Jesus Alejandro Guzman-Ramirez

Compositional Approaches to Spatialization with the speaker.motion Mechatronic Loudspeaker System

Bridget Johnson and Ajay Kapur / New Zealand                                                        

Massey University, College of Creative Arts

Paper

johnsonbridget.d@gmail.com, akapur@calarts.edu

 This paper describes compositional approaches to working with the new speaker.motion mechatronic loudspeaker system. The spatial affordances that come with the new loudspeaker system require new compositional ideas to explore the dynamic use of spatial attributes in electronic music. The speaker.motion system is first introduced and the communication protocols that composer use to control the system are discussed. The paper then continues with two case studies describing site-specific compositions that have been developed for the speaker.motion system each of which uses the spatial affordances of the system at the fore-front of their creative output. In assessing the compositional strategies of the system the paper also includes discussion provided by other composers who have used the speaker. Motion system and their thoughts on the new ways it affords spatial performance and composition approaches.

The paper then concludes with the future directions of both the system and the development of compositions for it.

Institutions in crisis

 

Andrew Newman, Sophie-Carolin Wagner, Matthias Tarasiewicz and Teresa Dillon / Australia, Austria, Brazil, Poland                                                                                

University of New South Wales, Research Institute for Arts and Technology, Institute of Humanities, Arts and Sciences

Panel

http://karlabru.net/site/, http://www.formerwest.org/Contributors/KubaSzreder, https://riat.ac.at  

  Free Libre Open Source Software (FLOSS) is an encompassing term, which refers to the licenses associated with making the source code that is the instructions and language per se, which defines how software works and is made available for others to read, modify and share . Providing a brief history of FLOSS, this paper presents a hypothetical situation, whereby elements of FLOSS are applied to reimaging institutional change within the context of a contemporary arts venue and organization. Framed as an artistic intervention, the art institutions structure and its existing forms are considered as the living, materiality of the practice.

“Techno-Emotional Bodies”

Jessica Anahi Roude / Argentina                                                                                  

National University of Lanús. CICyT

Paper 

roudejess@gmail.com

In terms of sense terminology, it is possible to make use of Digital Technology to expand and modify the perception of humans' environment. The approach to design Cybernetic Extensions to expand the senses of the Human Body is being analyzed throughout this article. Under the debates on the dialectical interaction between technology-body, species-environment, creation-biocreation and human-bonding, the concept of Prosthesis presented by Tomás Maldonado is proposed as the starting point for the Cybernetic Organs design. It is predicted that these Smart Prosthesis will be designed by using 3D printers, and the patient's own cells, which will be created in Fab Labs laboratories. It will go from designing objects to designing the Human Body as an object.

Open Studio: mapping intercultural dialogues through art and technology

Isabel Cristina Restrepo Acevedo, Esteban Garcia Bravo, Carlos Mario Sánchez Giraldo and Pablo Andrés Pulgarín Herrera / Colombia, USA                                    

University of Antioquia, Purdue University

Paper

isabelr27@gmail.com, estebang@gmail.com, chatbra2@gmail.com, pablo.pulgarin@udea.edu.co

This paper presents the continuation of our interdisciplinary work connecting art and technology at Purdue University (USA) and Universidad de Antioquia (Colombia). In particular, this presentation will retrospectively analyze the research, methodology and outcomes of the course experience “Open Studio / Estudio abierto:

Interactive art and 3D animation”, during 2014 and 2015.

We will also evaluate the course in order to provide improvement

Hello, world. The Artist's Palette Using New Media among Atoms, Bits, and Connectivity

Andrea Sosa / Argentina                                                                                                

National University of La Plata /National University of the Arts

Paper

correo.andreasosa@gmail.com

The present work looks into the specificity of the artist's palette with new media, focusing the analysis on the association between bits and atoms within the artistic field. The concepts of materiality, immateriality and neomateriality are examined to describe the particular features assumed by the tangible/intangible dichotomy in Art with New Media. Through the analysis of a corpus of works, we present a set of possibilities, issues and questions from our times, examined in context under the light of artistic movements from the 20th century like Conceptual Art and Pop Art.

Finally, we explore the role of computer code—and the datum—in the expansion of the expressive palette.

idMirror

Maša Jazbec, Floris Erich Arden and Hiroo Iwata / Japan, Netherlands                  

University of Tsukuba

Paper

masamikkel@gmail.com, erich@ai.iit.tsukuba.ac.jp, iwata@kz.tsukuba.ac.jp  

 

idMirror is an interactive installation which was previously demonstrated at Ars Electronica 2015 and at the ACM CHI 2016. In this paper we describe the idMirror installation from four viewpoints: Conceptual (introduction), development (section 2), technical (section 3) and the collected data analysis (section 4). The paper also presents our study of the idMirror installation participants' emotional reactions on the idMirror installation. Artists can certainly play a role in educating the public in the sense of encouraging critical thinking about the access and use of their data. Big data that includes visual social media, is a new artistic form that has recently become popular. The idMirror project can serve as an example of how we can use social media data to create aesthetic representations and experiences. This paper elaborates upon our earlier work, published as an extended abstract as part of the ACM CHI 2016 proceedings [1].

Soundscape as a pedagogical and reflective tool for the preservation, re-signification, and creation of narratives about the Colombian Coffee Cultural Landscape: visual arts laboratories of the Ministry of Culture

Joaquin Llorca, Mauricio Guerrero, Ana Garay and John Ordoñez / Colombia      

Icesi University

Paper

jellorca@icesi.edu.co, mauriciokempes@gmail.com, garayana@hotmail.com, olho@hotmail.es

Proclaimed by UNESCO in 2010 as Cultural Heritage of Humanity, The Coffee Cultural Landscape is a reference framework that defines a region of Colombia from an economic activity that has shaped it culturally. This spatial reference unit suggests new strategies and tools for the knowledge and appropriation of this heritage. Therefore, the sound dimension as a fundamental expression of the identity of the regions is an essential element in the conformation of a territory. This article presents the theoretical-cal framework, methodology, and results of a four-year laboratory with the communities of the Coffee Cultural Landscape, which had as the main objective to positively influence the quality of life of the communities through artistic and cultural practices from its sound dimension.

Fluid Processor Design for Ecological Computing - a new techno-ecological computing paradigm for sustainability

Stahl Stenslie / Denmark

Aalborg University 

Paper

stenslie@gmail.com

This paper proposes ways of designing processor like devices operating with nothing else than natural flow of water to execute basic physical computing. Such types of fluid processors carry the potential to form the foundation of future fluid computing devices allowing for complex forms of ecological computing integrated directly into our environment. The proposed design works on natural principles of physics, uses no electricity at all, lasts almost forever and can literally be thrown around. That might sound like a radical, game- as well as life changing form of computing. And it will be. If we up-engineer the many and proven designs of old mechanical, analogue and physical ways of doing computing. So, what is the solution? Future and emerging computers will be carved out of and into stone. Their ornamental design will be more than environmental aesthetics, it will enable physical principles known from fluid and liquid dynamics to interface and interact with our world in multiple and –for now- speculative ways.