• Date
        June 12, 2019

        riverrun

        Barry Truax
        Canada

        He worked with the World Soundscape Project, editing their Handbook for Acoustic Ecology, and has published a book on acoustic communication dealing with sound and technology. In 1991 his work, Riverrun, was awarded with the Magisterio en la Internacional. Electroacoustic Music Competition in Bourges, France. Soundscape compositions are frequently performed at concerts and festivals around the world.

      • Date
        June 12, 2019

        Sense

        Ricardo Dalfarra
        Argentina - Canada

        The meaning of life. The meaning of the things we do. The direction in which we move. Where are we going. The complications and complexities that are smoothed over time, in one way or another, by hook, sometimes by crook. Time is a fiction that surprises us. After the action, the surprises, the interventions and the infinite searches, the reflection, and one step after the previous one, among the thousands of the way.

      • Date
        June 12, 2019

        ART X CLIMATE

        Ricardo Dalfarra
        Argentina - Canada

        This initiative was organized by the Electronic Arts Research Center (CEI) of the National University of Tres de Febrero, Argentina, in collaboration with the Climate Center of the Red Cross / Red Crescent and the support of UnBalance-Desequilibrio. International Program, and Concordia University. The following works will be heard during the 2019 Image Festival: “One minute in two minutes” by Concha García (Spain); “Minus One” and “SONOM” by Massimo Vito Avantaggiato (Italy); “Subsoma” and “Subsoma 2” by Michaela Davies (Australia); “Monarchs After the Storm” by Rob Mackay (England); “Soundscape” and “Extremos (Tarkas y Voces)” by Jeanette Fligler (Germany);” Timing is Key “by Jules Bryant (England);” From the First “by Alex Stooshinoff (Canada);” Frozen Realities” and “Acid Rain” by Fernando Laub (Argentina/Austria); “Temporal Observations” by Oliver Owen (England); “Multivertz-Timescales” by Nod Akami (France); “Pollution” by Gintas Kraptavicius (Lithuania) and “Artic Wail” by Nick Lavigne (Canada).

      • Date
        June 12, 2019

        TV Active Spaces VI

        Mario Valencia, Michel Desen, Wilfredo Terrazas, Ana Maria Rubio, Hector Fabio Torres
        Colombia-United States

        Directed by Mario H. Valencia and developed by Laboratorio SENSOR for five years, Tele-Espacios (TEA) has brought to the International Image Festival a series of Conversations, presentations, concerts and artistic works that explore different dimensions of telepresence. TEA proposes the production and realization of a group of telematic performances in which ensembles of participants distributed in various geographical locations contribute, propose and develop collaborative telematic works. Each work, apart from live interaction elements, consists of a sound-musical part, a visual one with live video manipulation, one more of corporal expressions and a last technological one that addresses topics from computer vision and use of sensors to BCI. that are integrated with the artistic and aesthetic proposals of each work. For this year TEA VI proposes the realization of 4 telematic works in the format of audiovisual performances and an interactive installation where fields such as expanded documentary, live performance, Brain-Computer Interface for Sound Representation, social interfaces and telematic interfaces for sound representation are explored. audiovisual expression.

      • Date
        June 12, 2019

        Phobos Orchestra Concert

        Director Gustavo Cano
        Brazil

        A Dysfunctional Robotic Orchestra, an orchestra with strange Instruments with defects, genetic mutations and erratic behavior. Phobos represents a critique of technological superimposition on human thought, the function of work and modern forms of slavery, as well as a historical retrospective of the various attempts at human liberation through machines, their technological utopias, the advances and setbacks of the liberties. Its name comes from Greek mythology, where Phobos is the incarnation of fear, and it is also the name of the largest moon of Mars, doomed to disappear due to the proximity of its orbit to the planet.

      • Date
        June 12, 2019

        All the same, all different

        Laptop Orchestra (CLOrk)
        Canada

        A piece by CLOrk, a member of Kasey Pocius. CLOrk has collaborated with dancers, soloists, VJ's, audiovisual artists, live programmers, as well as symphony, chamber, jazz and portable orchestras. Notable contributors include Ariane Moffatt, Andrea Young, Amanda Christie, and No Complaints. CLOrk has performed at the TENOR conference, the Akousma festival, the MAC (Musée d'art contemporain) among others. Concordia Laptop Orchestra (CLOrk, 2010) is one of the largest and most prolific electroacoustic ensembles in the world.

      • Date
        June 12, 2019

        Tempest/Chronostasis

        Franck Vigroux - Antoine Schmitt
        France

        Right after the Big Bang, the universe was completely formless, full of matter and energy, but irregularities were born, becoming atoms, suns, and planets. Within the primitive soup on Earth, indistinct molecules began to clump together like bacteria, to become life, animals, humans. The Tempest recreates the sound and fury of these original maelstroms. Within which it searches for the origin of the shape, it looks for other shapes. This Performance associates Franck Vigroux's analog instruments with Antoine Schmitt's visual algorithms, to create a real system of universes of pure Chaos, which can be seen and heard in the movements of millions of particles. Through the roar of the air, the performers manipulate the internal forces of this chaos, to give birth to audio and visual forms that unfold in time, with more or less stability, more or less evidence.

      • Date
        June 12, 2019

        The Love Letters?

        Daniel Zea
        Switzerland - Colombia

        In our society today, in which communication and image are ubiquitous, facial recognition algorithms are everywhere. Social networks, Internet search engines, surveillance systems, even our own phones are following and marking our face. Our face, the most expressive part of our personality, has become a tool for marketing, statistics and police control. In addition to this, the oversaturation of faces on the networks has turned them into masks, into narcissistic fictions. This duality between the expressive-face and the dehumanized-face is the basis of « The Love Letters ? ». How transcendental can communication between two faces through a digital interface be? What words of love can result from computer algorithms? Two people sitting face to face in front of their computers. Every movement and facial gesture is detected by the system and converted into a control signal. A blink, a look, a movement, a grimace, generate images, sounds and texts. The emotions projected by the faces contrast with everything that the machines can generate. What can we understand from this multi-layered communication?

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