There was a moment when the images were fixed, however, when they "went to the cinema" they moved, they remained spectacular, that is, distant and separated from the viewer; until they were digitized, then they became cognitively different from analog images, film, or video material. Images have always been the visualized equivalents of nouns, they become verbs, they act in a new kind of mutual space between mental and physical.
Data representation is increasingly important in an era where decisions are made through analytics. How can we define the relationship between data and intervention? For example, where do data visualization and artificial intelligence intersect or differ? Behind-the-scenes tools may require criticism, but data analysis and representation are powerful mechanisms for driving understanding and change. The work of the Visual Analysis Laboratory at OCAD University, as well as examples of creative and applied visualization strategies, which will be presented in his lecture.
The “Reality Race” is picking up speed with the growing user base of VR platforms, the commitment of the tech giants behind XR authoring and delivery workflows, and the expansion of the network across the globe. . They are accelerating with progress in sensory expansion, deep machine learning, immersive computing, and ubiquitous cloud technologies that are rapidly transforming the world as we know it. "Reality" in all senses of the word, is to gain depth, grow in complexity and expand space-time horizons. In this context, what kind of digital humanism can we expect when identity, relationships and the world we live in are increasingly mediated by algorithms?
Starting with the work SEQUENCIA DE UN HOMBRE QUE CAMINA (LA TIERRA) -which was recently presented within the framework of the 13TH HAVANA BIENNIAL- the artist establishes a turning point in his work, which has originated since its beginnings, the need to establish a dialogue between Nature and Culture, through actions in the landscape where impossibility, persistence, and the fragility of the body itself predominate in the face of the immensity that surrounds it -perhaps like a Sisyphus- to entering a new moment where the body now decides to undertake a journey not of permanence, not of return and failure, but of transit, to build a great signpost located on history itself.
There are not a few specialists who today draw attention to hybridization as a fundamental characteristic of the arts and media of our time. Undoubtedly, hybridism seems to be the guiding hypothesis that this is the path, making it impossible to continue searching for classifications of art trends into categories. Until, in recent months, her curiosity about the destinations of art and technology led her to the realization that the possibility of classification still exists. Recently, such a survey was carried out by Sinclair (2018b) in an extremely illustrative article of the most current emergencies of technological art. Under the title of "Emerging Media Categories" the author came up with twenty very current categories. The article contains explanations on each of the trends, including examples and links to additional and more detailed information. Of all the twenty trends, in this presentation only one of them remains, the generative art of artificial intelligence, given the proximity of the subject to my most current research.
The conference aims to explore the artistic and technological perspective indicated by Leonardo da Vinci five hundred years ago as a seed and an explicitly declared heritage for contemporary artists, and in particular for those dedicated to transdisciplinarity and digital media research. Leonardo, as a Master, is, in effect, in the 20th and 21st centuries, recognized as a conceptual matrix by the most important "artist-engineers". In particular, Leonardo da Vinci must be considered, five hundred years ago, as the first artist, forerunner of the Modern, to hypothesize not only the intersection, the plot, the comparison in the comparison of the arts, but also in the game of the arts and between the arts. As an effective form of creative composition. Hence his interest in music and poetry, therefore in energy, as the representation of invisible things, and therefore the image of revealed life.
Simultaneously, a studio, laboratory, rehearsal space and experimental platform for the examination and application of novel artistic techniques and methods. The Topological Media Lab (TML) is populated by a group of talented researchers who are improvising new ways to understand potential futures. For over a decade, the TML has been involved with bodies and materials that are steeped in ethics. The vital and material power results in a fluid culture of thought in which individual research and currents are pulled towards a common goal: The creation process and its passion to create receptive environments around complete experiences. Instead of isolated phenomena.