Luciana Ohira and Sergio Bonilha /Brazil
This project goes into ITC (Instrumental Transcommunication) not due to its exoticity but because we understand this as a field where truth is difficult to be established, a field made from uncertainty and therefore questioning. Our intention is not to prove other dimension’s existence but rather create a deep discussion around some materialistic goals that are probably keeping us far from creating new universes.
Arts incubators: Cross-sector collaboration for social impact
Kate Spacek and Nathan Ober / USA
ZERO1: Art & Technology Network
ZERO1: The Art & Technology Network is embarking on its 4th cycle of American Arts Incubator (AAI), an international creative exchange program. In partnership with the U.S. Department of State, AAI sends digital and new media artists overseas to collaborate with youth, women, and underserved communities to develop public projects addressing social challenges relevant in each location. Across 65 AAI projects in 13 countries, ZERO1 continues to re ne its arts-based methodology for diverse groups of people to collectively explore and address social and environmental challenges in uniquely creative ways.
Philippe Pasquier and Justin Love / Canada
The PrayStation invites you to pray or meditate. Equipped by a medical grade brainwave interface, you get to choose a belief system for which you wish to pray or meditate. A population of agents will appear on the screen that paint some iconic images related to the belief. The size and dynamism of the population varies with the quality of your prayer.
Your hearing them
Blake Johnston / New Zealand
What does your voice sound like? This question may seem simple, but surprisingly, it can be problematic. The reaction to hearing one’s voice played back through a recording is often of disgust or disownership. “That’s not how I sound”. However, this version of your voice is much closer to the way others hear it. This reveals the duplicitous nature of the voice - there is a conflict in your own perception of it and what others hear. The answer to the question: “what does your voice sound like?” depends on who is asked.
Gilbertto Prado, Agnus Valente, Andrei Thomaz, Clarissa Ribeiro, Claudio Bueno, Daniel Ferreira, Dario Vargas, Luciana Ohira, Lucila Meirelles, Mauricio Taveira, Nardo Germano, Renata La Rocca, Sergio Bonilha, Tatiana Travisani and Valzeli Sampaio / Brazil
Two mobile phones exhibit videos filmed during a trip up the Amazon River composed of flows of water in two distinct tints: On the one side we have a predominance of black-colored water, on the other, brown- colored. The system searches for real-time information in such a way as to reflect changes in the tides and the phases of the moon, as opposed to the flow of accesses to the word “Meetings” in several languages.
Sara Gevurtz and Thomas Asmuth / USA
In the project titled Turbidity Paintings, principal investigators Thomas Asmuth (UWF) and Sara Gevurtz (VCU) are artists who propose a methodology for visualization of water quality which integrates image capture and data metrics into one data-object (time specific images encoded with data metrics). The project leverages wide availability of free/libre open source software (FLOSS) and low costs of open source hardware (OSH) that has critically impacted and supported the citizen science movement. The combined data-objects will be used to construct a baseline data library from a variety of domestic and international locations.
Music on a bound string no. 2 installation requirementes & layout
Alba Triana / Colombia
Music on a tempered string is not part of a series of musical installations that reflect on a fundamental question:
Is the act of listening inseparable from the musical experience? Is it essential that sound travel through the air and the sea perceived by our ears so that it can become music? In search of an answer, this composition experiences with the fact of not being audible. Using a speaker, an audio signal excites a string, allowing the sound material to manifest visually through the string. The work invites and observes a detailed discourse, conceived in a musical way, which consists of a slow and meditative process of transformation and complexity of a visible sound wave. Additionally, and taking into account the visual nature of the piece, the light is explored as a structural parameter of the composition.
Guidelines and resources for designing interactive and transmedia documentaries through 10 examples
Arnau Gifreu-Castells / Spain
Open Documentary Lab - MIT
Over recent years, the way we produce, teach and research new media has dramatically changed. The interactive non-fiction narratives have transformed the processes of producing, distributing and showing documentaries, and especially the processes involved in how the viewer relates to the text. One of these new media forms of narrative expression is “interactive documentary”. As a new media object, interactive documentary challenges traditional methods of study and dissemination. An interactive documentary is a kind of documentary that empowers the viewers by allowing them to take decisions that affect the narrative.