• Date
        May 22, 2017

        Klaus Fruchtnis

        Fruchtnis (1978) is a Colombian-French artist, technologist and teacher. Graduated in Fine Arts from the École Nationale Supérieure des Beaux Arts, Master in Design, Art and Technology from the Sorbonne, he was part of the EnsadLad research group at the École Nationale Supérieure des Arts Decoratifs, in Paris, where he lives and works.
      • Date
        May 22, 2017

        Transmedia Immersive University

        France - Colombia
        Guest year Colombia-France 2017
        ilovetransmedia.fr
        Web documentaries, interactive fiction, binaural sound, virtual reality... The evolution of technologies and uses alter the cultural industries. Faced with those who qualify as "new New Wave", the established structures have from time to time difficulties to mutate and adapt. For this reason, since 2011, the Transmedia Immersive University association works to promote transmedia writing and contributes to the emergence of this type of project. These writings are the opportunity to involve a plurality of actors of varied disciplinary origin, audiovisual, video game, web, live show, the TIU association is positioned as a meeting place for these different professional fields. Our missions: to bring together media professionals, mainly from the audiovisual, video game, and more generally from the entertainment sector, and favor their numerical transition; Popularize cultural innovation to the general public, and in particular to young people, and encourage the production, dissemination, editing and commercial exploitation of transmedia projects in France and throughout the world; Reveal new talents in web creation through the TIU Lab, a pedagogical and professional laboratory that accompanies student projects throughout the year and promotes their insertion in the market; Collaborate with the discovery of numerical creation to all through an annual meeting, the I LOVE TRANSMEDIA festival, and provoke reflections and debates on the evolutions to the work within the cultural industries to the digital age.
      • Date
        May 22, 2017

        Nonotak

        NOEMI SCHIPFER Illustrator / TAKAMI NAKAMOTO Architect Musician
        France
        Guest year Colombia-France 2017
        www.nonotak.com
        The NONOTAK studio is the collaboration between the illustrator Noemi Schipfer and the architect Takami Nakamoto. Commissioned by the architect Bigoni-Mortemard to create a mural in the lobby of a public housing building in Paris, NONOTAK was created at the end of 2011. At the beginning of 2013, they begin work on light and sound installations, creating an ethereal environment. , immersive and dreamlike designed to envelop the viewer, taking advantage of Takami Nakamoto's approach to space and sound, and Noemi Schipfer's experience in the kinetic visual field. They presented their first audiovisual installation at the Mapping Festival in May 2013. In the summer of the same year, NONOTAK presents a performance, LATE SPECULATION, where they are the creators of the project. NONOTAK has been at the Cartography Festival (Geneva), EM15 ELEKTRA / MUTEK (Montreal), la Nuit Blanche (Paris), Roppongi Art Night (Tokyo), Axcess Art Gallery (New York), Stereolux (Nantes), Playgrounds Festival (Tilburg), Mirage Festival (Lyon), Vision'R, Insanitus Festival (Lithuania), FUZ Festival (Paris), Food Festival (Praha), KIKK Festival (Belgium), Nokia de Lumia (Istanbul). His work has been exhibited in institutions and galleries such as the Tokyo Grant Hyatt Hotel, the Opéra de Lyon, the Batiment d'Art Contemporain de Genève, the NWE Vorst Theater, La Fabrique, the Pavillon Carré de Baudouin, Le Générateur.
      • Date
        May 22, 2017

        Digital Coefficient

        Dominique Moulon / France

        Today, according to Norbert Hillaire summoning Marcel Duchamp, there would be a digital coefficient in each work. When this is expressed in different ways according to the plural practices of a unique contemporary art. And how could it be otherwise, in this all-numerical world? First the artists who carry out their initial research through engines to determine the algorithms. Without omitting those who, from the Internet, extract the materials themselves from their creations with the purpose of contextualizing them in 'white cubes'. The objects of our co-morality are strengthened. There are also artists from the "open sources" of cultures, to misdirect them and prompt us to reconsider our relationships with the world of machines.
      • Date
        May 22, 2017

        Transmission: Contagion as Art

        Adam Zaretsky and Kira Decoudres / USA
        “I Want Your Ugly, I Want Your Disease” – Lady GaGa What are the grotesque potentials of disease transmission as a form of bioart and bioterror? How can transmission be framed as a form of non-enhancement based posthuman aesthetics making? Can intentional disease acquisition be considered an act of rebellion? Through palimpsests of media remixing, Transmission: The Art of Contagion explores the fears of bio-invasion, bodily co-habitation with contagion and disease as design.
      • Date
        May 22, 2017

        What Do We Know Of Time When All We Can Know For Real Is Now?

        Andrea Williams / USA
        What is time from inside, what is time from outside? The Moments project investigates the length of 'a moment' of attention and of the tension between the internal and the external experience of time. Using real-time algorithms this dynamic dual-screen installation situates the viewer in the center of the emotional, philosophical and phenomenological debate on the substance of time and lived experience. The project collated video for a year, recording close to a thousand separate clips of noticing, interstitial glances that show a moment occurred. Contrasting this is a series of extended walking self-portrait video 'derives' through the streets of Hong Kong. In the material a central character moves through the neon cityscape and crowded back alleys in continuous framed shots. The video is treated, graded and re-processed and frames re-played by algorithmic editing in real-time in any order, at any speed, in any direction. On one screen the works shows discrete moments of sense and attention, on the other screen a central figure surrounded at every moment by a maelstrom of temporal shift in one of the most complex cities in the world. Positioning the viewer in the center of the argument for time.
      • Date
        May 22, 2017

        The river is everywhere at once

        Mark Cypher / Australia
        Murdoch University
        NetArt
        www.markcypher.com
        The Twitter, tweet refers to a point in time that takes on a new form and meaning when viewed in different contexts. When seen in this way, a tweet contributes to an expanded sense of place as one that is a composite of space and time, network and process; or in Michel Serres's terms a topology. The emergence of new topologies and their connotations in a tweet's re-translation in new contexts is revealed in the asynchronous, overlapping and cyclical flow of our connections in different networks. The net-art work “The river is everywhere at once” references how tweets move us to a point in time that is quickly made composite, ambiguous and unanticipated through the ever-changing nature of our relations in a network.
      • Date
        May 22, 2017

        Deeper than Digits: Tepid Night Erased

        Michael Krzyzaniak and Britta Kallevang / USA
        arizona state university
        NetArt
        michaelkrzyzaniak.com
        Deeper than Digits: Tepid Night Erased is a poetry generation algorithm with humans in the loop. It composes and displays a new short poem every few minutes to enrich the thoughts of passersby. Additionally, anyone may edit the poems generated by the algorithm or suggest new words or phrases. Not only will these edits be displayed until the next poem is composed, but the algorithm will re-use them when composing future poems. In this regard, the human is influenced by the poems written by the computer, and the computer is in turn influenced by the human, resulting in a collaborative relationship. Likewise, subsequent people that edit the poetry then also interact with the previous people who did so through the algorithm, and the resulting poetry is a sort of crowd-sourced collective intelligence as mediated by a machine.
      en_USEnglish