In terms of sense terminology, it is possible to make use of Digital Technology to expand and modify the perception of humans’ environment. The approach to design Cybernetic Extensions to expand the senses of the Human Body is being analyzed throughout this article. Under the debates on the dialectical interaction between technology-body, species-environment, creation-biocreation and human-bonding, the concept of Prosthesis presented by Tomás Maldonado is proposed as the starting point for the Cybernetic Organs design. It is predicted that these Smart Prosthesis will be designed by using 3D printers, and the patient's own cells, which will be created in Fab Labs laboratories. It will go from designing objects to designing the Human Body as an object.
This paper presents the continuation of our interdisciplinary work connecting art and technology at Purdue University (USA) and Universidad de Antioquia (Colombia). In particular, this presentation will analyze retrospectively the research, methodology and outcomes of the course experience “Open Studio / Estudio abierto:
Interactive art and 3D animation”, during 2014 and 2015.
We will also evaluate the course in order to provide improveme
Aquatrio presents a sound installation performance made of small sonic scuptural modules spread around in a garden and resonating multicultural diversities of both Finland and Manizlaes region. The detailed nuances of the sonic experience will take the audience into a subtle and intimate listening adventure. Visitors can feel how divergent sonic ecosystems organise themselves as a supportive and colourful whole and how listening is a key to creating this whole.
"Active Tele-spaces" proposes the production and realization of a group of telematic performances in which assemblies of participants distributed in diverse geographic places, contribute, raise and develop collaborative telematic works. Each piece of live interaction elements consists of a sound-musical part of another visual with manipulation of live video, one more of corporal expressions and a last technological one that approaches subjects from the computer vision and BCI (Brain Computer Inteface) To HCI (Human Computer interaction) and Telematic interfaces, which integrate the artistic and aesthetic proposals of each work.
The present work looks into the specificity of the artist's palette with new media, focusing the analysis on the association between bits and atoms within the artistic field. The concepts of materiality, immateriality and neomateriality are examined to describe the particular features assumed by the dichotomy tangible/intangible in Art with New Media. Through the analysis of a corpus of works, we present a set of possibilities, issues and questions from our times, examined in context under the light of artistic movements from the 20th century like Conceptual Art and Pop Art.
Finally, we explore the role of computer code—and the datum—in the expansion of the expressive palette.
With “Rapchiy” the ISEA participants/audiences – or people in the mentioned public space - will have the opportunity to engage with brain reading devices and in particular contribute to the revelation of the hidden designs that were subconsciously integrated in their conceptualization and fabrication by the initial device developers/makers.
The main contents are: talks with artists, sound art, electroacoustic music, improvisations, sound poetry, reviews of works, telematic concerts, soundscapes, field recordings, sound cartographies and Latin American geolects. The collective develops installations, objects, urban interventions, performance actions and workshops, which expand the discursive and aesthetic processes of emissions.
Exploring the graphic patterns generated by the shadows of the Herveo Tower, a projection on a screen positioned amidst two of its columns will display Processing real-time drawings generated by code. The pattern of lines, as well as their velocity, will change according to the behaviour of people walking on its surroundings (as mapped from a computer-vision device positioned nearby). The installation aims to approximate real and virtual, as it relates the presence of the passers to visual aspects of the animated lines, but also the materiality of the Tower, manifested by the shapes of its shadows, and the digitalities of its onscreen representation. As a result, it alters the geography of the space, which is a landmark of Manizales that can be seen from a distance from several areas of the city. By acting on such an iconic public place, the project aims to create a visual interference that refers to the dynamics implicit in the building of collective dynamics.