open invitation for an external critique of the work. __________ Jiayi Young is an Associate Professor of Design at the University of California, Davis. Her inquiries lie within the emergent and experimental field of digital media with an emphasis on the cross-disciplinary areas of design that integrate the arts, the sciences with cutting-edge technology. Her current research and creative work are focused on constructing data-driven sensor-enabled interfaces, installations, real-time projection graphics, participatory performances, and immersive environments in cultural and public places with the goal of creating generative energy to engage the public in social dialogue. Using multidisciplinary approaches, her work examines contemporary society, including the culture of consumption, the programming and exploitation of the feminine, cultural assimilation, and personal identity. Leveraging social media, crowd-sourced media, and user-created content, she sets up scenarios and creates conditions to make visible empathetic relationships between people in the presence of contemporary culture. Her work invites the public to participate to come in close contact with an experience that engages the rethinking of the present-day human experience. Tim Hyde, Assistant Professor, University of California, Davis, USA Samuel Bianchini, Associate Professor, École nationale supérieure des Arts Décoratifs, Université PSL (Paris Sciences et Lettres), France
An experimental platform for creative co-production of artwork by artist-scientist teams. Jiayi You...
Generated tools: A defamiliarizing approach to creating ML art
Chloe McFadden In this paper, I discuss the outcomes of working with a Generative Adversarial Network (GAN) to produce artworks that feature tools as subject matter. Through this, I am investigating how artists can use ML as a mechanism for creating artworks that disrupt our typical associative processes. __________ Chloe McFadden is an Australian PhD candidate and Artist interested in disruptive approaches for making with Machine Learning. Her current PhD research is specifically engaged with our increasing faith in prediction and how artistic practice can form new understandings and space for reflection.
Chloe McFadden In this paper, I discuss the outcomes of working with a Generative Adversarial Netwo...
Feeling One's Way: In Search of a Symbiotic Vocabulary of the Virtual
Olga Kobryn, Matthieu Couteau, Rémi Sagot-Duvauroux, Sophie Balcon-Fourmaux, François Garnier, Rémi Ronfard, Guillaume Soulez This article aims to present the collective research that has been made in the framework of the research seminar "Vocabulary of the Virtual" organized by IRCAV (Institute of Research on Cinema and Audiovisual Studies), Sorbonne Nouvelle and the “Spatial Media” group, EnsadLab. The main topic is to clarify the notions that refer to the concept of the "Virtual" in order to define it through an interdisciplinary approach according to different fields of science (aesthetics, philosophy, film theory, sound theory, ergonomics, design, engineering, cognitive sciences, etc.). This article presents many different conceptual tools such as cartography, mental maps, notional diagrams with several dimensions, etc., that have been conceived over the last three years, to show how the reflection on the concept of the Virtual was first established and constructed, and how it has been developed. The notion of symbiosis seems to be defined as a structuring notion of the concept of the Virtual across the process of anchoring the levels of virtuality inside technological devices and concrete sites, as well as inside the physical body of the VR users. The user’s body serves as a catalyst for the concept of the Virtual which then becomes organic.
Olga Kobryn, Matthieu Couteau, Rémi Sagot-Duvauroux, Sophie Balcon-Fourmaux, François Garnier, Rémi ...
Spectral Plain
A case study for exploring the world-building potential of co-creative systems that combine text generation models with game mechanics. Vincent Thornhill, Guillemette Legrand, Isaac Clarke A presentation of the game installation Spectral Plain; an interactive artwork that intersects algorithmic, sensing, and gaming technologies to explore new forms of generative and co-creative world-building processes that seek to simulate multiscalar and pluralistic imaginations of the planet. __________ Vincent Thornhill is a designer; artistic researcher at KU Leuven / LUCA School of Arts, Belgium; and educator at the Design Academy Eindhoven, NL. Their practice questions humanistic readings of digital image infrastructure, with a focus on image processing algorithms. Guillemette Legrand is an artist and designer affiliated with the research group Reflective Interaction of the EnsadLab. Their practice engages with machine-fictioning and worlding techniques to simulate other possible imaginations of computational logic and the visual culture that emerge from it.
A case study for exploring the world-building potential of co-creative systems that combine text gen...
Proteus 3.0: Reinforcement learning for intuitive interaction with digitized matter
Maria Smigielska, Pierre Cutellic Proteus 3 is an installation, which tries to remain in conversation with its audience and learns from the visitors' engagement to interact with lively, digitized ferromaterial in an exhibition space. As an architectural, room-scale oval oculus, it employs the reinforcement learning techniques to understand better human behaviour during an interaction and making it more meaningful. __________ Maria Smigielska is an architect and researcher based in Zurich, currently working at DBT, ETH. She is interested in enhancement of potentials for creation of architectural elements, design objects and mixed media installations, by using digital and interactive technologies for encoding and modulating materials properties, custom design and fabrication methods. CompMonks (Pierre Cutellic), PhD, is an architect and a researcher in technology for architecture based in Switzerland. He currently leads research on interactive and generative design with brain-computer interfaces at ETH Zürich. His artistic work follows a series of design objects and mixed-media installations focused on the power of combining humans with computers.
Maria Smigielska, Pierre Cutellic Proteus 3 is an installation, which tries to remain in conversati...
Micro-Folie Symbiosis
Micro-Folie Symbiosis A unique cultural project, Micro-Folie illustrates the symbiosis with all the territories! This program is supported by the Ministry of Culture and coordinated by La Villette. Micro-Folie offers fun and educational cultural contents through different modular spaces. These modules (Digital museum, virtual reality, game library, ...) are set up inside many types of existing structures (library, hall, school, shopping center ...) or inside spaces created specifically to welcome the Micro-Folie. At the heart of the project lies the Digital Museum, a true digital art gallery that encourages curiosity. An open window to discover the diversity of the masterpieces of humanity. Micro-Folie is a convergence of multiple possibilities, a crossroad for creative and recreational grounds. We offer to explore with you the interactions, the sustainable links, the mutual benefits of this tool, through interventions, testimonies and demonstrations with and by those who use it and make it live. ________ Symbiose Micro-Folie Micro-Folie, une offre culturelle inédite, illustration d’une symbiose avec les territoires ! Programme porté par le ministère de la Culture et coordonné par La Villette, Micro-Folie propose, au travers de différents espaces modulaires, des contenus culturels ludiques et pédagogiques. Ces espaces (musée numérique, réalité virtuelle, ludothèque, lieu de partage et de convivialité …) s’installent dans tous types de lieux existants (médiathèque, salle, école, centre commercial...) ou créés spécifiquement pour les accueillir. En son cœur réside le Musée numérique, véritable galerie d’art digitale qui incite à la curiosité et se révèle être une porte ouverte sur la diversité des chefs-d’œuvre de l’humanité. Micro-Folie c’est une convergence de multiples possibles, un terrain créatif et récréatif. Nous vous proposons d’explorer ensemble les interactions, les liens durables, les connexions réciproquement profitables de cet outil, au travers d’interventions, de témoignages et de démonstrations avec et par celles et ceux qui l’utilise et le font vivre. ________ With / Avec :
Micro-Folie Symbiosis A unique cultural project, Micro-Folie illustrates the symbiosis with all the...
VR CALLIGRAPHY
Transposing Chinese calligraphy as choreographed movements into whole-body performances in VR. Pierre Yat Siu Shum, Tobias Klein Current research in the area of digitizing Chinese calligraphy is primarily concerned with computer graphics (CG), calligraphy ink/brush simulation, human-computer interaction (HCI), and automatic calligraphy generation. In all above research fields, calligraphy is mainly expressed and represented in two dimensions as traditional ink on paper. Even within recent contemporary calligraphic movements, there is little exploration into a true spatialization of calligraphy beyond the flat medium. This research articulates an evolution of Chinese calligraphy, from a physical two-dimensionality into a multidimensional digital form via choreographed whole-body movements using VR (virtual reality) interfaces. We present a series of experiments to test the transposition, creation, and presentation of the essential qualities of calligraphy into a VR format. The aim is, through disseminating new virtual phenomenology in calligraphy, to contribute to and extend the existing writing on the relation between calligraphy and technology as an art entering into immersive environments and interactive virtual spaces. Thus, the research interrogates the dimensionality of calligraphy to synthesize the notion of shufa (书法, the way of writing; the Chinese word for calligraphy) from the perspective of a choreographed performance within VR. __________ Pierre Shum (岑逸少) is currently a PhD student at School of Creative Media at The City University of Hong Kong, and a recipient of the prestigious Hong Kong PhD Fellowship Scheme (HKPFS). Born in Hong Kong and educated in the UK, his work is cross-cultural and multi-disciplinary, with experience in architecture, interior design, curation, urban planning, product design, graphic design, and art education. The current PhD research explores the possible evolutions of Chinese calligraphy into multi-dimensional digital media. The research seeks to distill the essential qualities of this traditional heritage, then expand the realization of calligraphy in various experimental augmentations with technology, and examine how the application of such technology could affect the discourse and future of Chinese calligraphy. Pierre holds a Master of Arts from the Royal College of Art, UK and a Bachelor of Architecture from the University of Bath. Tobias Klein (簡鳴謙) is a trained Architect and Artist. His work articulates a syncretism of contemporary CAD/CAM technologies with site and culturally-specific design narratives, intuitive non-linear design processes, and historical cultural references. Through his works and writings, he established the notion of Digital Craft as an operational synthesis between digital and physical materials and tools as poetic (Poïesis) and technical (Technê) expressions, opposing a traditional dualistic separation of digital workflows and analogue making and material understanding. His works have been internationally exhibited at venues such as the London Science Museum, the V&A, the Venice Architectural Biennale, Ars Electronica, the Science Gallery (Melbourne), the container (Tokyo), the Bellevue Arts Museum, the MoCA Taipei, the Museum of Moscow, the Museum of Vancouver and at Art Basel Hong Kong. In 2020, The University Museum and Art Gallery, Hong Kong, opened a retrospective exhibition of his works from the past 15 years, accompanied by a publication with the same title as the exhibition, Metamorphosis or Confrontation. He holds a PhD from RMIT, a Master of Architecture and Diploma in Architecture with Distinction from UCL, Bartlett School of Architecture and a German Bachelor equivalent in Architecture from the RWTH Aachen. Before coming to Hong Kong he ran a postgraduate studio at the Architectural Association and the Royal College of Art in London.
Transposing Chinese calligraphy as choreographed movements into whole-body performances in VR. Pier...
Ecologies of Thought
Generative Art as a Collaborative Research Methodology with Guarani and Kaiowá Indigenous Communities. Chloe McFadden In this paper, I discuss the outcomes of working with a Generative Adversarial Network (GAN) to produce artworks that feature tools as subject matter. Through this, I am investigating how artists can use ML as a mechanism for creating artworks that disrupt our typical associative processes. __________ Chloe McFadden is an Australian PhD candidate and Artist interested in disruptive approaches for making with Machine Learning. Her current PhD research is specifically engaged with our increasing faith in prediction and how artistic practice can form new understandings and space for reflection. Matheus da Rocha Montanari The Ecologies of Thought Project was an interdisciplinary initiative that engaged with Guarani and Kaiowá Brazilian Indigenous Communities to rethink the ecological status of technology throughout a series of theoretical and practical experiments. Further, we explore how artistic practice can be used as an collaborative research methodology. __________ Matheus da Rocha Montanari is a Brazilian artist and Phd candidate in Visual Arts at the University of São Paulo, currently doing an internship at the Polytechnic University of Valencia. He develops works at the intersection of art, science and philosophy, investigating ways to rethink technology after art and indigenous thought
Generative Art as a Collaborative Research Methodology with Guarani and Kaiowá Indigenous Communitie...
Mycelium Garden
Diane Schuh FR Ce projet vise à prendre en compte la singularité d'un réseau de mycélium dans un mode d'interaction avec l'humain qui se fonde sur l'écoute et l'attention. Nous construisons un dispositif pour le développement d'interactions sensibles avec le mycélium, organisme facilitant les symbioses, par une interprétation de la spécificité de ses expressions électriques connectées à notre monde musical humain. Pour construire cette interaction, nous utiliserons des algorithmes de Machine Learning pour cartographier le comportement du mycélium, co-composer des sons à partir des variations électriques enregistrées et classées. Dans un deuxième temps et afin de construire une relation interspécifique et sensible avec le mycélium nous construirons un modèle d’IA pour tenter d’entrer en « communication » avec cet être organique non-humain. Ce modèle tentera de conserver la dimension d'altérité dans l'interaction sensorielle. Dans un processus expérimental nous tentons d'entrer en relation avec un organisme non-humain afin d'observer son comportement et ajuster notre comportement en interaction avec lui, interrogeant ainsi les notions d'intelligence et d'adaptation dans un processus de composition à trois agents humain/IA/mycélium. Quelle serait l'intelligence du mycélium comparée à celle du musicien humain et à celle de l'intelligence artificielle : qu'entendons-nous par-là ? Cette installation aborde l'importance de reconnaître l'altérité des êtres non-humains dans le projet écologique de prendre soin du vivant. __________ Diane Schuh est paysagiste, musicienne, compositrice et artiste. Elle prépare actuellement un doctorat sous contrat EDESTA, au sein de l’équipe du CICM du laboratoire Musidanse. Intitulée « Symbioses, milieux, jardins en mouvement : ce que le jardinier fait à la musique » cette thèse étudie les transferts des modèles et méthodes du jardin à la composition. Sa recherche explore notamment le potentiel pédagogique et opératoire du modèle de la symbiose dans l’élaboration de dispositifs de composition et d’écoute invitant à porter attention au vivant. Diane Schuh is an experimental landscape-architect, a musician, a composer and an artist. Her PhD thesis, under EDESTA doctoral contract entitled "Symbiosis, milieux, gardens in motion: what the gardener does to music" studies the transfer of models and methods from the garden to composition. Her research explores the pedagogical and operational potential of the symbiosis model in the development of compositional and listening set-ups that invite and encourage attention to the living. With: SPORA, collectif : https://www.instagram.com/sporastudioo/ Hugo Scurto, post-doctorant ArTec https://hugoscurto.com/fr/ ; https://www.instagram.com/hugoscurto_/ ; https://twitter.com/hugoscurto Julien Schuh, Maître de conférence Université Paris Nanterre : https://twitter.com/juleshuchin Guillaume Peureux, Professeur Université Paris Nanterre https://www.parisnanterre.fr/m-guillaume-peureux Stephen Whitmarsh, post-doctorant ICM https://twitter.com/eegsynth Anne Sèdes, Professeure Université Paris 8, directrice de la MSH Paris Nord https://cv.hal.science/anne-sedes Alain Bonardi, Maître de Conférence HDR Université Paris 8 http://alainbonardi.net/ David Fierro, doctorant CICM/MUSIDANSE Université Paris 8
Diane Schuh FR Ce projet vise à prendre en compte la singularité d'un réseau de mycélium dans un m...
Globally Connecting New Media Art Archives: Progress, Goals and Challenges
Bonnie Mitchell, Carl Philipp Hoffmann, Terry Wong, Paula Perissinotto, Fabriana Krepel (PANEL) The Connecting New Media Art Archives project has been developing a methodology to enable the sharing of information between currently ‘siloed’ online repositories of New Media Art. With representatives from institutions across the globe, this panel will share the results so far, as well as highlight the challenges encountered and lessons learned. Creating meaningful connections between new media art archives involves technical innovation, overcoming logistical barriers and consorted collaborative effort. Although the pilot project initially involves five institutions, the goal is to pave the way for other new media art archives to join the world-wide network of open access interconnected archives. ___________ Carl Hoffmann -Center for Image Science, University for Continuing Education Krems Paula Perissinotto - FILE – Electronic Language International Festival Terry C. W. Wong & Bonnie Mitchell- ISEA, SIGGRAPH Austria, Brasil, Canada, United States
Bonnie Mitchell, Carl Philipp Hoffmann, Terry Wong, Paula Perissinotto, Fabriana Krepel (PANEL) The...
FOCUS QUÉBEC SPECIAL PROGRAMME
(EN) For this session, ELEKTRA proposes a series of short presentations highlighting the work of a selection of international Quebec artists present at the symposium. Covering a range of current topics such as artificial intelligence, biology, participatory robotics, soft robotics, deep-sea infrastructures, questions of nature in an increasingly virtualized society and more, the afternoon will provide an overview of contemporary digital creation in Quebec. In addition, a selection of works by Quebec artists will be on view inside the Forum des Images (May 16 to 21) as well as under the Canopée of the Forum des Halles (May 17 and 18). Presented in collaboration with Hexagram. With : André Racette (CALQ) Laurent Rozencwajg (CALQ) Alain Thibault (curator) Juliette Lusven (artist) Jean-Philippe Côté (artist) and Victor Drouin-Trempe (artist) Yan Breuleux (artist) Bill Vorn (artist) + Louis-Philippe Demers (artist) Emma Forgues (artist) + Samuelle Bourgault (artist) Louis-Philippe Rondeau (artist) Baron Lanteigne (artist) François-Joseph Lapointe (artist) Samuel St-Aubin (artist) Matthew Biederman (artist) Timothy Tomasson (artist) __________ 17:00-18:00 - FOCUS QUÉBEC PANEL (EN) Artificial Life / Intelligence - A New Planetary Species? Focus Quebec afternoon will round up with a panel on artificial intelligence / artificial life. Often cited as a nerve center of production for contemporary digital art as well as for research and development in artificial intelligence, Quebec has become a hub for explorations of possible intersections between AI and art. In this panel we gather Quebec and international experts: artists, curators and critics, to interrogate recent developments of AI from a perspective of artificial life. To what extent can we think of AI as not just a new kind of intelligence but as a new kind of species, and what can the cultivation and manipulation of the living teach us about contemporary AI tools and their possible futures. Considering that intelligence, like all forms of life, is necessarily situated in a material substrate, can artistic and critical practices in the field of artificial and synthetic life point us to imagine an artificial intelligence more situated and embodied, one that perhaps operates less in the polarities of control and dominance. This panel is organized in collaboration with Hexagram. (FR) Intelligence / Vie artificielle - Une nouvelle espèce planétaire ? Focus Québec se termine par un panel sur la vie artificielle / l'intelligence artificielle. Souvent cité comme centre névralgique de la production d'art numérique contemporain ainsi que de la recherche et du développement en intelligence artificielle, le Québec est devenu une plaque tournante pour les explorations des intersections possibles entre l'IA et l'art. Ce panel réunit des experts québécois et internationaux : artistes, conservateurs et critiques, pour interroger les développements récents de l'IA du point de vue de la vie artificielle. Dans quelle mesure pouvons-nous considérer l'IA non seulement comme un nouveau type d'intelligence, mais aussi comme un nouveau type d'organisme, et que peuvent nous apprendre la culture et la manipulation du vivant sur les outils contemporains de l'IA et leur avenir possible ? Considérant que l'intelligence, comme toute forme de vie, est nécessairement située dans un substrat matériel, les pratiques artistiques et critiques dans le domaine de la vie artificielle et synthétique peuvent-elles nous amener à imaginer une intelligence artificielle plus située et incarnée, une intelligence qui fonctionne peut-être moins dans les polarités du contrôle et de la domination. Le panel est organisé avec la collaboration de Hexagram. This panel is organized in collaboration with Hexagram Erandy Vergara (Curator) https://erandyvergara.art/ Justine Emard (Visual artist) https://justineemard.com/ Victor Drouin-Trempe (Sound artist, works with algorithms and “living sound”) http://v-ictor.ca/a-bout/ Francois-Joseph Lapointe (Bio artist) https://www.fjlapointe.com/ Jens Hauser (Curator and critique) https://ku-dk.academia.edu/JensHauser Animatrice: Ida Toft EN / Alain Thibault FR
(EN) For this session, ELEKTRA proposes a series of short presentations highlighting the work of a s...
Imaginaries and engineering through bodily
Digital experience with experimental matter for artistic outcome. Jean-Ambroise Vesac, Hélène Duval, David St-Onge, Claudiane Ouellet-Plamondon, Chris Salter This panel offers a space of reflection on the art & science forms of expression to be touching, imaginative, emotional, interactive, playable, and even joyful. The panel discusses imaginary and conceptual bounding, decision-making approach, and the involvement of the public at different levels of the research in art and science project. __________ Jean-Ambroise Vesac is a researcher, a pedagogue and an artist in new media creation. His research-creation explores mixed realities and human-machine interactions. His works approach hybridization, coexistence and digital being. He is a member of perte-de-signal, professor at the UQAT and Co-researcher Hexagram in Montréal. Hélène Duval, Professor Université du Québec à Montréal; https://professeurs.uqam.ca/professeur/duval.helene/ Claudiane Ouellet-Plamondon, Professor École de technologie supérieure Montréal; https://www.etsmtl.ca/recherche/professeurs-chercheurs/cplamondon/ David St-Onge, Professor École de technologie supérieure Montréal; https://www.etsmtl.ca/recherche/professeurs-chercheurs/dastonge/ Chris Salter, Professor Zurich University of the Arts; https://www.chrissalter.com
Digital experience with experimental matter for artistic outcome. Jean-Ambroise Vesac, Hélène Duval...
Processes, Fabrication and Design with Kombucha Bacterial Cellulose: Mapping Practices
Vivien Roussel, Lucile Haute, Marc Teyssier, Pascal Dhulster Kombucha is a fermented drink that has been drunk in Asia for centuries, and has been recently popularized in western cultures. The production of the drink generates a co-product, a biofilm of Bacterial Cellulose (BC). This biofilm is today at the center of a typology of bio-design practices, ranging from initiation workshop to fermentation to practical and plastic research around shaping objects with this living matter. This paper proposes an overview and initial classification of the current design practices that use Kombucha Bacterial Cellulose as raw material of artifact. To this extent, we structured a corpus of selected projects in a Principal Component Analysis (PCA) map. We classified 38 projects in the field of design, made between 1985 to 2022. Each project is positioned in an orthonormal frame of reference according to its degree of definition of use (from the most open use to the most defined use) and its scale of manufacture (from single experimentation to industrial production). This map tries to bridge the gap between the communities. __________ FR Vivien Roussel est biodesigner et maker. Il est doctorant en design aux laboratoires PROJEKT et CHROME de l'Université de Nîmes et Resilient Future à l'Institutfor Futur Technology du De Vinci Institute à Paris. Il travail sur la biofabrication digitale d’artefact à partir du contrôle du vivant, et relève de plusieurs disciplines : Bioingénierie, Interface Humain-Machine et Design.
Vivien Roussel, Lucile Haute, Marc Teyssier, Pascal Dhulster Kombucha is a fermented drink that has...
104 Paris&Co: Cultural and Creatives Incubators
How does the symbiosis between young innovative companies, cultural institutions and incubators work? Marialya Bestougeff, Catherine Peyrot How does the symbiosis between young innovative companies, cultural institutions and incubators work ? Whether in the heart of a cultural institution for 104factory or within an innovative platform for Paris&Co, how do incubators support young innovative structures in the cultural and creative industries ? Discover two ecosystems described by their directors and some emblematic collaborations between innovative structures and cultural institutions. Symbioses are multiple, whether they are through imaginations, organizations or individuals. Comment fonctionne la symbiose entre les jeunes structures innovantes, institutions culturelles et incubateurs ? Que ce soit en plein cœur d’une institution culturelle pour 104factory ou au sein d’une plateforme innovante pour Paris&Co, comment les incubateurs accompagnent les jeunes structures innovantes des industries culturelles et créatives ? Découvrez deux écosystèmes racontés par leurs directrices et certaines collaborations emblématiques entre structures innovantes et institutions culturelles. Les symbioses sont multiples qu’elles soient au travers des imaginaires, des organisations ou des individus. __________ With / Avec : Marialya Bestougeff, Director of Innovation CENTQUATRE-PARIS / Directrice de l’innovation CENTQUATRE-PARIS https://www.104.fr/marialya-bestougeff.html Catherine Peyrot, Referent for cultural and creative industries at Paris&Co / Référente des industries culturelles et créatives chez Paris&Co https://www.linkedin.com/in/catherine-peyrot-1528542/
How does the symbiosis between young innovative companies, cultural institutions and incubators work...
Chthulucene Hekateris
Charlotte Gould Isabel Stenger warns that we are facing the “intrusion of Gaia” where we have caused significant biogeochemical disruption “capable of threatening our modes of thinking and of living for good”. Through my practice-based research I speculate on a possible future to prompt action to trigger change in how we live, our patterns of consumption, the way we see ourselves in relation to our environment and our respect for and interactions with nature for a sustainable future. Amitav Ghosh proposes that science fiction provides an ideal opportunity to explore our relationship to the world past and present to imagine the im-pacts that living on our planet today will make on tomorrow. Through my research I develop narratives based on speculative imaginings of the future, considering current scientific research, advances in digital technology and environmental factors, to imagine future evolutionary change that will take place if we continue on our current trajectory of global warming. I specu-late on the interactions and interconnections, the transformation of complex systems and organisms leading to new patterns of cellular composites of material and virtual worlds, where biotic and un-biotic beings inhabit a posthuman fusion of humans and machines. __________ Dr Charlotte Gould is a senior academic at the University of Brighton, in the School of Art and Media. She has taught all levels of Visual Communication and supervises PhD students. Through her practice she explores the potential for interactive installations in digitally mediated public spaces, promoting public participation through shared experience often using urban screens. She has developed Extended Reality artworks to prompt play and interaction across social and cultural boundaries as well as interactive nonlinear narratives and speculative fiction which explore how we can communicate the threat of ecological crisis, raising public awareness to trigger change in behaviours. Through interactive installa-tions she tests the boundaries of open systems, to offer opportunity for diverse audiences to co-create artworks, impacting on the way we engage in the urban environment and public space and contributing to a collective memory of place in a global context.
Charlotte Gould Isabel Stenger warns that we are facing the “intrusion of Gaia” where we have cause...
Symbiosis and the fallacy of a nature-free existence
Guest Keynote: Ionat Zurr (Symbiotica, Australie). Ionat Zurr In times of ecological emergency, solutionist fantasies of nature-free human existence promise salvation and repair. The innovative paradigm offers “products” such as lab-grown (animal free) meat and artificial automated surrogates to replace reproductive biological bodies. These so-called innovations require special artificial environments to host, nurture and culturally articulate this “new” nature-free, decontextualized and colonised life. The entanglement of life with its surrogate environment/apparatus, echoing human relationships with living and semi-living agents; when control and care is employed to counter resistance. Artists, scientists, designers and engineers all play their part in this transformation and its effects on human relations with life and the environment. This creates a range of ontological conundrums and fantastical expectations as to what technology can provide and to whom. Using examples of artistic research that deal with emerging technologies and new knowledge, I will narrate artists’ symbiotic and parasitic relationships with such post nature. The talk is framed by the imminent closure of SymbioticA, the first artistic research laboratory based in a life sciences department. SymbioticA began as a symbiotic act, embodied in an academic institution, to enable critical, yet mutualistic, relations among artists and scientists. Many of SymbioticA’s alumni have continued to establish their own laboratories and artistic practice in other academic institutions around the world, leading to the growth of the field of Biological Arts. SymbioticA is now being treated as a parasite by a changed host body. Is this a ‘natural’ survivalist rejection against a foreign body or can we detect symptoms of an autoimmune disorder? __________ Dr Ionat Zurr is an artist-researcher. She is the Chair of the Fine Arts Discipline at the School of Design & SymbioticA academic coordinator at the University of Western Australia. Together with Oron Catts she established the Tissue, Culture & Art Project in 1996 and their co-authored book Tissues, Cultures, Art, published by Palgrave McMillan this year. Her collaborative work was exhibited by Pompidou Centre, MoMA NY, Mori Art Museum, Ars Electronica, National Art Museum of China and more. These ideas and projects reach beyond the confines of art and the work is often cited as inspiration to diverse areas such as new materials, textiles, design, architecture, ethics, fiction, and food.
Guest Keynote: Ionat Zurr (Symbiotica, Australie). Ionat Zurr In times of ecological emergency, so...
Thought Exhibition. On critical zones, cosmograms, and the impossible outside
Daniel Irrgang The paper discusses the curatorial concept of “thought exhibition” coined by Bruno Latour and Peter Weibel and developed in collaboration with curators, artists, and researchers during four exhibitions at the ZKM Centre for Art and Media, Karlsruhe (Germany). Thought exhibitions transgress the distinctions between philosophy, art, and science by testing ideas in an art museum, a space of discourse, representation, and participation. They engage visitors in a spatio-aesthetic thought experiment by bringing them into a position where preconceptions derived from epistemes of European Modernity are explicated and where alternatives are suggested. The analysis focusses on the most recent exhibition, in the preparation of which the author was involved: “Critical Zones. Observatories for Earthly Politics” (May 23, 2020 – January 9, 2022) mapped the symptoms and origins of the “New Climatic Regime” (Latour) of the late Anthropocene. In this paper, Critical Zones is framed within its theoretical context (Descola, Haraway, Margulis, Whithehead, among others) and discussed as relational spatio-aesthetic approach (Dikeç). The analysis concludes with Sarah Sze’s installation “Flash Point (Timekeeper)” (2018) as one of the exhibition’s central works – a representation, or “cosmogram” (Tresch), of a common planet that may provide an alternative to the globalized world of late capitalism. __________ Daniel Irrgang is a media scholar, postdoctoral researcher at the University of Copenhagen (UCPH), and associated researcher at Weizenbaum Institute, Berlin. As Marie Skłodowska-Curie fellow at the Centre Art as Forum at UCPH he is working on the concept of ‘thought exhibition’ (Bruno Latour). He holds a PhD in media studies on diagrammatics and expanded/embodied mind theories. He is author and editor of numerous books on the history and theory of media, communications, and arts.
Daniel Irrgang The paper discusses the curatorial concept of “thought exhibition” coined by Bruno L...
SeaCycles: Work-In-Progress
Carrie Bodle SeaCycles, an immersive mixed reality sound and visual art installation responds to patterns of change in the ecology of the Puget Sound region. SeaCycles aims to deemphasize human perception and interpretation and instead constructs a sensorium of collaborative and mutually interdependent factors that are in flux. __________ Carrie Bodle is a visual and sound artist who creates immersive installations that explore the relationships between art and science. She received her MSVS from the MIT Visual Arts Program and is currently an Associate Teaching Professor in the School of Interdisciplinary Arts and Sciences at the University of Washington Bothell.
Carrie Bodle SeaCycles, an immersive mixed reality sound and visual art installation responds to pa...
Disruptive Avant-Garde Art of Today: Shaping Post-Growth Imaginaries for Symbiotic Futures
Kristina Pranjić, Magdalena Germek, Peter Purg The actual task for disruptive avant-garde art of today should be understood as the decolonization of our imaginaries that perceive nature through the logic of growth and the harmonious model in the direction of shaping post-growth imaginaries for symbiotic futures. ___________ Dr. Kristina Pranjić is Associate Professor at both Humanities and Arts at University of Nova Gorica, working across fields of avant-garde art, semiotics and contemporary aesthetics. She teaches Theory and History of Art and Media. She is a vice-president of the Expert Committee for Intermedia art at the Slovenian Ministry of Culture.
Kristina Pranjić, Magdalena Germek, Peter Purg The actual task for disruptive avant-garde art of to...
LAVIN: An AI-Navigated Art Experience in Virtual Reality
Weidi Zhang, Rodger Luo This paper outlines the conceptual background, design methodology, and future directions of LAVIN. This virtual reality (VR) artwork provides an immersive experience to visually explore one understanding of a neural network in which the real world maps to 50 daily objects. In the art installation, the neural network constantly analyzes the surrounding environments via a camera and outputs real-time semantic interpretations, which navigate the audience in a virtual world consisting of all the fluid abstract structures of daily objects that the neural network can recognize. We create these fluid virtual structures using data visualization, photogrammetry, and 3D modeling. By merging Artificial Intelligent (AI) system design with VR world-building, LAVIN offers an immersive art experience for symbiotic imaginations that questions the values and beliefs in the modern AI age. __________ Weidi Zhang (Ph.D.) is a new media artist based in Los Angeles and Phoenix. She is an Assistant Professor at Arizona State University. Her interdisciplinary research investigates A Speculative Assemblage at the intersection of immersive media design, experimental data visualization, and interactive AI art.
Weidi Zhang, Rodger Luo This paper outlines the conceptual background, design methodology, and futu...
Challenged by Choices: Narrative and Virtual Reality – a Symbiosis or Antibiosis?
Elke Reinhuber, Benjamin Seide, Hannes Rall, Ella Raidel, Emma Harper The panel explores narrative strategies in VR and 360° videos, identifying the conditions for coherent storytelling in immersive environments. The discussion includes approaches to the symbiosis between latitude and plot, as well as the balance between freedom of movement and directed line of sight. __________ Elke Reinhuber is a media artist, educator and researcher, Associate Professor at SCM CityU in Hong Kong. With her award winning and internationally presented works, she explores different modes of presentation and strategies of storytelling to emphasise the parallel existence of multiple truths of the here and now, anchored in expanded photography. Hannes Rall (aka Hans-Martin Rall) is Professor of Animation Studies and Associate Chair (Research) at the School of Art, Design and Media at Nanyang Technological University, Singapore. He is also a successful director of independent animated short films: his works have been selected for 845 international festivals and won 80 awards. Emma Harper is a Research Assistant in the School of Art, Design and Media at Nanyang Technological University, Singapore, where she supports cross-disciplinary projects relating to the use of immersive media within the fields of literature, culture, and education. She holds undergraduate and master’s degrees from the University of Oxford. Ass. Prof. Dr. Ella Raidel is a filmmaker and visual artist, living in Asia for more than 20 years, currently at NTU Singapore. In her interdisciplinary works, she focuses on the socio-cultural aspects of globalisation, urbanisation, and the representation of images. Her hybrid practice is to create a discursive space for filmmaking, art, and research. Benjamin Seide is a Singapore based artist, Visual Effects Supervisor and Associate Professor, dedicated to Animation and Visual Effects. His work contributed to international award winning feature films. Since 2013 he lectures Visual Effects at the School of Arts, Design and Media, NTU in Singapore.
Elke Reinhuber, Benjamin Seide, Hannes Rall, Ella Raidel, Emma Harper The panel explores narrative ...
Sounding Softness and the (Artificial) Subject
Jonas Jørgensen and Mads Bering Christiansen The paper discusses the authors’ robotic artwork SONŌ (2019-), its artistic motivations, the artistic research practice underlying its development, and its technical realization. SONŌ is a soft robotic installation that interrogates the interconnections of soft materiality, sound, and subjectivity. It features a sessile soft artificial entity only capable of expansive movement, which is ceaselessly sounding itself and various environments using real-time generated audio. __________ Jonas Jørgensen is an artist and researcher based in Copenhagen focusing on practice-based transdisciplinary work at the nexus of technical science, media art aesthetics, and the posthumanities. He holds a position as Associate Professor at the Biorobotics section of the University of Southern Denmark, where he is co-director of the Center for Soft Robotics. Mads Bering is a Copenhagen-based designer/artist/researcher whose practice evolves around designing objects and experiences as a means to explore and speculate about the potential futures that may emerge from the human species' technological entanglement and the way that we interact with and through technology.
Jonas Jørgensen and Mads Bering Christiansen The paper discusses the authors’ robotic artwork SONŌ ...
Power and resistance in digital degrowth
Raul Nieves, Joan Soler-Adillon, Enric Mor Degrowth is increasingly gaining attention as an alternative model to the unfolding eco-social crisis generated by indus- trial capitalism, though questions concerning digital technologies have yet to be addressed in degrowth research. Among the movement of the (digital) commons, whose practices complement degrowth theory, one of the research areas is the viability of such systems to release spaces from capitalism. As (digital) commons spaces frequently revert to capitalist logic, we introduce the "technological dramas" model to encompass the reciprocal and recursive technological production of political power by agonistic entities. We suggest that such a techno-political perspective could contribute to better frame degrowth-related HCI research.
Raul Nieves, Joan Soler-Adillon, Enric Mor Degrowth is increasingly gaining attention as an alterna...
How Digital Anthropomorphism Enhances Creativity in Human-to-Robot Dance Interactivity
Sorina-Silvia Cîrcu, Chy-Yin Chen Through our research-creation experiments, we imagine movement sequences that challenge the concept of anthropomorphism in digital twin robots. While considering the term of interactivity to better define their interaction, we observe how different movement material is stimulating creativity through a hybridization process between human and machine. From this perspective, we determine how users experience qualia while learning through imitation a dance sequence consecutively demonstrated by a humanoid robot, an industrial arm and a human. Their feedback and our own practical experimentation allow us to better understand the impact of digital anthropomorphism in the making of a sustainable human-to-robot interaction. __________ Sorina-Silvia Cı̂rcu holds a BSc in Systems engineering from The Polytechnic University of Timisoara, a MSc in Philosophy from Vest University of Timisoara and a MA in Theatre Directing from Nanterre University in Paris. Transdisciplinary artist and researcher, she is currently preparing a Ph.D between dance and robotics (AIAC laboratory of Paris 8 University and LIRMM laboratory of Montpellier University). Her work focuses on dramaturgy of the body, new media and notions like reality, perception and metamorphosis. She worked among others with Henier Goebbels for his anthology of ”Sound and Spaces”, Silvia Costa, Michel Cerda, Theatre du Soleil, Odin Teatret. Currently she is an artist in residence at DOC! in Paris.
Sorina-Silvia Cîrcu, Chy-Yin Chen Through our research-creation experiments, we imagine movement se...
"Hypersubject Conversations"
Sidsel Christensen Hypersubject Conversations is a developing practice based artistic research work that explores how to give voice to the more-than-human, and reflect in a symbiotic way. A group of women experiment with role play and improvisation techniques to enter larger networks/institutions/contexts that they are a part of, and speak as if they are these networks/institutions/contexts (Hypersubjects). The conversations go on in an installation of sensors/programming/video projections/light/amplified sound, that aims to fold these lager hypersubjects out onto the room, so that the room itself constitutes the hypersubject. The human persons sit inside the speaking hypersubject, and fold their perspectives internally/externally between the embodied and virtual. __________ Sidsel Christensen is a visual artist and currently Ph.D research fellow at the Department of Fine Art at KMD in Bergen, Norway. She maintains a crossdisciplinarity focus, that traverses the artistic areas of New Media and Installation, and engages spatial, textual and performative practices. Throughout, she explores how interactive and relational mechanisms can shed light on the formation and reproduction of various identity constructions. Sidsel has presented her work in range of art institutions and contexts, amongst others Stavanger Art Museum, Kunsthall Stavanger, Rogaland Kunstsenter, KINO KINO, Kunstnerenes Hus, Perfomence Art Bergen, Gallery Entrée in Norway, as well as The Institute of Contemporary Art (UK), Photo London (UK), The Tetley (UK), Hjellegjerde Gallery (UK), David Roberts Art Foundation (UK), VEGA ARTS (DK), X and Beyond (DK), CPH:DOX (DK) Ancharpark (DE) and Insitu (DE) and The Stedelijk Museum, Amsterdam.
Sidsel Christensen Hypersubject Conversations is a developing practice based artistic research work...
Cap Digital: Let’s invent the tools and digital brushes to create the arts of the future
Stephane Singier, Judith Guez, Mâa (Emmanuel Berriet), Maurice Benayoun, Emanuela Righi (EN) Let’s invent the tools and digital brushes to create the arts of the future Artists have always been pioneers in creating and experimenting with tools, processes and interfaces in the development phase, ahead of many industrial sectors. ISEA2023 will host the shared visions of several artists passionate about the explorations and experimentations made possible by computer graphics and algorithms, both through generative processes based on brain waves and through the sharing of creative practices using Open Source. Cap Digital, one of the largest collectives of digital innovators in Europe, proposes to lead an inventive and forward-looking round table on this subject. __________ Avec / With: (EN) Dr. Judith Guez is an artist – researcher – curator in VR/MR. Site web: https://judartvr.wordpress.com/ Her research focuses on understanding and creating illusions between reality and virtuality to explore new artistic forms, mobilizing the concept of presence and wonder. She has exhibited many artworks (La chambre de Kristoffer, Lab’Surd, InterACTE, Liber, Rock Art Rocks me…) in several international venues (Ars Electronica in Austria, Gaîté Lyrique, GoogleLab, BPI Centre Pompidou, Centre des arts Enghien, MOCA Taipei in Taiwan, VR World Forum in Switzerland). She is currently founder and director of the Laval Virtual's artistic division. In this context, she has created in 2018 the international Art&VR festival Recto VRso in Laval (France). She is co-founder of VRAC (VR Art Collective). Emanuela Righi - Productrice, Co fondatrice de NOVAYA. Site web : https://novaya.io/ Après des études de Lettres à l’Université de Gênes, Emanuela Righi quitte l’Italie et s’installe à Paris pour étudier l’Anthropologie Visuelle et le cinéma documentaire avec Jean Rouch. De 1999 à 2001 elle travaille pour la chaîne de documentaires Planète, puis de 2001 à 2008 elle rejoint la société de postproduction TVS-TITRA FILMS où elle s’occupe notamment de coordonner la post production et le doublage des documentaires pour France5, Arte, Planète… En 2009, en collaboration avec le Centre Pompidou et la Fondation Palais Ducale de la ville de Gênes elle produit et organise la manifestation « Vidéodanse 2009 hors les murs », une rétrospective de films de danse et une rencontre avec le danseur et chorégraphe Alain Buffard. À partir de 2010 elle collabore pour diverses sociétés de production de films parisiennes en tant que chargée directrice/ administratrice de production. En 2016 elle rejoint Providences pour participer à la restructuration de la société et au développement de différents projets. En 2021 elle fonde Novaya avec 4 autres associés pour produire des expériences immersives. Emmanuel Mâa Berriet : Artiste, codeur, ingénieur, créateur du logiciel temps réel AAASeed - Site web : www.aaaseed.org Né en 1961, autodidacte en informatique (1997), Ingénieur mécanicien – électronicien (ESME 1985). Il exerce déjà dans le domaine de l’audiovisuel interactif (IMEDIA). En 1991, il est directeur de la R&D dans l’un des premiers studios d’animation européen mélangeant 2d et 3d. En 1993, débauché par Electronic Arts, dans la Silicon Valley Mâa travaille à la fois sur le futur de l'industrie et sur les premiers Jeux 3d et Playstation. Dans le cadre du projet Européen (https://www.artcast4d.eu/) il passe actuellement son logiciel en version Open source. Maurice Benayoun - Artiste, Chercheur, Professeur School of Creative Media - City University Hong Kong. Site web : www.moben.art Media artist and theorist, Paris-Hong Kong, Maurice Benayoun (MoBen, 莫奔) is a pioneering figure of New Media Art. MoBen’s 4 decades of practice freely explores media boundaries, from virtual reality to large-scale public art installations, AI and crypto art, from a socio-political and philosophical perspective. With more than 25 international awards MoBen exhibited in festivals in more than 30 different countries. MoBen work is now following a radical path between AI, neuro-design and NFTs using the Blockchain as a medium of expression. He is presently Professor at the School of Creative Media, CityU of Hong Kong. www.moben.art Stéphane Singier, modérateur - Prospectiviste, Architecte de projet pour le Pôle de compétitivité Cap Digital. Co concepteur éditorial des Rencontres Animation RADI-RAF d’Angoulême. Site web : www.capdigital.com
Stephane Singier, Judith Guez, Mâa (Emmanuel Berriet), Maurice Benayoun, Emanuela Righi (EN) Let’s ...
Maif: What Kind of Digital for my Planet? By Juliette Duquesne
Juliette Duquesne EN What kind of digital for my planet? Digital is far from being bodiless. If the digital was a country, it would have two to three times the footprint of France. How can we reduce our digital impact in a world increasingly invaded by IT? What are the individual and collective measures to be put in place? Solutions exist, already tested by the civil society, which this conference proposes to share with you. Juliette Duquesne is an author, lecturer and independent journalist specialising in ecological and economic issues. She has created a collection of books with Pierre Rabhi (Presses du Châtelet): Carnets d'alerte and a media of the same name: www.carnetsdalerte.fr. Six books have already been published: Pour en finir avec la faim dans le monde (To put an end to world hunger); les semences, un patrimoine vital en voie de disparition (Seeds, a vital heritage in danger of disappearing); les excès de la finance ou l'art de la prédation légalisée (The excesses of finance or the art of legalized predation); l'eau que nous sommes (The water that we are); vivre mieux sans croissance (Living better without growth); L'humain au risque de l'intelligence artificielle (Human beings at the risk of artificial intelligence). Each survey lasts more than a year: more than 60 people are interviewed, each figure sourced... __________ FR Quel numérique pour ma planète? Le numérique est loin d’être immatériel. Si le numérique était un pays, il aurait 2 à 3 fois l’empreinte de la France. Comment réduire notre impact numérique dans un monde de plus en plus envahi par l’informatique ? Quelles sont les mesures individuelles et collectives à mettre en place ? Des solutions existent, déjà expérimentées par la société civile, que cette conférence propose également de partager avec vous. Juliette Duquesne est autrice, conférencière, journaliste indépendante spécialisée dans les thématiques écologiques et économiques. Elle a créé une collection de livres avec Pierre Rabhi (les Presses du Châtelet) : Carnets d’alerte et un média du même nom : www.carnetsdalerte.fr. 6 livres ont déjà été publiés : Pour en finir avec la faim dans le monde ; les semences, un patrimoine vital en voie de disparition ; les excès de la finance ou l’art de la prédation légalisée ; l’eau que nous sommes ; vivre mieux sans croissance ; L’humain au risque de l’intelligence artificielle. Chaque enquête dure plus d’un an : plus de 60 personnes interrogées, chaque chiffre sourcé …
Juliette Duquesne EN What kind of digital for my planet? Digital is far from being bodiless. If t...
Life-as-it-could-be, Symbiosis in Interspecifics’ Codex Virtualis_Genesis
Claudia Pederson This paper discusses Codex Virtualis_Genesis (2020-2022) as an artistic engagement of artificial life (AL) that explores the nature of informational life as a symbiotic process. Created by Mexico City-based transnational collective Interspecifics (INT), this work follows on from the expanded notions of life central to the field of artificial life, including organic, inorganic, material, and virtual forms. According to its founder, Christopher Langton, “there is nothing . . . that restricts biology to carbon-based life; it is simply the only kind of life that has been available to study”. From this perspective, Langton proposed in the late 1990s that AL be dedicated, as he put it, to speculating “. . . beyond life-as-we-know-it into the realm of life-as-it could-be”. This discussion examines Codex Virtualis_Genesis in light of Langton’s proposal as a speculative inquiry into a symbiotic view of life, and as well in contrast to notions of artificial life art as a predominantly technophilic practice. Instead connected to the speculative imagination, the synthetic life forms of Codex Virtualis_Genesis offer a glimpse into life otherwise: as an interspecific relation. __________ Claudia Costa Pederson holds a PhD. in Art History and Visual Studies from Cornell University. She is the author of Gaming Utopia, Ludic Worlds in Art, Design, and Media (IUP 2021) and recipient of the Warhol Art Writers Grant 2022.
Claudia Pederson This paper discusses Codex Virtualis_Genesis (2020-2022) as an artistic engagement...
Institutional presentation
1 - MARCEL (EU) - Multimedia Art Research Centres and Electronic Laboratories / Don Foresta 2 - ENSAD St-Etienne, ENSBA Lyon (UE-FRA): Digital Research Unit in Art and Design / David-Olivier Lartigaud FR L'Unité de Recherche Numérique en Art et Design de l'ESAD Saint-Étienne/Ensba Lyon est un laboratoire de recherche dédié à l'art et au design numériques qui accueille des étudiant.e.s en post-dipôme et des doctorant.e.s pour une durée de trois ans. Grâce au regroupement de ces deux écoles supérieures, l'Unité de Recherche Numérique offre des moyens matériels et des conditions de travail propices à la poursuite d'une recherche longue sur des sujets contemporains. David-Olivier Lartigaud est chercheur, commissaire et praticien. Il est professeur à l'ESAD Saint-Étienne et à l'Ensba Lyon où il assure la direction de l’Unité de Recherche Numérique en Art & Design commune aux deux écoles. Il est docteur en Art et Sciences de l'Art (Esthétique) de l'Université Paris 1 Panthéon-Sorbonne. EN The Digital Research Unit in Art and Design of ESAD Saint-Étienne/Ensba Lyon is a research laboratory dedicated to digital art and design which hosts post-master and PhD students for a period of three years. As a result of the grouping of these two higher schools, the Digital Research Unit offers material resources and working conditions suitable for the pursuit of long-term research on contemporary topics. David-Olivier Lartigaud is a researcher, curator and artist. He is a professor at ESAD Saint-Étienne and Ensba Lyon, where he is the director of the Digital Research Unit in Art & Design common to both schools. He has a PhD in Art and Art Sciences (Aesthetics) from the University of Paris 1 Panthéon-Sorbonne. 3 - Collectif MU - La Station Gare des Mines (UE-FRA) / Olivier Le Gal
1 - MARCEL (EU) - Multimedia Art Research Centres and Electronic Laboratories / Don Foresta 2 - ENS...
Facial Interface Culture – Filters, Fakes, Flaneurs, and NFTs
Christian Ulrik Andersen, Mette-Marie Zacher Sørensen, Søren Pold, Nicola Bozzi EN What is the role of the face in interface culture? How may electronic art help us understand the cultural and computational techniques related to its interpretation, production, and cultural significance? Through four short presentations this panel discusses how the face becomes an operation in the interface, and how this reconfigures the meaning of the face. FR Quel est le rôle du visage dans la culture d'interface ? Comment l'art électronique peut-il nous aider à comprendre les techniques culturelles et informatiques liées à son interprétation, sa production et sa signification culturelle ? À travers quatre courtes présentations, ce panel discute de la façon dont le visage devient une opération dans l'interface, et comment cela reconfigure le sens du visage. __________ Christian Ulrik Andersen, Associate Professor, PhD. Digital Design & Information Studies, Aarhus University, Denmark Nicola Bozzi, Lecturer at King's College London, Department of Digital Humanities. Tw: @schizocities Søren Pold, Assoc. Professor, Ph.d. Digital Aesthetic Research Center, Aarhus University. https://pure.au.dk/portal/en/pold@cavi.au.dk Mette-Marie Zacher Sørensen, Associate Professor, PhD. Aesthetics and Culture, Aarhus University. https://pure.au.dk/portal/en/zacher@cc.au.dk
Christian Ulrik Andersen, Mette-Marie Zacher Sørensen, Søren Pold, Nicola Bozzi EN What is the rol...
Institutional Presentations
1 - Ésam Caen-Cherbourg, Laboratoire modulaire / Luc Brou, Bérénice Serra (UE, FRA) The Laboratoire Modulaire is a place - at the ésam Caen/Cherbourg - of artistic and theoretical experimentation dedicated to the study and development of artistic practices in digital spaces (physical and/or virtual). This talk will give the occasion to present the activities of this artistic research lab. Luc Brou est directeur de la plateforme arts et cultures numériques en Normandie, membre du Laboratoire Modulaire de ésam Caen/Cherbourg, co-directeur du festival ]interstice[ et administrateur du réseau national HACNUM (http://oblique-s.org). Bérénice Serra is a media artist and researcher based in Caen and Zürich. She develops both artistic and theoretical projects that question the modes of conception, production and exchange of cultural forms in the digital age. She teaches art publishing and digital art at the ésam Caen/Cherbourg (http://berenice-serra.com) 2 - Chroniques créations / Carol Giordano 3 - Hacnum: French National Network of Hybrid Arts and Digital Cultures / Céline Berthoumieux, Gabriel Soucheyre (UE, FRA) 4- Forum des images / Michele Ziegler 5 - Le Fresnoy - Studio national des arts contemporains / Éric Prigent (UE, FRA) 6 - Paris university PSL, ENSAD (UE, FRA): Sciences Arts Creation Research (SACRe) / Emmanuel Mahé 7 - Alliance Artem - ENSAD-Nancy, ICN Business School, Mines Nancy / Christelle Kirchstetter (UE, FRA)
1 - Ésam Caen-Cherbourg, Laboratoire modulaire / Luc Brou, Bérénice Serra (UE, FRA) The Laboratoire...
Artist-Guided Neural Networks: automated creativity or tools for extending minds?
Varvara Guljajeva, Mar Canet Sola and Isaac Joseph ClarkeArtificial Intelligence is present in the generation and distribution of culture. How do artists exploit neural networks? What impact do these algorithms have on artistic practice? Through a practice-based research methodology, this paper explores the potentials and limits of current AI technology, more precisely deep neural networks, in the context of image, text, form and translation of semiotic spaces.In a relatively short time, the generation of high-resolution images and 3D objects has been achieved. There are models, like CLIP and text2mesh, that do not need the same kind of media input as the output; we call them translation models. Such a twist contributes toward creativity arousal, which manifests itself in art practice and feeds back to the developers’ pipeline. Yet again, we see how artworks act as catalysts for technology development. Those creative scenarios and processes are enabled not solely by AI models, but by the hard work behind implementing these new technologies. AI does not create a ‘push-a-button’ masterpiece but requires a deep understanding of the technology behind it, and a creative and critical mindset. Thus, AI opens new avenues for inspiration and offers novel tool sets, and yet again the question of authorship is asked.
Varvara Guljajeva, Mar Canet Sola and Isaac Joseph ClarkeArtificial Intelligence is present in the g...
Digital Weaving the Mycelium
Joan Truckenbrod With digital weaving I am creating installations envisioning the symbiosis, and communication patterns within the mycelium. Woven in, fiber optics create sparks of light together with 3D surfaces of digital embroidery. Incorporating thread colored with dye created by fungi in a lab, is a model for sustainable color in textile arts, fashion and design. __________ Joan Truckenbrod began creating coded algorithmic drawings and textiles in 1974 with FORTRAN. One of his these textiles is in Coded: Art Enters the Computer Age 1952 - 1982 at LACMA, Los Angeles County Museum of Art, and another in the Whitney Museum exhibition Programmed: Rules, Codes and Choreographies in Art, 1965 - 2018. His artwork is represented by RCM Galerie in Paris.
Joan Truckenbrod With digital weaving I am creating installations envisioning the symbiosis, and co...
The Hitchcock Experience - a Spatial Montage project
Rémi Sagot-Duvauroux, Nils Quaetaert, François Garnier, Rémi Ronfard Our research-creation project explores a practice of montage in room scale VR. We invited users to live an immersive version of the plane sequence in Alfred Hitchcock's “North by Northwest”. We propose a montage that adapts in real time to the displacements of the body and gaze of the spectator, creating a new dialectic between narrative and body rhythms. __________ Rémi Sagot-Duvauroux is a film editor and VR Designer. He is part of the SACRe doctoral program where he is working on his Ph.D: "The body-montage". Based on the creation of artistic and experimental dispositifs, his research explores techniques and concepts of Montage as a narrative, discursive and poetic vector in immersive digital experiences.
Rémi Sagot-Duvauroux, Nils Quaetaert, François Garnier, Rémi Ronfard Our research-creation project ...
Changer d'ère: Towards Symbiotic Human?
Véronique Anger de Friberg, Joël de Rosnay, Karine Safa, Emanuele Coccia, Roger Sue EN Towards the symbiotic human? Evolution of symbiotic relations with the biosphere in the context of major global ecological and societal challenges: towards an evolution of interactions between human beings, but also between humans and «other than humans»: animals, plants, even future humanoid robots (AI, «thinking» machines)? Symbiosis v/ «civilizational rupture» at the time of the emergence of a new youth more and more engaged everywhere on the planet? With the advent of human relations via screens, are we witnessing the victory of transhumanism over humanism rather than an evolution towards «symbiotic human» as imagined by Joël de Rosnay? FR Forum Changer d'Ère : Vers l’Homme symbiotique ? Évolution des relations symbiotiques avec la biosphère dans le contexte des grands défis écologiques et sociétaux globaux : vers une évolution des interactions entre les êtres humains, mais aussi entre humains & «autres qu’humains » : animaux, végétaux, voire futurs robots humanoïdes (IA, machines « pensantes ») ? Symbiose v/ « rupture civilisationnelle » à l’heure de l’émergence d’une nouvelle jeunesse de plus en plus engagée partout sur la planète ? Avec l’avènement des relations humaines par écrans interposés assiste-t-on à la victoire du transhumanisme sur l’humanisme plus qu’à une évolution vers « l’Homme symbiotique » tel que l’imaginait Joël de Rosnay ? __________ Moderator / Modération : Véronique Anger-de Friberg, journalist, FCE creator / journaliste, créatrice FCE Joël de Rosnay, scientist, futurologist (L'Homme symbiotique : regards sur le III° millénaire. Le Seuil, 1995) / scientifique, futurologue (L'Homme symbiotique : regards sur le III° millénaire. Le Seuil, 1995) Karine Safa, philosopher (Why the Renaissance can save the world: imagination as a path. Plon, 2022) / philosophe (Pourquoi la Renaissance peut sauver le Monde.L’imagination comme chemin. Plon, 2022) Emanuele Coccia, EHESS lecturer (La vie des plantes, 2021 Métamorphoses, 2020. Rivages) / maître de conférences EHESS (La vie des plantes,2021 Métamorphoses, 2020. Rivages) Roger Sue, socio-economist. Professor at Paris Descartes-Sorbonne University. Member of the CERLIS (Centre de Recherche sur les Liens Sociaux). President of the expert group of Recherches et Solidarités. Administrator of Fonda. Latest book: Le spectre totalitaire : repenser la citoyenneté (LLL, 2020). Sponsor of the CFE since 2013 / socio-économiste. Professeur à l’université Paris Descartes-Sorbonne. Membre du CERLIS (Centre de Recherche sur les Liens Sociaux). Président du groupe d'experts de Recherches et Solidarités. Administrateur de la Fonda. Dernier livre : Le spectre totalitaire : repenser la citoyenneté (LLL, 2020). Parrain du FCE depuis 2013
Véronique Anger de Friberg, Joël de Rosnay, Karine Safa, Emanuele Coccia, Roger Sue EN Towards the...
The historical fictional profile on social media
A pointer and symbiotic witness to contemporary society. Alexandra Saemmer, Nolwenn Tréhondart and Sébastien Appiotti The possibility – and the pleasure – of passing for some-one else did not emerge with social media. However, the fact that, as the saying goes, “on the Internet, nobody knows you’re a dog”, has made building fictitious identi-ties much easier. We will in this roundtable explore the hypothesis that beyond trivial experiments with pseu-donyms, the option of experimenting with “versions of oneself” on social platforms has given rise to a new genre, that we term “fictional profiles”. Our study is based more specifically around digital native profile-based works: auto-fictional or heteronymous characters that, in some cases, write and publish alone, and in others interact within “metaverse” narratives. We will consider the fictional profile as a symbiotic agent, pointer and witness to contemporary society. After a general introduction to the genre and a critical discussion of methodologies to iden-tify its specificities, we will focus on three re-enactments of historical figures in the form of sensory and affective performative practices on Facebook and Instagram. Our study of profile-based works is an attempt to grasp these ways of existing on social networks. __________ Alexandra Saemmer is a professor of Information and Communication Sciences at the University of Paris 8 and co-director of the Centre for the Study of Media, Technology and Internationalisation (CEMTI). Based on a social semiotic approach, her research focuses on the construction of meaning by the human subject. She is also a theorist and author of digital literature. With/ Nolwenn Tréhondart, http://crem.univ-lorraine.fr/membres/enseignantes-chercheures-titulaires/trehondart-nolwenn Sébastien Appiotti, https://www.gripic.fr/utilisateur/sebastien-appiotti
A pointer and symbiotic witness to contemporary society. Alexandra Saemmer, Nolwenn Tréhondart and ...
The “Bichi” Project Symbiotic Food Networks & the Alchemist Kitchen
Pat Badani The author uses symbiosis as metaphor and tool to create food-related projects that critically examine the anthropogenically induced impact of global warming on food-chains. She argues that ‘art-for-food’ projects promote an alternative worldview informed by the utopian premise that art can facilitate reflexivity and influence behavior to prevent future massive starvation by safeguarding the future of food. Pat Badani uses food to create artistic arguments that blend aesthetics and criticism, charting connections between the fields of art, science, and technology. Projects are exhibited broadly in North and South America, Europe, and Asia, and discussed in international symposia in over 15 countries. They are distinguished with critical essays published in three languages in anthologies and journals, and with over 20 research-creation awards. __________ L'auteur utilise la symbiose comme métaphore et outil pour créer des projets liés à l'alimentation qui examinent de manière critique l'impact anthropique du réchauffement climatique sur les chaînes alimentaires. Elle soutient que les projets «art-for-food» promeuvent une vision du monde alternative fondée sur la prémisse utopique selon laquelle l'art peut faciliter la réflexivité et influencer le comportement pour prévenir une future famine massive en préservant l'avenir de la nourriture. Pat Badani utilise la nourriture pour créer des arguments artistiques qui mêlent esthétique et critique, établissant des liens entre les domaines de l'art, de la science et de la technologie. Les projets sont largement exposés en Amérique du Nord et du Sud, en Europe et en Asie, et discutés lors de symposiums internationaux dans plus de 15 pays. Ils se distinguent par des essais critiques publiés en trois langues dans des anthologies et des revues, et par plus de 20 prix de création/recherche.
Pat Badani The author uses symbiosis as metaphor and tool to create food-related projects that crit...
The Fall of R’Thea: Digital Fiction
Doros Polydorou This paper outlines the creative process and the immersive approaches undertaken to create the location-based story- telling experience The Fall of R’Thea. The installation revolves around the theme or Artificial Intelligence, digital humans and artificial life and aims to immerse the users into a hybrid environment of a physical and virtual nature. The experience is told through multiple mediums, and the story needs to be carefully pieced together by the audience. As this experience requires participants to engage in vari- ous activities, the immersive qualities shift in type and intensity. The authors, through this paper, aim to share the approaches they chose to immerse the participants into their spaces, as well as highlight the challenges and the lessons they learned.
Doros Polydorou This paper outlines the creative process and the immersive approaches undertaken to ...
The Creative Design and Social Service Practice of zen_Farm
Yu-Hsiung Huang and Su-Chu HsuWe developed "zen_Farm" through waste recycling and makers, with the aim of guiding people to practice how to calm their minds. Utilize the concept of "Every drop of calm water makes all things green" to remind the world to cherish the natural environment and live in peace with all things. The main purpose of zen_Farm is to emphasize the calmness and concentration of "Mind Meditation". Its special feature is that people use the stability of their heartbeats to drive the water source of zen_Farm. In recent years, the world has gradually developed a new form of creative community that combines digital media to gather community awareness and improve the current situation of the community, which can bring new energy and stimulate new thinking in urban areas. We practically integrate zen_Farm into social practice, including: (1) The installation is located at Dharma Drum Mountain, the most important Buddhist unit in Taiwan. Let the Buddhist masters in the park use the concept of plant irrigation to reflect the natural environment to be sustainable and green. Guide them to finally become one with nature. (2) The installation was installed at Shakeng Elementary School in Taiwan, allowing students to renovate the campus together and irrigate the plants through their own heartbeats to create a common memory on the campus. The zen_Farm is not only an interactive installation art work made by makers, it makes the campus of Buddhist parks and rural schools more friendly and beautiful, and it also supports the concept of environ-mental protection. We also hope to achieve the long-standing goal of digital art creators - "Media Transparency" through the creative design and social practice of zen_Farm. Participating in meditation activities can connect the emotional memories of the community together and establish a shared memory in the campus.
Yu-Hsiung Huang and Su-Chu HsuWe developed "zen_Farm" through waste recycling and makers, with the a...
A Blockchain-based application not intervening, but strengthening the agility of contemporary arts
Victoria Hilsberg The Blockchain-based application DAO not only confronts the complexity of the modern society through its comprehensive application potential. It also channels the elements of contemporary discourse such as political qualities of art, participatory art and cybernetic forces. Within the timeframe of the existence of the concept since 2014, DAOs enable the interconnection of culture, technology and ecology. __________ Victoria Hilsberg is a researcher and writer at the intersection of art, market, and technology. She completed her M.A. in art history on the application of NFT technology in contemporary art in 2023. She works as Project/Curatorial Manager, and consults with Artists and Galleries regarding the entry into the NFT and Web3 ecosystem.
Victoria Hilsberg The Blockchain-based application DAO not only confronts the complexity of the mod...
Brain-Body Digital Musical Instrument Work-in-Progress
Atau Tanaka, Anne Sèdes, Alain Bonardi, Stephen Whitmarsh, David Fierro, Francesco Di Maggio The Brain/Body Digital Musical Instrument (BBDMI) will create a prototype for a digital musical instrument system that uses physiological signals from the human body: from the brain and muscles. The instrument system will be validated in a range of musical settings from concerts to the conservatoire, with a diverse range of musicians. The project brings together an interdisciplinary team of researchers, designers, musicians and engineers that will mutually inform each other through a mixed methods approach. The consortium represents the spectrum of research: from low- level technical development to innovative user-centered design, and the integration of state-of-the art methods integrating neuroscience and musical practice. The project will hold a workshop and concert during the ISEA2023 affiliated conference, the Journées d’Informatique Musicale (JIM) 2023 at the MSH Paris Nord, the week following ISEA, 24 May.
Atau Tanaka, Anne Sèdes, Alain Bonardi, Stephen Whitmarsh, David Fierro, Francesco Di Maggio The Br...
(Re)imagining human-yeasts relations via art-science collaboration
Olga Timurgalieva, Eva Direito, Patrícia R. Moreira More-than-human beings are largely de-animated in Western cultures and perceived as the backdrop for human activities. At the same time, with the modern modes of consumption and production, customers often do not know how specific products have been created and which more-than-human beings have been involved in manufacturing particular consumables. As a partial response to such alienation, this text presents the book, Yeasts as We Do Not Know Them, as a means to learn about human-yeast interactions and the ways these fungal microbes are used to manufacture different products and substances. The book, therefore, (re)imagines yeasts as omnipresent, diverse, and symbiotic. Conceiving symbiosis as a set of interspecies relations, including mutualistic, pathogenic, and commensal ones, the project, Yeasts as We Do Not Know Them, as this article argues, maps diverse interspecies interactions and, by doing so, helps to navigate through material systems, thus invoking trans- corporeal ethics.
Olga Timurgalieva, Eva Direito, Patrícia R. Moreira More-than-human beings are largely de-animated ...
ZKM: Matter. Non-Matter. Anti-Matter. Past Exhibitions as Digital Experience
Philippe Bettinelli, Marcella Lista, Lívia Nolasco-Rózsás and Marie VicetMatter. Non-Matter. Anti-Matter. Past Exhibitions as Digital ExperienceBEYOND MATTER is an international, collaborative, practice-based research project that takes cultural heritage and culture in development to the verge of virtual reality. It does this by reflecting on the virtual condition with a specific emphasis on its spatial aspects in art production, curating, and mediation via numerous activities and formats, including the digital revival of selected past landmark exhibitions, art and archival exhibitions, conferences, artist residency programs, an online platform, and publications. ________ With Philippe Bettinelli, Marcella Lista, Lívia Nolasco-Rózsás and Marie Vicet
Philippe Bettinelli, Marcella Lista, Lívia Nolasco-Rózsás and Marie VicetMatter. Non-Matter. Anti-Ma...
Nonsynchronous Innovation: Periodizing the Digital
Guest Keynote: Michael Century (Rensselaer Polytechnic Institute, NY). Michael Century While the digital transformation continues to outpace socio-institutional adaptation, the technological arts have moved on to vastly expand their temporal horizons. Timescapes of artistic research and creation now embrace the residual as much as the emergent; techno-diversity against digital solutionism; sympoietic rather than linear models of innovation. But nonsynchronous innovation is hardly unique to the current moment, as my recent book Northern Sparks reveals in its account of Canada’s early experimentation with digital media. Poised as a “counter-environment” to the great powers, in McLuhan’s phrase, Canada’s unique experience of the transitional decades into the information age was grounded in a technological ethos that emphasized sensorial immediacy, embodied interaction, and improvisatory expression. This alternative ethos was situated between a pair of distinct yet inextricably bound forces, one national-political and proper to Canada, the other techno-mediatic and global in scale. The unraveling of these forces by the late millennium reveals innovation itself as a complexly drawn process comprised of multiple layers with fluctuating degrees of synchronization. From a cross-media perspective, Northern Sparks also reveals how the differences between the arts with respect to improvisatory immediacy and discrete formalization make any neat chronological periodization of the digital problematic. __________ Michael Century, musician and cultural theorist, is Professor of New Media and Music at Rensselaer Polytechnic Institute. His book Northern Sparks: Innovation, Technology Policy, and the Arts in Canada from Expo 67 to the Internet Age appeared with MIT Press in 2022. At the Banff Centre, he founded the Media Arts program in 1988. Century’s works for live and electronically processed instruments have been performed and broadcast in concerts and festivals internationally.
Guest Keynote: Michael Century (Rensselaer Polytechnic Institute, NY). Michael Century While the d...
Cosmologies of Care
Epistemological and Ontological Repositioning of Symbiotic Relationships in Art and Living Systems. Mariana Perez Bobadilla, Elizabeth Demaray, Carlos Castellanos This panel will explore the tricky edges of collaboration, asking how art-making can be a way of under-standing trans/inter/cross-species relationships; or as environmental biologist Robin Wall Kimmerer suggests, how can we learn from instead of learning about the more-than-human world? ___________ Carlos Castellanos is an interdisciplinary artist and researcher whose work bridges science, technology, education and the arts, developing a network of creative interaction with living systems, the natural environment and emerging technologies. He is Assistant Professor at Rochester Institute of Technology (USA).
Epistemological and Ontological Repositioning of Symbiotic Relationships in Art and Living Systems. ...
Mytherrella: an interactive installation hallucinating mythological auroral formations
Dorin Cucicov Up until very recently, mythological tales predominated in the explanation of the polar auroras. Early in the 20th century, efforts to scientifically explain this phenomenon began. Today, we understand that the polar lights are a phenomenon brought on by the solar winds' interaction with the magnetosphere of the Earth. However, for a long time, this phenomenon inspired vibrant trans-border stories that had a profound impact on local communities. In our interactive installation, Mytherrella, we aimed at creating a dynamic environment in which scientific data and mythological storytelling unearth new imaginaries about the aurora borealis. The generative video integrated in the installation uses a custom real-time StyleGAN algorithm that continuously samples from a model trained on a large set of all-sky auroral images. This method enables live interaction with the generated video, producing novel auroral formations that are unpredictable while remaining within the bounds of the learned features. By combining the dataset with a small number of alternative-style images, the diversity of the generated content is increased, creating a divergent effect that reinforces the mythological narrative. We share the technique of interactive video generation as well as the research process behind the creation of the work. __________ Dorin Cucicov is an interactive artist based in Bucharest. He holds a BA in computer science and an MA in Interactive Technologies in Media and Performance Art. Currently he is a Ph.D. student at the Interdisciplinary School of Doctoral Studies in Bucharest where he studies emotion recognition from sound. His research focuses on interactive environments, new AI technologies, and how people and machines work together. He is also involved in teaching a Creative Coding lab at the UNATC University in Bucharest. In his works he focuses on the concept of sentient machines and what role emotions play in the human-machine relationship. During the last 3 years he has developed a couple of interactive installations tackling this dualism. He’s also working with sound performances, DIY electronics and live coding.
Dorin Cucicov Up until very recently, mythological tales predominated in the explanation of the pol...
Amateur Lithopanspermia: Decolonial outer space perspectives and lichen-human hybrids
Adriana Knouf Amateur Lithopanspermia is an experiment in lichen-human hybrids for the purpose of space travel. Rather than focusing on making space travel amenable to the human form, I pro-pose that we merge aspects of ourselves with an organism, lichen, that can deal with the ravages of space. The collection of human materials that will sustain the lichen will occur from those who are often excluded from space activities, such as women, people of color, the differently abled, and LGBTQ+ people. The consensual collection of materials, as well as the offering of these materials to the lichen, inverts the usual relationship between humans and other living entities. These lichen-human hybrids will be encased in fallen meteorites, thus launching from earth what has already come here from the cosmos. The rocks and hybrids will travel to Mars, or elsewhere in the solar system, using solar sails as their means of propulsion, obviating the need for chemical propellant in space. Workshops here on earth will weave new tales about non-anthropocentric space travel. These stories become technologies themselves, as they allow us to make manifest new desires for our more-than-human lives in outer space, pushing against colonialist and extractivist narratives. __________ Adriana Knouf, PhD (NL/US) works as an artist, writer, and xenologist, focusing on topics such as wet media, space art, and queer and trans futurities. Adriana regularly presents her artistic research around the world and beyond. Her work has been recognized by an Award of Distinction at Prix Ars Electronica (2021), an Honorary Mention from the Science Fiction Research Association's Innovative Research Award, and as a prize winner in The Lake’s Works for Radio #4 (2020).
Adriana Knouf Amateur Lithopanspermia is an experiment in lichen-human hybrids for the purpose of s...
The Planning Game - for an Archeology of Cybernetics in Economy
Tincuta Heinzel, Dana Diminescu, Narcis Tulbure, Yanina Prudenko, Maria Mandea, Ioana Macrea-Toma, Lasse Scherffig, Constatin Vică Conceived primary as a pedagogical tool, “The Planning Game” is a scale model game of socialist economies that aims to put at work a series of concepts and tools developed after the second world war in the socialist states, emulating the developments in the Soviet Union. The mathematisation of the economy, the introduction of national statistics, the development of the cybernetics, along with the fast industrialisation, the planification and the automatisation of the accountability as well as that of the production, were some of key elements that dominated the study of economics in the socialist countries. The game shows the interactions between political actors, technocratic elites and consumers in those contexts and brings into the discussion the pressures of the 5 years plan, the “socialist” economic competition, and the impact of “economic shocks”, and reflects on the present attempt to overestimate the use of big data and AI in different areas. Oriented as much towards the present, as well as towards the future (“reaching the communism”), the industrial plans were about allowing the socialist states to cover the needs of their citizens based on “scientific calculations” (see the “rationalised needs” for every citizen) and to “fight capitalism” in the international trade. Although mimicking the institutional structure of a socialist economy, the game can easily be adapted to a diversity of contexts - such as, hierarchical monopolistic companies, financial markets and their reliance on audit companies, evaluation matrices in systems of academic merit, or systems using Big Data (predictive policing, social media, etc.) - being a performative device meant to demonstrate the emergent fictional dimension of statistical representations in some of the milieus where monitoring and control are supposed to be strict. Taking as starting point “Utopian Cities, Programmed Societies" project, as well as “The Planning Game”, the panel reunites presentations related to cybernetics, socialist industry, AI & cybernetics archaeology within the ex-socialist countries, and looks to offer a platform of reflection related to games as method and tool of analysis and critical intervention. Apart from the historical and theoretical aspects of the intervention, the panel will discuss game as a form of reenactment, as performative intervention, as a method to unveil the multi-scalar technological condition of socialist industries and economies. It will allow the audience to learn about the organisation of socialist industry (and the institutional incentives for generating “precarious data”), but also about the way of functioning and the incidence of the individuals. Our aim is to address aspects related to the symbiosis and dynamics between data and users, between a centralised economy and the citizens of a state, as well as the competitions between states. __________ Tincuta Heinzel is an artist, designer, and researcher with a background in visual arts, textiles design (BA, University of Arts and Design Cluj, Romania), cultural anthropology (MA, Babes-Bolyai University, Cluj), and aesthetics and arts sciences (PhD, Paris 1 University - Pantheon-Sorbonne). She is interested in the new materials sciences paradigms, electronics and reactive textiles, as well as the changes provoked by 4.0 digital industry. Under what she labels as “aesthetics of imperceptibility,” she investigates the aesthetic issues of nano-materiality and design’s new roles as operator between scales. She initiated, curated, and or coordinated several projects, such as “Artists in Industry” (Bucharest, 2011–2013), “Haptosonics” (Oslo, 2013) or “Repertories of (in)discreetness” (Budapest – Bucharest 2013-2015). Her texts have been published in Design Issues, Journal of Textiles Design, Research and Practice, etc. She is presently Senior Lecturer at Loughborough University in the UK, after being previously a Fulbright Scholar at Cornell University in the USA (2017). __________ Tincuta Heinzel & Dana Diminescu - Presentation of "Utopian Cities, Programmed Societies" project; Narcis Tulbure - "Data Poverty across Economies: The Dialectics of Information Disclosure"; Yanina Prudenko - "Soviet Economy vs Soviet Cybernetics, or Lack of a Large-Scale Unit of Information in the USSR" Maria Mandea & Tincuta Heinzel - "The Planning Game - Game theory, economics, game design" Ioana Macrea-Toma - "Cybernetics and Dissidence: The case of Mihai Botez" Lasse Scherffig & Constatin Vică - "On the relevance of AI and cybernetics archeology"
Tincuta Heinzel, Dana Diminescu, Narcis Tulbure, Yanina Prudenko, Maria Mandea, Ioana Macrea-Toma, L...
Digital Art & Activism: Performance, Protest, Polities, Technologies
This panel addresses diverse themes and approaches towards engaging emerging technologies in the context of digital art and activism encompassing notions of socially engaged art and art as social practice from practice-based and theoretical points of view. In 2019, the Digital Art and Activism Network was launched-over the last three years the network functioned to investigate the state of art and activism utilising emerging technologies while consecutively establishing collaborative ties with international artists and organisations to lay the groundwork for future collaborative scholarly and creative projects. When the networking project began, the world was witnessing many crisis and disrupting phenomena: the rise of the alt-right, the refugee crisis in Europe, Brexit in the UK, the global emergency of climate change, and a constant attack of basic civil rights including freedom of speech, reproductive freedom and rights for the LGBTQAI+ community in many countries. What followed were the global crisis of COVID, State violence against minorities, the invasion of Ukraine by the Russian troops, the overturn of Roe vs Wade, the U.S. withdrawal from Afghanistan, a worldwide energy crisis and all else. The world continues to be in seemingly endless upheaval over the npast few years. We find ourselves fearful regarding what is yet to come - but at the same time motivated to continue to fight for change through the creative utilisation of new technologies and perhaps most importantly through connecting and working with others who share our interest in fostering positive change through creative action. This panel brings together five of the many participants in our networking activities over the past three years of conferences, workshops, and collaborative projects, in order to share their work and insights into the current state and future possibilities of digital art and activism. __________ Joseph DeLappe has been working with electronic and new media since 1983. Joseph DeLappe’s work in online gaming performance, activist/political art, participatory and social practice, sculpture and electro-mechanical installation have been shown throughout the United States and abroad. Joseph DeLappe has developed works for venues such as Eyebeam Art and Technology in New York, The Guangdong Museum of Art, China and Transitio MX, Mexico City, among many others. Creative works and actions have been featured widely in scholarly journals, books and in the popular media. In 2016 he collaborated with the Biome Collective to create “Kill-box”, a game about drone warfare that was nominated in 2017 for a BAFTA Scotland in the “Best Computer Game” category. In 2017 Joseph DeLappe was awarded Guggenheim Fellowship in the Fine Arts. Laura Leuzzi is an art historian and curator. Author of articles and essays in books and exhibition catalogues, with research focused on early video art, European video art histories, art and feminism, and new media. Co-editor of REWINDItalia. Early Video Art in Italy (John Libbey, 2015) and EWVA European Women’s Video Art in the 70s and 80s (John Libbey 2019) and Richard Demarco | The Italian Connection (John Libbey 2022). Martin Zeilinger is a media theorist and curator, focused on artistic and activist experimentation with emerging technologies, mainly focusing on the blockchain and artificial intelligence. Martin Zeilinger’s work explores how these technologies enable radical reconfigurations of concepts such as agency, authorship, and ownership. Martin Zeilinger’s critical writing on the blockchain is widely published in journals such as Philosophy and Technology, and in books like Artists Re:Thinking the Blockchain. Tactical Entanglements, a monograph on AI art and creative agency, was published by meson press in 2021. Jon Blackwood’s interests have focused on the intersections of contemporary art and radical politics in the Western Balkans and in the former Soviet Union. Jon Blackwood’s focus is on non-hierarchical methods of organising, and protest. Jon Blackwood has curated shows in Sarajevo and Skopje as well as across the UK. Currently working on Balkan Futurisms with Jon Blackwood and new exhibition projects for 2023 in Scotland and Bosnia. Maja Zećo is an interdisciplinary artist whose practice spans performance art, digital art, sound, video and installation. As Maja Zećo works in different geographic and institutional contexts, the works are often site-specific and relational, negotiating personal and group narratives of identity and history. Maja Zećo has exhibited internationally. In 2019 they obtained a PhD in fine art, on sound and performance art practice.
This panel addresses diverse themes and approaches towards engaging emerging technologies in the con...
AIwriting: Relations Between Image Generation and Digital Writing
Scott Rettberg, Jill Walker Rettberg, Talan Memmott, Jason Nelson, Patrick Lichty During 2022, both transformer-based AI text generation systems such as GPT-3 and AI text-to-image generation systems such as DALL•E 2 and Stable Diffusion made exponential leaps forward and are unquestionably altering the fields of digital art and electronic literature. In this panel a group of electronic literature authors and theorists consider new opportunities for human creativity enabled by these systems and present new works produced during the past year that specifically address these systems as environments for literary expressions that are translated through iterative interlocutive processes into visual representations. The premise that binds these presentations is that these systems and the works generated must be considered from a literary perspective, as they originate in human writing. In works ranging from a visual memoir of the personal experience of a health crisis, to interactive web comics, to architectures based on abstract poetic language, to political satire, four artists explore the capabilities of these writing environments for new genres of literary art practice, while a digital culture theorist considers the origins and effects of the particular training datasets of human language and images on which these new hybrid forms are based.
Scott Rettberg, Jill Walker Rettberg, Talan Memmott, Jason Nelson, Patrick Lichty During 2022, both...
Representing symbiosis, between artistic commitment and materiality
Aurélie Herbet, Marion Laval-Jeantet (Art Orienté Objet), Alice Cuvelier, Miguel Almiron From a collective discussion around the symbiotic thought of Lynn Margulis, the artists and researchers gathered in this roundtable discussion will exchange on their respective practices, all of which, in a singular way, intervene in the relationship between the environment, the living and the relationship to symbiosis. __________ Aurélie Herbet is a visual artist and teacher in visual arts at Paris 1 University. Her work revolves around situated practices, questions mutations of the city and the relations, sometimes conflicting, sometimes symbiotic, with the living. Last Exhibitions / Beyond Concrete Jungle, Lieu Commun (2021), International Environmental Film Festival (2022) Safra'Numériques (Amiens, 2023). Art Orienté Objet is an artistic duo created in 1991 in Paris, composed of Marion Laval-Jeantet and Benoît Mangin. Marion Laval-Jeantet is also Professor at the University Paris 1 and member of research lab (Institut ACTE). Last exhibitions : Zoosphères, Château du Domaine départemental de Chamarande (2023), Art Orienté Objet, L’air frais de la nuit est un soulagement (20 juin – 29 septembre), Lourdes.
Aurélie Herbet, Marion Laval-Jeantet (Art Orienté Objet), Alice Cuvelier, Miguel Almiron From a col...
The Dark Side of the NFTs: The Artists’ Need for New Systems of Collaboration
Ipek Yeginsu NFTs are often imagined as the initiators of a democratic revolution in the art world and their advantages for the artists are undeniable, but they also give way to a chaotic art ecosystem. This paper argues that artists need new systems of collaboration to sidestep these negative effects, overviews promising attempts and discusses potential solutions. __________ Artist, curator and researcher, İpek Yeğinsü is a graduate of Koç University Department of International Relations and Anatolian Civilizations and Cultural Heritage Management. She received her Ph.D. degree in Design, Technology and Society from Özyeğin University. She is a Visiting Scholar at Kadir Has University Faculty of Communication.
Ipek Yeginsu NFTs are often imagined as the initiators of a democratic revolution in the art world ...
The Enigma A/V performance & the concept of Agnostic Media Environment (AME)
Yan Breuleux, Alain Thibault, Remi Lapierre We present the storytelling of the Enigma project and explain how producing a matrix of 3D environments, which can be deployed on a very wide variety of media, supports the proposal of the Agnostic Media Environment (AME) concept. Yan Breuleux (M.A.Sc, D.Mus) is an associate professor at École NAD-UQAC UQAC (École des arts numériques, de l'animation et du design), co-researcher within the Hexagram network, the Mimesis laboratory and a practitioner in the field of visual music for immersive devices. He designs A/V performances in the form of sensory experiences Alain Thibault is an artist, director of ELEKTRA and the International Digital Art Biennale (https://alainthibault.com/about.html) Rémi Lapierre is a creative coder (http://www.uqac.ca/mimesis/?page_id=694) __________ Yan Breuleux (M.A.Sc, D.Mus) est professeur agrégé à l'École NAD-UQAC UQAC (École des arts numériques, de l'animation et du design), co-chercheur au sein du réseau Hexagram, du laboratoire Mimesis et praticien dans le domaine de la musique visuelle pour des dispositifs immersifs. Il conçoit des performances A/V sous la forme d'expériences sensorielles.
Yan Breuleux, Alain Thibault, Remi Lapierre We present the storytelling of the Enigma project and e...
Mimesis, Creation, Collaboration?
Perspectives on AI-enhanced Aesthetics in Contemporary Art Practice. Claire Anscomb, Damien Charrieras, Scott Contreras-Koterbay, Lukasz Mirocha The focus of this panel is the complex, dynamic and emerging relationship AI has with aesthetics. Each contributor to this panel agrees that AI’s effects in terms of aesthetics are irrevertible and profound and redefine the notions of creative agency and human-machine collaboration. The roundtable is a result of a multi-authored book project. ___________ Claire Anscomb, School of Arts, Design and Architecture, De Montfort University, https://www.claireanscomb.com/; Damien Charrieras, School of Creative Media, City University of Hong Kong, https://www.scm.cityu.edu.hk/people/charrieras-damien; Scott Contreras-Koterbay, Department of Art & Design/Department of Philosophy, East Tennessee State University, https://www.etsu.edu/cas/art/documents/koterbay_cv_2018.pdf; Lukasz Mirocha, Academy of Visual Arts, Hong Kong Baptist University, https://lukaszmirocha.com/; Dr. Mirocha is a new media and creative software theoretician/practitioner working with immersive and real-time 3D media, engaged in new media/digital technology research and practice for almost a decade. Currently an Post-Doctoral Research Fellow (RGC PDFS) at the Academy of Visual Arts, School of Creative Arts, Hong Kong Baptist University.
Perspectives on AI-enhanced Aesthetics in Contemporary Art Practice. Claire Anscomb, Damien Charrie...
Pro Helvetia: Where artists and scientists meet – on artistic research and scientific creativity
Giulia Bini, Mónica Bello, Katharina Brandl, Chloé Delarue, Leonie Thalmann, Christoph Weder, Pedro Wirz Where artists and scientists meet – on artistic research and scientific creativity This round table features artists, curators and scientists who collaborate at the intersection of art and science. From particle physics at CERN to polymer chemistry at the AMI Institute for nanoscience, gain insight into their artistic research and scientific creativity. The discussion aims to show the innovation potential lying within encounters between art and science as well as the challenges of those encounters. The showcased collaborations don’t simply use art to visualize science or use scientific information to create art, but rather generate new forms and types of knowledge. ________ With : Mónica Bello, curator and head of Arts at CERN / conservatrice et responsable des arts au CERN Mónica Bello is a Spanish art historian and curator interested in transdisciplinary approaches and technoscientific narratives. She is the head of Arts at CERN program where she is curating different residencies and exchange formats for artists. https://arts.cern/about Giulia Bini (moderator / modératrice), curator and head of Artist-in-Residency Program of the College of Humanities (CDH) at EPFL / conservatrice et responsable du programme d'artistes en résidence du Collège des sciences humaines (CDH) de l'EPFL Giulia Bini PhD, originally trained as an art historian, works at the intersection of visual art, media, science, and emerging technologies in curatorial practice, theory, and writing. She is the head of program and curator for the newly established Artist-in-Residence Program of the College of Humanities (CDH) at EPFL, "Enter the Hyper-Scientific". https://people.epfl.ch/giulia.bini Katharina Brandl, head of Visual Arts at the Swiss arts council Pro Helvetia /responsable du département des arts visuels de la Fondation suisse pour la culture Pro Helvetia Katharina Brandl is the head of the Visual Arts Department at Pro Helvetia. Before that, she was the artistic director of Kunstraum Niederoesterreich in Vienna. She founded various cultural initiatives in Vienna and Basel and advised various regional authorities in Austria and Switzerland on funding decisions in the arts at the state and federal level. https://prohelvetia.ch/en/visual-arts/ Chloé Delarue, visual artist / artiste visuel Chloé Delarue is a Swiss artist who was selected for the Simetría Residency Award by Arts at CERN in 2020. She spent six weeks at CERN in Geneva and at the European Southern Observatory (ESO) in Chile. She produces sound and video installations which she calls environments. https://arts.cern/artist/chloe-delarue Leonie Thalmann, responsible for the focus «Art, Science & Technology» at the Swiss arts council Pro Helvetia / responsable du domaine d'intervention "Art, science et technologie" à la Fondation suisse pour la culture Pro Helvetia Leonie Thalmann is responsible for the development of the focus area «Art, Science & Technology», which supports transdisciplinary cooperation models with the aim of fostering dialogues and an exchange of ideas between arts and sciences. https://prohelvetia.ch/en/dossier/art-science-and-technology/ Christoph Weder, professor of polymer chemistry and materials / professeur de chimie des polymères et des matériaux Christoph Weder is the former director of the Adolphe Merkle Institute (AMI) at the University of Fribourg, Switzerland, and a professor of polymer chemistry and materials. His research is focused on the development, investigation, and application of functional materials, in particular stimuli-responsive and bio-inspired polymers. https://www.ami.swiss/en/groups/polymer-chemistry-and-materials/people/person.html?personid=122 Pedro Wirz, visual artist / artiste visuel Pedro Wirz is a Zurich-based artist whose art is an attempt to understand the complexity of things and to illuminate the opacity of human accumulation with critical eyes. Together with Christoph Weder and within the framework of NanoARTS he is conducting research on sustainable materials, material cycles and value-added recycling. https://pedrowirz.com/ © Jean-Vincent Simonet
Giulia Bini, Mónica Bello, Katharina Brandl, Chloé Delarue, Leonie Thalmann, Christoph Weder, Pedro ...
Thinking with Tides: An Inventory of Technical Objects within the Thames Estuary
Gerolamo Gnecchi RusconeThe research explores what it means to think with tides in order to problematize the relation between humans/technology/ecology, with the scope of producing, through computational methods and art practice, what can be thought of transversal beings. In other words, the production of spaces that are composed of a community of bodies. __________ Gerolamo is an architect, artist, and researcher, that work explores and challenges ways bodies, cultures, perceive and relate with watery environments. He is currently doing a PhD in Arts and Computational Technology at Goldsmiths University. The PhD is supervised by Atau Tanaka and Graham Harwood and funded by CHASE.
Gerolamo Gnecchi RusconeThe research explores what it means to think with tides in order to problema...
At the Sources of an Artistic Mutation towards Science
The First Years of the Journal Leonardo (1968-1981) as a Forum for the Pioneers of Digital Art. Camille Frémontier-Murphy The Journal Leonardo was founded in 1968 by artist-engineer Frank Malina. Many pioneers of digital art joined the adventure. The growing group advocated a more conceptual approach to art, closer to the spectator, a new form of art rooted in Constructivism and in symbiosis with society's mutation towards technology. __________ Camille Frémontier-Murphy is a historian of art and science. She holds a Master of Science, University of Oxford, and a PhD in History and Civilizations, E.H.E.S.S., Paris. She runs, with Robert Murphy, RCM Galerie in Paris, whose exhibition program explores the relationship between art and science in the second half of the 20th century.
The First Years of the Journal Leonardo (1968-1981) as a Forum for the Pioneers of Digital Art. Cam...
NER: Physical-Virtual Multimodal Generative NFT with a Rarity Model
Ziwei Wu, Danlu Fei, Xinyu Ma, Mingming Fan, Kang Zhang, Danlu Fei Nowadays, NFTs are increasingly emerging into public view. It is necessary to consider NFT as a sustainable trading model for media arts with the audience interaction as the symbiosis community. This article presents a design architecture of a Multimodal NFT with generative patterns triggered by sensors. By design- ing various 3D mesh attributes, such as eyes pattern and fur color of a robin bird, the authors generate a series of different NFT 3D artworks. We also demonstrate our experience with the generative system together with the rarity scoring model that could be used to evaluate the heterogeneity of NFT collections. __________ Ziwei Wu is a media artist and researcher who was born in Shenzhen. She is a Ph.D. student in Computational Media and Arts (CMA) at HKUST. Her artworks are mainly based on biology, science, and the influence on society by using a range of media. She is a Lumen prize winner; Batsford prize winner. Her research was published in the SIGGRAPH Art Program and EVA London. She has exhibited at international venues, including CYFEST in Southeastern Europe, Norwegian BioArt Arena (NOBA)-Vitenparken in Norwegian, Watermans Gallery and Cello Factory in London, NeurIPS AI Art Gallery, ArtMachine2 in Run Run Shaw Creative Media Centre in Hong Kong and so on. Danlu Fei is a game developer and researcher. She owns a bachelor degree in Computer Science - Computer game and graduated with a 3.97/4.0 GPA from McGill University. She worked as a gameplay programmer intern at several well-known game companies, including Ubisoft, Behaviour Interactive, and Netease. She is pursuing her Ph.D degree in Computational Media and Arts (CMA) at HKUST. Her research interest is mainly around procedural content generation (PCG) in games, especially AI-based PCG. Her research was published in the CHI Play conference proceedings. Xinyu MA is an art practitioner residing in Shenzhen and Hangzhou, who holds a bachelor's degree in sculpture and a master's in fine arts. Currently, he is pursuing a master of philosophy degree at the Hong Kong University of Science and Technology (Guangzhou). His work focuses on experimenting with various forms of public system structures, investigating their modes of operation in an individual, fictional, and fictitious way. In addition, he also researches the topics of the public sphere, philosophy of technology, urban space, community, play, and political aesthetics. Mingming Fan is an Assistant Professor in the Computational Media and Arts (CMA) Thrust at The Hong Kong University of Science and Technology (Guangzhou) and in the Division of Integrative Systems and Design at The Hong Kong University of Science and Technology. Dr. Fan is the director of the Accessible and Pervasive User EXperience (APEX) Group, which conducts research at the intersection of Human-Computer Interaction (HCI), AI, and Aging & Accessibility. Dr. Fan’s research has been published in top-tier venues in HCI (e.g., CHI, TOCHI) and received many paper awards, including the best paper award at CHI and the best paper honorable mention award at UbiComp. He is a Siebel Scholar. Homepage: https://www.mingmingfan.com/ Kang Zhang is Professor of Computational Media and Arts, Hong Kong University of Science and Technology (Guangzhou) and of Division of Emerging Interdisciplinary Areas at the Hong Kong University of Science and Technology, and Professor Emeritus of Computer Science at the University of Texas at Dallas. He was a Fulbright Distinguished Chair and ACM Distinguished Speaker, and held academic positions in USA, Czech Republic, Australia, and UK. Dr. Zhang has delivered keynotes in computer science, architecture, art, design, and psychology areas, and won numerous art and design awards. Interdisciplinary research topics of computational aesthetics and aesthetic computing, and their differences and relationships. Homepage: https://cma.hkust-gz.edu.cn/people/kang-zhang/ Danlu Fei is a game developer and researcher. She owns a bachelor degree in Computer Science - Computer game. She worked as a gameplay programmer intern at several well-known game companies, including Ubisoft, Behaviour Interactive, and Netease. She is pursuing her Ph.D degree in Computational Media and Arts (CMA) at HKUST. Her research interest is mainly around procedural content generation (PCG) in games, especially AI-based PCG. Her research was published in the CHI Play conference proceedings.
Ziwei Wu, Danlu Fei, Xinyu Ma, Mingming Fan, Kang Zhang, Danlu Fei Nowadays, NFTs are increasingly ...
Artist as Animal
Jen Valender The use of animals within contemporary art is politically and morally divisive. How can an art practice be used as a navigational tool to explore the harmony and discord between symbiotic animal-human relationships? This talk will present artworks in progress that reimagine cultural exchanges between species and the ethical dilemmas they conjure. __________ Jen Valender is a visual artist born in Aotearoa, Nouvelle-Zélande and based in Naarm, Melbourne. She predominantly works with moving image and performative encounters influenced by her interest in ethical binds and interspecies coexistence. Valender has exhibited in museums, galleries and public spaces internationally and across Australie.
Jen Valender The use of animals within contemporary art is politically and morally divisive. How ca...
Forum des images : Supporting XR every step of the way : An overview of NewImages Hub
Stéphanie Sphyras, Benoit Nguyen Tat, Xavier Maître, Laurie EtheveENSupporting XR every step of the way : An overview of NewImages HubAs a support platform for digital and immersive creation, the NewImages Hub aims to accompany creators at all stages, from creation to production and distribution. The NewImages Hub channels a wide range of activities all year round: international residencies, workshops, conferences, shows, networking, XR co-production and distribution, broadcasting opportunities... Discover differents innovative and creative projects that each in their own way tell something of the NewImages Hub and its missions : Artcast4D an experimental european research interactivity project aiming to create an open source program, a cross-media project on Marilyn Monroe between theater, exhibition, graphic novel and VR, and XR residencies to support creators. ________ With Stéphanie Sphyras, scénariste, réalisatrice du projet L’ Expérience MonroeBenoit Nguyen Tat, scénariste, metteur en scène du projet L’ Expérience MonroeXavier Maître, chercheur à l'Université Paris-Saclay, responsable scientifique et artistique du projet Artcast4DModératrice : Laurie Etheve, Partnership and Administration Officer NewImages, Forum des images
Stéphanie Sphyras, Benoit Nguyen Tat, Xavier Maître, Laurie EtheveENSupporting XR every step of the ...
Mycorrhizal Materialities: positioning the entanglement of human and machine intelligence
Kate Geck Machine intelligence is increasingly being used in the world with sometimes dramatic effects on human and other-than-human lives through its decision making capacity. Much artificial intelligence (AI) and machine learning (ML) is built on metaphors that centre extraction, competition and control. These also position AI itself as a resource to be extracted and controlled, paving a troubling path for speculative futures where AI may gain emergent or ambiguous levels of sentience or experience. These metaphors are part of a historical trend where humans place themselves above the other-than-human world, and this has formed the basis of an extractive and one sided relationship with that world. In light of this, what new metaphors might we employ to platform the relationships between human and machine intelligences? Thinking through mycorrhizae could be a productive way to foreground the entangled, generative nature of exchange between human and machine intelligences. This paper will briefly explore metaphor in human-computer interaction (HCI) and AI, before making an offering to think about these things through the material of the mycorrhiza, a symbiotic site of exchange between plants and fungi. It will then briefly detail a creative project that has emerged from this mycorrhizal thinking to produce machine imagined textiles and embroideries. It then concludes with a call to embed relational thinking into future practices between human and machine intelligence in order to create more equitable and even mutualistic outcomes. __________ Kate Geck is an artist born on unceded Jagera land and currently living on unceded Wurundjeri and Boon Wurrung land in Melbourne/Narrm in Australia. Her practice tends to the connections between humans and technology, exploring ways to materialise the seemingly immaterial nature of the digital. She is interested in network culture: working with code, installation and textiles to create interactive surfaces exploring thresholds between the physical and the digital. These surfaces are overloaded, saturated and glitchy, using network iconography and digital composition tropes. Invoking the language of the Internet, this aesthetic critiques a hyper mediated age, creating sites of respite and resistance that think through alternative agendas for networked technologies. She has exhibited in Australia and abroad including 2020 and 2021 major commissions from the University of Queensland Art Museum, with funding and commissions from a range of organisations. Her research is focused on practice-led interventions with digital materialities, in particular the emerging relations between human + machine intelligence and the need to explore non-extractive practices with these technologies. This includes the current research projects Polyphonic Motions and Melodic Motions co-designing an online tool with artists who have intellectual disability: using machine learning to support healthy motion, social inclusion and creative practice. She is a lecturer in Interior Design at RMIT University where she also co-directs the Wearable + Sensing Network, and is a member of the HASH Network and The Care-full Design Lab.
Kate Geck Machine intelligence is increasingly being used in the world with sometimes dramatic effe...
Interspecies Communication - Water bodies
Andrea Gogova Earth is a planet where most processes are based on water. Water regulates climate, morphologically influ- ence a landscape, is a medium of living processes. It is a medium of interaction of organism and mineral parts in microscopic view, between whole organisms and minerals in macroscale on the Earth, and endless in- terplanetary space. Water topic (more than ‘parasiti- cally’ utilization of water resources), in the ArtSci project is focusing to its communicative possibilities. Water body figuration is related to possibility mediate interspecies communication to better understanding water-based life on the planet. Water is an essence and principle of form, which is actualized in the water body figuration. According to principle of ‘structural coupling’ patterned cognition and communication of each communicative actor is related to their environ- ment. If water is essence of inner and outer environ- ment of actors of communication and water body fig- ures, their fluid principle, relates to their agency, then relates to the concept of agential cut, and in differenti- ation could appearing the meaning which would be presented by the ArtSci work. ___________ Andrea Gogova: "I graduated with a Ph.D. Degree in Multimedia and Design at TBU in Zlin, Czech Republic. In my thesis I resolved the problem of experimental model of communication notation Transient Pattern. In my contemporary transdisciplinary research, spanning Art, Science and Technology, I have focused in the posthuman phenomenology, hydro-environmental art practices and approaches of communica- tion between human and more than human. My artwork contains from different experiences – from visual art and electronic literature, environmental studies, philoso- phy/semiosis in which I create the space of thinking about water body figuration and its relation to water-based communication - “hydrosemiosis” My body is a sensitive apparatus putting me in principles of global intuition of creating transcorporeal matter in the life of ‘water body language’. I am an external part of Metatechnicity research group at Cardiff MET University and women in art, science, and technology FEMeeting. I exhibited in Bratislava, Vienna, and Portugal."
Andrea Gogova Earth is a planet where most processes are based on water. Water regulates climate, m...
Remixer le Flying Words Project
Jean-François Jégo, Julie Chateauvert, Georgios TsampounarisRemixer le Flying Words Project is a digital art installation crossing the creative sign poetry of Peter Cook and Kenny Lerner with a Virtual Reality (VR) experience. We present here how we are designing the first version of the artwork investigating the idea of symbiosis reveals how the arts practice were crossed, the technologies were merged and the different backgrounds of the team members got synchronized. __________ Jean-François Jégo is an associate professor in the Image Arts & Technologies Department and the INREV research team at the University of Paris 8, France. As a digital artist and researcher, he creates and analyzes in regards of the concept of Ecosophy immersive and interactive experiences, artistic installations and digital performances hybridizing Virtual and Augmented Realities.With:Julie Chateauvert, Artist-researcherGeorgios Tsampounaris, Digital Artist
Jean-François Jégo, Julie Chateauvert, Georgios TsampounarisRemixer le Flying Words Project is a dig...
A Performance Co-Created with an Autonomous Virtual System: A Symbiotic Approach
Isadora Teles de Castro, Chu-Yin Chen, Hui-Ting Hong This paper is a case study of a performance co-created in interaction with an autonomous virtual system. Our outcomes point to an essential production period where the creative team learns to know the virtual system through indirect interactions: the match-up phase. During this step, co-creation and co-evolution moments happened, indicating a possible symbiotic relationship. We discuss the implications and the outcomes of working with autonomous scenography in a performative context. We then expand the reflection to the potential creative associations between performance arts and autonomous technology. __________ Isadora Teles de Castro is a Brazilian artist based in Paris. She is currently a Ph.D. candidate within the INREV research team at the University of Paris 8. Her artistic research and practice are in digital generative art, artistic modeling of self-organizing systems, and the design of interactive interfaces for live performances. Professor Chu-Yin Chen is an Artist and Professor in Digital Arts, Image Numérique et Réalité Virtuelle (INREV) research team at Paris 8 University. Based on Artificial Life and complex systems, her creations develop interaction modes between the audience and virtual creatures showing autonomous and evolving behaviors. Her digital artworks have been shown in numerous international exhibitions. Her research articulates two overlapping areas: 1] Digital Creation using algorithms of complexity and emergence, and 2] Metacognition and Elicitation of the processes of creation, enaction, and aesthetic reception, via psycho-phenomenology and mindfulness. Hui-Ting Hong, PhD candidate, is an experimental artist from Taipei, Taiwan, based in Paris. She focuses on the interaction and transformation between the body, space, and mind and aims to explore the existence and reproduction of the human body by expanding the boundaries of perception. Her research-artistic practice focuses on the perception of bodily movements and the hybrid human body, mainly discussing the virtual representation of the body and its energetic variation.
Isadora Teles de Castro, Chu-Yin Chen, Hui-Ting Hong This paper is a case study of a performance co...
Body-worn interfaces as a tool to promote the symbiotic relationships between plants and humans
María Castellanos Vicente Symbiotic Interaction is an artwork that investigates, through artistic methodologies, about the symbiotic relationships between humans and plants. The work is addressing from an intimate and personalized approach, through the creation of two technological body-worn interfaces, which facilitate the symbiotic relationship between both living beings. __________ María Castellanos is an artist and. She is currently working as a postdoc researcher at Oslo Metropolitan University, in the framework of FeLT Project –Futures of Living Technologies–.
María Castellanos Vicente Symbiotic Interaction is an artwork that investigates, through artistic m...
Water Stories: Visual Poetics and Collective Voices
Andrea Wollensak, Brett Terry, Bridget BairdWater Stories is the result of a year-long artist residency at the Anchorage Museum exploring multiple points of view from community and poets about climate change culminating in a series of listening sessions broadcast at the Anchorage Museum and Out North Radio, live interactive poetry readings at the museum, and video projections on the museum façade. __________ Andrea Wollensak is an artist, designer and educator. Her research and media practice focus on place-based digital storytelling with community partners, and she collaborates with scientists, composers and poets. Her works are featured at international venues and supported by residencies/grants from the Anchorage Museum, Rockefeller Center, IASPIS and NSF - Connecticut College Brett Terry is a composer and sound artist when not busy with his daily life as a software engineer. His electro-acoustic, choral and chamber compositions have been performed at venues such as SEAMUS, ICMC, ISEA, CAiiA, and Sound Culture. As an associate editor of Computer Music Journal (MIT Press), he has curated a special issue on Visual Music. Bridget Baird is a Professor Emerita in Computer Science and Mathematics at Connecticut College. Her research examines intersections in arts and technologies. Baird collaborated, as a Fulbright scholar, with colleagues in both Mexico and Ecuador. Recently, she has been addressing climate change and environmental concerns by using generative art.
Andrea Wollensak, Brett Terry, Bridget BairdWater Stories is the result of a year-long artist reside...
XENOFORMS
Stavros Didakis XENOFORMS is a work that integrates artificial intelligence, robotics, synthetic biotechnologies, and architecture, with the purpose of reflecting on machine agency and computational colonization of the physical space. Xenoforms refer to machine-created & machine-generated synthetic parasites that aim to occupy and control the body of an architectural host. The properties and qualities of the parasites are meticulously inspected by an autonomous 7- axis robotic system that attempts to enthusiastically accomplish its set goal, that is, to identify the fittest candidate from the selection pool, one that will manage to successfully derive its sustenance from the architectural space. __________ Stavros Didakis is an academic, researcher, and artist focusing on the speculation of technological futures and in particular studying and experimenting with architectural augmentation and inhabitant personalization, exploring sensorial interfaces and technological frameworks as extensions of human environments. Stavros has won grants and awards in creative technologies, he has exhibited his interactive works in international exhibitions and biennales, and he has made numerous publications in conferences, journals, and books. Stavros is at present an Associate Professor in Interactive Media Arts at New York University (Shanghai).
Stavros Didakis XENOFORMS is a work that integrates artificial intelligence, robotics, synthetic bi...
Nourishing and Nurturing: Placentas, Incubators, and the Politics of Life Ex-Vivo
Cristin Millett, Ionat Zurr, Maro Pebo, Cynthia White This panel explores the placenta, its past and its future in human reproduction. Presentations will probe the symbiotic relationships between mother/fetus and human/non-human. The talks will include ongoing artistic research on incubators and the placenta, and prompt questions about the socio-cultural impact of ectogenesis and the body politic. __________ As a transdisciplinary artist, Millett’s investigations of medicine are integral to her process. Her work prompts a critique of societal issues surrounding reproduction and gender identity. Millett is a Professor of Art at the Pennsylvania State University and was a 2020 Fulbright Senior Scholar at SymbioticA at the University of Western Australia. https://www.cristin-millett.com/ Ionat Zurr, Assoc. Prof. School of Design, The University of Western Australia https://tcaproject.net/ Maro Pebo, Bioartist. PhD Creative Media. http://maropebo.com/ Cynthia White, Adjunct Research Assoc., Arts and Design Research Incubator, The Pennsylvania State University. https://sites.psu.edu/cynthiawhite/
Cristin Millett, Ionat Zurr, Maro Pebo, Cynthia White This panel explores the placenta, its past an...
Immersive environments, video tracking and collective interactivity on smartphone
Dominique Cunin, Emmanuel Durand, Michał Seta In this paper, we describe our joined research around building a technological pipeline suitable for creating artistic immersive installations that uses a combination of computer vision and mobile phones as means for interaction, both in the sense of HCI and interaction between human participants. __________ FR Dominique Cunin est docteur en Esthétique, Sciences et Technologie des Arts (Paris 8). Son projet artistique prend pour thématique la représentation et l’appréhension de l’espace par les technologies numériques de l’image. Artiste et programmeur, il est aujourd’hui enseignant à l’ESAD Grenoble-Valence et chercheur-associé à EnsadLab à Paris. Avec : Emmanuel Durand, directeur de la recherche au MetaLab de la SAT (Montréal) Michał Seta, chercheur responsable de SATIE au MetaLab de la SAT (Montréal)
Dominique Cunin, Emmanuel Durand, Michał Seta In this paper, we describe our joined research around...
Holy Coli, the mice in odour of sanctity
Marion Laval-Jeantet and Benoît Mangin Holy Coli, The Mice in Odor of Sanctity is a biotechnological art performance consisting of the transformation of the microbiota of a mouse with genetically modified Escherichia Coli to enable a mice’s excrement to express odours close to violet scents. This ex- perience, first, represents an attempt to anticipate future delusions of the cosmetic industry and, second, marks the rehabilitation of a precious but unloved animal: the laboratory mouse. This performative work also addresses symbiosis both upon a bio- logical basis, on the field of microbiote, and upon an anthropolog- ical basis, focusing on our symbolic and pragmatic relationship to animals, the aims and conditions of the manipulation of the living being conceived as an environmental whole, via a specific stage for co-corporeality. __________ Marion Laval-Jeantet and Benoît Mangin formed the artistic duo Art Orienté Objet in 1991. They won Golden Nika at Ars Elec- tronica, in Hybrid Arts category, in 2011. Marion Laval-Jeantet is also Professor at University Paris 1 Panthéon-Sorbonne, in charge of the laboratory Art Science and Society.
Marion Laval-Jeantet and Benoît Mangin Holy Coli, The Mice in Odor of Sanctity is a biotechnologica...
Bio Elektron
A Multisensory Approach to Augmenting Dance, Combining: Biosignals, Drawing, Sound and Electrical Feedback. Nuno Correia, Debora Souza, Inês Nêves, Jaime Lobato In this paper, we investigate how to augment a dance performance using a multisensory approach in a way that communicates the dancing process as an embodied experience. We collaborated with a dancer and a media artist over an 8-week residency to prepare and present a multisensory dance performance and a spin-off installation. __________ Nuno N. Correia is a researcher and audiovisual artist based in Tallinn, Estonia. He is interested in digital performances and multisensory user experience. Since 2000, he has been teaching and conducting research in media art and interaction design. He is currently Associate Professor in Digital Transformation at Tallinn University.
A Multisensory Approach to Augmenting Dance, Combining: Biosignals, Drawing, Sound and Electrical Fe...
Symbio(geo)sis: when mineral and biological species meet
Monika Bakke The multispecies studies have so far embraced the diversity of mineral species only in a minimal capacity. Although biocentrism still predominates, change seems inevitable. There is a growing recognition that biocentrism “is often no longer viewed as an important corrective to previously anthropocentric approaches but rather as itself an unjustifiable bias” (van Dooren, Kirksey, Münster 2016, 4). Bethonico’s project recognises not only this bias but also the conditions of its operation, namely the shortage of concepts, stories and habits to embrace mineral species. The title of the developed book is self-explanatory in its ambition: Missing Words for Considering Stones, Rocks, Pebbles and Mountains: A Vocabulary of Proximity; it is this very proximity of life and minerals which is deeply rooted but overshadowed by life and hence habitually overlooked. Rocks, stones and pebbles, being solid aggregates of minerals or mineraloids, change and diversify when they come into contact with life and vice versa. With the current paradigm shift in mineralogy, which has brought forward the concept of co-evolution of the geosphere and biosphere (Hazen et al. 2008), we have started asking what biological species (nonhuman and human) do to and with mineral species. What is biomineral ecology, and how has it changed in evolutionary processes? Since Darwin, we have known that the environment is essential for the evolution of biological species. Still, only now, with the theory of mineral evolution, are we becoming aware of the influence life has on the diversification of mineral species. __________ FR Monika Bakke est professeure associée au département de philosophie de l'université Adam Mickiewicz de Poznań, en Pologne. Elle écrit sur l'art et l'esthétique contemporains avec un intérêt particulier pour les perspectives posthumanistes, transspécifiques et de genre. Elle est l'auteur de Bio-transgurations : Art et esthétique du posthumanisme (2010, en polonais) et Open Body (2000, en polonais), co-auteur de Pleroma : L'Art à la recherche de la plénitude (1998), et rédacteur en chef de Australian Aboriginal Aesthetics (2004, en polonais), Going Aerial : L'air, l'art, l'architecture (2006) et La vie de l'air : habitation, communication, manipulation (2011). De 2001 à 2017, elle est rédactrice en chef d'un journal culturel polonais, Czas Kultury [Time of Culture].
Monika Bakke The multispecies studies have so far embraced the diversity of mineral species only in...
Alphabetic pleasures - when signs mate
Klaus Spiess, Emanuel Gollob, Jens HauserThe performance installation 'Alphabetic pleasures - when signs mate' uses artificial intelligence to relate the latent spaces of visitors' phonemes with their oral microbiome to reveal the complex symbiosis between a future language and the mating of our oral microbiome. Based on the artists own scientific laboratory data, the performance suggests that the oral microbiome balances its own mating and death rate by encouraging humans to speak the vibrating vowels A E I O U in appropriate combination with the tonal consonants F P T K S SCH. Using a bioreactor-based lab, audience voice splitting, Deep Learning and an artificial voice articulator, 'Alphabetic Pleasures - when signs mate' proposes new phonemes that enable the mutual protection of sign systems and the replication rate of the oral microbiome.The repetition of phonemes in 'Alphabetic pleasures - when signs mate ' which are necessary to trigger physiological changes becomes the artistic practice of a political ec(h)olalia sustained through literal resonance with other beings, creating a shared habitat of sounds and marginalised oral beings as post-anthropocentric solidarity. Echolalia in 'Alphabetic pleasures - when signs mate' goes from meaningless repetition to Ecolalia, a co-constitutive relationship and ethical intimacy with the oral microbiota that disrupts colonial, speciesist and capitalist rhythms of sociality, communication and space.Most importantly, the resulting 'feverish' phonemes are interwoven with the reproductive activities of the oral microbiota. Thus, the performance offers a sensory imaginary/sensory to explore an ecosexual symbiosis between signs, sounds and non-human sexualities that might make us aware of the correlated linguophonetic and microbial erasure process that has been ignored so far.
Klaus Spiess, Emanuel Gollob, Jens HauserThe performance installation 'Alphabetic pleasures - when s...
Lucid Dream: Artistic Representation of Plant-Nature Interaction Based on Plants Biosignals
Youyang Hu, Chiaochi Chou, Yasuaki KakehiLucid Dream explores how humans experience nature through the perception of plants. This work applies intelligent computing to interpret the biofeedback of plants in response to environmental stimuli and extend it to the artificial space for human perception. __________ Youyang Hu is an artist, researcher, and Ph.D. candidate at The University of Tokyo. He dedicated himself to conducting biohybrid experimental creations, using the calculable and augmented aspects of life as tentacles to redefine the relationship between life and nature. Chiaochi Chou is an artist, researcher, and Ph.D. candidate at National Tsing Hua University. She is committed to combining non-human organisms with her creations to create the viewer's physical perception to explore the relationship between humans and nature. Yasuaki Kakehi is a media artist, HCI researcher, and professor at The University of Tokyo. By combining digital technology and physical materials he has created installation works that show alternative ways of experiencing environments and objects.`
Youyang Hu, Chiaochi Chou, Yasuaki KakehiLucid Dream explores how humans experience nature through t...