It is lived to do and is done for to live, Thinking that it does not get lost the time, but inevitably the time’s running out and gets lost, because this one is never stopped. But. What would we do, if we could return the time fifteen minutes, two hours or more? Maybe we would do the same thing: to try to do more, taking advantage of the possible maximum thing this space of time. Because of it, this offer is a metaphor in which the wear or the use of the time, it is also an accumulation of hours, minutes and seconds that remain registered as evidence of the passage of time; times that become exhausted to fill or to complete a time. A time full of past.
Nature has been an infinite source of conceptual, morphological and functional analogies; it has been inspiring designers and architects of all eras. Biomimetics is a discipline oriented to study different characteristics and qualities of nature to be transferred to the artificial world through a creative process. Since the last decades have been emerging the digital fabrication technologies, they are changing radically the design process of designers, architects and different creative professionals.
Carlos Franklin will introduce the work he has been doing during the last three years as director of the animated documentary series Smart secrets of great paintings and animated documentary VR experiences Unframed. The first subject is about creative documentaries. Carlos Franklin will present some excerpts of the episode “View of Warsaw from the Royal Palace by Bernardo Bellotto” (dir. J. Darakchiev) focusing on the rebuilding of central Warsaw from Bellotto’s paintings and how we rebuild all the historical process using digital image. Carlos Franklin will also present the case of VR experiences “Las Meninas” by Diego Velázquez” and “The temptations of Saint Anthony by Hyeronimous Bosch”, and the transformation of paintings into inhabitable spaces thanks to 3D / VR software.
Meredith Drum will discuss her recent 3D digital animations, and her choice to employ the trope of the chimera and images of female power from gaming and cinema to explore feminist discourse around gender, sexuality, mutuality and violence, all within a larger consideration of multi-species conflict and interdependence in the capitalocene. Drum’s talk will be founded, in part, on her understanding of Donna Haraway’s tentacular thinking, and the motivation she takes from Haraway’s insistence that: “The unfinished Chthulucene must collect up the trash of the Anthropocene, the exterminism of the Capitalocene, and chipping and shredding and layering like a mad gardener, make a much hotter compost pile for still possible pasts, presents, and futures.” 
New media offer enormous possibilities for documenting cultural experiences and interpretations. The use of technology in service of cultural heritage can be challenging, especially when the artefact involves a physical site such as Chinatown, with intangible sensory features of spatial interactions and emotional experiences. The use of new media applications can focus and engagingly convey the immense richness and diversity of the emerging historical record within an intimately coherent and viscerally arresting narrative.
Roar is an audiovisual experience. It offers a poetic interpretation of cataclysmic events: the earth is ripping apart and its inhabitants must escape in space towards a new home. Geopolitical data is formatted into a kind of DNA code used by the system to generate the different 3D spaceship models for each nation. The voyage is punctuated by random events to create a narrative – ships colliding, programmed obsolescence, on-board mutinies, etc. Instead of using pseudorandom generators to control these events, probabilities are based on social statistics and the outcomes on real random atmospheric noise – linking real space with virtual space. The simulation is run on a persistent server for a fixed amount of time at the end of which the voyage will be considered complete. But will any ships have survived till then?
“Los Venenos” is an art-piece of collaborative and multidisciplinary work presented by the theater troop "Pata de Conejo" original from Manizales city in(Colombia), it is proposed as an experimentation lab in the field of performing arts; involving architectural concepts, space design, multimedia design, literature, sound design and life music performance, all to the construction of a mise-en-scène.
The aim is to generate connections between art, science, and technology, which will allow us to find new languages that are presented to the current cultural demands. The use of these new languages will make it possible to consolidate contemporary identities and find ways to resolve conflicts. In this manner, through the Laboratory of creation of interactive cinemas, which is given in urban interventions with members of the community of the city of Manizales, the participants will first learn how to create audiovisual content and then participate in generating such content. This opens the pathway to explore the tension between art and technology as a poetic relationship, in search of finding new ways to resolve conflicts and to understand each other.