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.

Today, in the age of drone media, satellite photography and CCTV, image making is increasingly decoupled from human vision and agency. It can also literally show us the end of the world. The notion of "non-human creation" proposed in this talk will broaden the human-centric idea of image-making to embrace imaging practices from which the human is absent: from the high-tech contemporary examples provided by traffic control cameras. , space photography and Google Earth, going through processes of taking impressions in deep time such as fossilization.

Creative processes and practices are increasingly recognized as research, either for its methodology, for its process, or for its power to contribute ideas and solutions to society on a large scale. Artist, technologist and researcher, Klaus Fruchtnis, focuses his practice on fostering innovation and creativity through education, and studies the ways in which digital technologies can be used in creative processes. With the advent of digital technologies, a significant change in education is necessary; as well as the study of new genres of artistic expression, and new ways of transmitting information and knowledge.

In this talk, I present the use of spatial curves as a fundamental construction for audiovisual composition. Curves provide an attractive starting point for audiovisual synthesis, as they provide a natural translation between sound and graphics. Systems for producing curves for art, design, and scientific research date back to at least the 18th century, and we see similar constructions persisting through mechanical, electronic, and digital technologies. Digital technologies break with the past allowing a precise and interactive control of these curves that allows a much more adjusted perceptual-computational circuit.

Colombian composer / intermediate artist, Alba Triana, will talk about some of her recent musical installations, related to the poetic exploration of the fundamental physical properties of resonant objects that emit sound and/or light. These musical pieces cross the disciplinary boundaries of art, science, and technology; Unfolding in time and space, to be heard, walked and seen.

Art-Science is a strange construction where neither of the two words qualifies the other. It is not a genre, nor a movement, nor an aesthetic or a single ideology. Art-Science is a nebula of practices and approaches, of desires and politics. Based on recent projects -such as Trust Me, I'm an Artist, FEAT/Futuro Emerging Art and Technology, LASER Paris- and a larger number of works of art, this talk will address some of the issues raised by the burgeoning area of Art. -Science displaying some of our implicit biases and prejudices.

As we limp back from big data sets, searching for some Bio-Peace and precarious balance, algorithms dangling from our brows, brains fractured to reveal neural mysteries. What exactly have we found? Did our inexorable look ahead force us to look back? Beyond the delusions of Google glass and other optimistic and technological solutions, how accurately will we navigate the challenges of this century?

After unraveling the terms "life" and "nature", both supposedly non-technological terms, the concepts of "green" and "nature" must also be uncoupled. Research on biomediality has shown that contemporary art forms that use biotechnologies as a starting point highlight - paradoxically - both their "liveliness" and their authenticity, on the one hand, and their explicit technique and artificiality, on the other. . We find a similar problem with the culturally ubiquitous trope of the greenery: Liveliness and greenness are linked through "biofacticity," the idea of biological artifacts that both grow and are, in fact, technically built from the ground up.