- Date
- June 2, 2017
Encoding Colours: from the trichromatic theory to the electromagnetic signals
Ricardo Cedeño Montaña / Germany
Humboldt-Universität in Berlin
Paper
http://drnn1076.pktweb.com
Encoding schemes for producing, storing, and transmitting color information in electronic media are based on a three-color canon that originated in the 19th-century physiological studies of vision. During the 20th century this canon was first standardized and then implemented in technical media. Since then it has become ubiquitous for understanding and producing the sensation of colour. However, the precise technical operations to produce colors in electronic media has been usually overlooked in media history.- Date
- June 2, 2017
digital materials
Esteban Gutierrez / Colombia
Fine Arts University Foundation
Paper
Digital Material explores fluctuant dynamics between artistic creation and digital systems by projecting a theoretical model to analyze variable methodologies implemented in creative processes. The proposed model is articulated through levels and layers of information representing abstraction barriers where the information changes and assumes particular identities. Through these strata creative thought is filtered informing the material, manipulating its information and becoming art.- Date
- June 2, 2017
Retracing the story of Bourges's Institute of Electroacoustic Music through exploratory programming and live visualizations
Florent DiBartolo / France
UPEM
Paper
http://webodrome.fr/
Bourges's Institute of Electroacoustic Music (IMEB) has been created in France in 1970 by the composers Françoise Barrière and Christian Clozier who directed it until its closure in 2011. During its forty years of existence this institute has been heavily involved in the development of electroacoustic music both on national and international scales. Its activities have included among others musical research, development of music-making software, creation of instruments and organization of music festivals and competitions.- Date
- June 2, 2017
Domains, Publics and Access. A Wiki In Progress On Access Archeology
Paz Sastre / Mexico
Metropolitan Autonomous University
Paper
Domains, Publics and Access is an ongoing online collection of projects related to current access forms such as: open government, open design, citizen science, collaborative economy, commons, co-ops, crowdfunding, DIY, free culture, community currencies, p2p, piracy, etc. The main goal is to preserve initiatives that appear and disappear in different countries because each project is the declaration of a possible future. That's why the project as the poetics of social forms is studied by an access archeology that explores the hypothesis of the emergence of new bottom-up institutions. The hypothesis is latent in the work of several authors, but Geert Lovink and Ned Rossiter pose it explicitly around the online organized networks.- Date
- June 2, 2017
UN-EARTHS: DISORIENTATION, LANDSCAPE & THE INDUSTRIALIZED MAP
Lawrence Bird / Canada
University of Manitoba
Paper
https://vimeo.com/lawrencebird
This paper addresses the failures of the modern mapping project understood through three creative works in video and projection-mapping, discussing them in terms drawn from Bernard Stiegler's writing on industrialized memory. The three works harvest moving satellite images associated with significant geopolitical frameworks: the 49th Parallel, the Greenwich Prime Meridian, and Canada's Dominion Land Survey, exposing anomalies and opacities in imagery gathered there. One of these videos, parallel, is being screened at ISEA 2017.- Date
- June 2, 2017
Media Culture and Heritage: Curating Outsidership
Simone Osthoff / USA
Pennsylvania State University
Paper
This article looks at current and future issues in the field of art, science, and technology—from the challenges of its own historicizing process to the curatorial exclusion of cultural heritages usually located at the margins of mainstream research. It argues the need for “other” histories and knowledge inclusion from overlooked sources such as oral cultures. With a few curatorial examples coming from Brazil, the paper emphasizes the social inequities in that country, as well as a deep-rooted colonial mindset, unfortunately still dominant in many circles. By emphasizing critical and original examples of artists, critics, and curators who uphold contemporary art alongside heritages from black, indigenous, folk and outsider groups, the paper examines strategic uses of technology, for instance, in the phenomenon of the rolezinhos, and that of a nomad museum.- Date
- June 2, 2017
Interactive Art Based on Musical Genealogy: Nam June Paik's Random Access
Byeongwon Ha / USA
Virginia Commonwealth University
Paper
http://www.bwonha.com
Random Access (1963) is one of the earliest interactive art pieces, which incorporates an electronic interface in art. Compared to Paik's fame in video art, his originality in interactive art was hardly examined in the history of new media art. This paper explores Random Access as a pioneering project in interactive art. Paik was educated in West Germany from 1956 to 1963. Based on his academy in the center of music, Paik published several music articles for Korean and Japanese readers as a foreign correspondent. According to his articles about progressive music in Europe, Paik was inspired by Karlheinz Stockhausen, Pierre Schaeffer and John Cage when he started to create his own interactive project.- Date
- June 2, 2017
Diligent Operator: The Resurrection of Musique Concrete with Max/MSP Jitter and Arduino
Byeongwon Ha / USA
Virginia Commonwealth University
Paper
http://www.bwonha.com
Nam June Paik (1932-2006) exhibited the progressive music environment for audiences, Random Access (1963) in his first solo show. It allowed audiences to make their own sound collages by interacting with visual audiotapes on a white wall. This unusual music project was based on Paik's musique concrète composing experiences. Studying the practical relationship between Random Access and musique concrete, Diligent Operator (2016) develops Paik's idea of interactive collage music by employing the Internet system to access a wide range of sound data all the world over. This new version of musique concrète was created with computer programming including Max/MSP Jitter and Arduino.
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